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In the opening verses of the Book of Ezra-Nehemiah, King Cyrus exhorts the exiled Judeans to return to Jerusalem to restore worship in Jerusalem. It then narrates this restoration through the construction of the temple, the repair of the city walls, and the commitment to the written Torah. In this volume, Roger Nam offers a new and compelling argument regarding the theology of Ezra-Nehemiah: that the Judeans' return migration, which extended over several generations, had a totalizing effect on the people. Repatriation was not a single event, but rather a multi-generational process that oscillated between assimilation and preservation of culture. Consequently, Ezra-Nehemiah presents a unique theological perspective. Nam explores the book's prominent theological themes, including trauma, power, identity, community, worship, divine presence, justice, hope, and others – all of which take on a nuanced expression in diaspora. He also shows how and why Ezra-Nehemiah naturally found a rich reception among emerging early Christian and Jewish interpretive communities.
Future highlights of the careers of many who appeared on stage in 1924, including Evelyn Laye, Florence Mills and Adele and Fred Astaire, are summarized, as are the legacies of musicals such as Kid Boots, Il paese dei campenelli, Madame Pompadour, Gräfin Mariza, Rose-Marie and The Student Prince on stage and screen.
In the decades since his death, Debussy has become a cultural icon – a symbol of music’s modernity. He has been immortalised by a monument in the Bois de Boulogne in Paris, a museum in his hometown of Saint-Germain-en-Laye, and a bust in the Théâtre national de l’Opéra-Comique. His portrait even appeared on a twenty-franc banknote. Over the past few years, Debussy’s stock has only risen. In 2011, New York Times critic Anthony Tommasini ranked him the fifth greatest composer of all time, behind Bach, Beethoven, Mozart, and Schubert. This chapter ranges widely over many aspects of Debussy’s reputation and legacy.
The chapter examines Vaughan Williams’s relationship with the British Broadcasting Corporation (BBC). It focusses on the policy pressures and dynamics shaping BBC music broadcasting, and interrelationships between those and the creation, promotion, dissemination, consumption, and reception of Vaughan Williams’s music, reflecting on the ways in which a range of public and quasi-public bodies dedicated to the production and promotion of ‘national’ culture created a distinct political dynamic to the ‘field of cultural production’ in Britain in the period from the foundation of the BBC in 1922 through the interwar, war, and postwar years. It argues that this context and relationship is foundational for understanding his work, style, and reception, and invites (re)consideration of the role of authorial agency and authorial voice in reception history.
In this essay, we survey the history of Either/Or’s English language reception in order to contextualize the importance of the Critical Guide’s contribution to current discussions of Kierkegaard.
In this book, Nathan C. Johnson offers the first full-scale study of David traditions in the Gospel of Matthew's story of Jesus's death. He offers a solution to the tension between Matthew's assertion that Jesus is the Davidic messiah and his humiliating death. To convince readers of his claim that Jesus was the Davidic messiah, Matthew would have to bridge the gap between messianic status and disgraceful execution. Johnson's proposed solution to this conundrum is widely overlooked yet refreshingly simple. He shows how Matthew makes his case for Jesus as the Davidic messiah in the passion narrative by alluding to texts in which David, too, suffered. Matthew thereby participates in a common intertextual, Jewish approach to messianism. Indeed, by alluding to suffering David texts, Matthew attempts to turn the tables of the problem of a crucified messiah by portraying Jesus as the Davidic messiah not despite, but because of his suffering.
The transformation of Beach’s reputation from an almost-forgotten relic of a bygone era to one of the most highly regarded American Romantic composers provides a case study in reception history. Her “renaissance” resulted from determined advocacy on two fronts: scholarly research and musical performance. In scholarship, the University of New Hampshire and the Library of Congress have assembled formidable archival collections, while Adrienne Fried Block and a bevy of dissertation writers have worked to shed light on Beach’s life and works through publications and conferences. In the performance realm, pianists Virginia Eskin, Mary Louise Boehm, and Joanne Polk have worked tirelessly to introduce her music to the public in concerts and recordings. Several recent documentary films confirm her appeal as a subject and her status in American cultural history.
The manner in which Die Zauberflöte established itself as a cultural icon in late-eighteenth-century German society is remarkable. It permeated daily life in countless ways: fashion, pet naming, board games, risqué party entertainments, mechanical toys, children’s playlets, and whistling birds. While this represents the escapism of the opera’s fairy-tale plot, darker strands are woven into the fabric of its early reception. It swept across Europe during a period of bloody revolutionary war, and all sides made use of it in their political propaganda. Papageno was ensconced at the heart of the Prussian military establishment when one of his tunes was added to the carillon of the Potsdam Garnisonkirche. At the same time, his music, under the banner of freedom, entered the republican song repertoire. After Napoleon’s cataclysmic defeat near Leipzig in 1814, a satirist was quick to wish him a derisory farewell as he sailed back across the Rhine. What better choice than the language of the opera: auf wiedersehen!
This chapter situates Smith scholarship in a long historical view. It highlights the kaleidoscopic nature of reading and writing about Smith from the eighteenth century to the present. A brief survey of the early reception of Smith’s works in the anglophone world demonstrates how and why Smith was initially read as a practical resource before being transformed into an intellectual and political authority. Interpretive problems like “Das Adam Smith Problem” and the Chicago School Smith, introduced in the nineteenth and twentieth centuries, then became starting points for critical and revisionist historiography. Contemporary scholarship has been marked by several distinctive features: an increasing interest in Smith as a philosophical thinker, the centrality of The Theory of Moral Sentiments, engagements with Smith to proliferate new defenses and critiques of liberalism, and the reformulation of older categories of analysis. I suggest that the ambiguity and contestability of Smith’s intentions as well as the slipperiness of the conceptual categories that he inspired have engendered shifting meanings, emergent problematics, and the enduring political relevance of his works and ideas.
This article examines the appearances of Augustus in Suetonius’ Lives of the Caesars outside Augustus' own Life. It shows how Suetonius contrasts the positive image of Augustus drawn in the Life of Augustus with the distortion of this image by Augustus’ successors, depicted in the later Lives. In their reception, he is still presented as an ideal to follow, yet as a role model for cruelty (Tiberius), adultery and military failure (Caligula), or lyre-playing (Nero)—roles which Suetonius’ real Augustus never or only marginally assumed. Thus in a series of close and intratextual readings, this article invites a more general reassessment of Suetonius’ work: it suggests that the Lives of the Caesars draw a more critical image of the Principate than has often been said, that they are more consciously part of an image-making process and, above all, that they should more commonly be understood as one whole work, rather than read individually and in isolation.
As a legacy of the Habsburg Empire, performances of Jacques Offenbach's musical stage works played an important role in Budapest musico-theatrical life in the twentieth century. However, between the collapse of the Empire and the 1956 anti-Soviet revolution, political ideologies strongly influenced the character of these productions, when they took place. Public performances of Offenbach's works were prohibited between 1938 and 1945 and they became the bases for propagandadistic adaptations in the 1950s. This element explores how the local operetta tradition and the vogue of operettas featuring composers as characters during the interwar period were also important factors in how Offenbach's stage works were performed in mid-twentieth century Budapest in versions that sometimes bore little resemblance to the originals.
From his own time up to the present, Robert Schumann has been associated with the idea of subjectivity, to an extent perhaps greater than any other composer in the Western tradition. This opening section traces the historical reach of the connection between Schumann’s music and subjectivity, its situation in early nineteenth-century (and primarily German) discourses about the self and interiority, and starts to unravel the range of meanings contained in the term subjectivity. I outline the three primary aims of the following book, which can be given as Critical, Musical, and Philosophical. Finally, this section provides an overview of the ensuing argument of the book.
A study of the British reception history of Rerum Novarum between 1891 and 1919 shows the key role of Fr. Vincent McNabb OP in popularising in the Catholic press what would become the predominant interpretation of the encyclical, switching its perceived emphasis away from the defence of private property to the advocacy of an urgent redistribution of property unjustly withheld from the impoverished working classes
McCarthy builds on a trend in the theology of scripture according to which the truth of the text is discovered in the ‘performance’ of the text in the lives of individuals and communities. On this basis, he offers a series of cameos in which the ‘exegesis’ of a gospel text takes biographical form, and the lives of saints and martyrs become a kind of extension of the scriptural canon.
Frances Young explores the changing relationship in the history of the early church between the gospel texts and the determination of true doctrine. She shows that, even when the four gospels had been accepted as canonical, what shaped doctrine most was the overarching sense of what scripture as a whole was about, epitomized in the ’Rule of Faith’ and the creeds.
Studies the ‘afterlife’ of the gospels into the public realm – the realm of morality and politics. According to Bader-Saye, the gospels are misunderstood if they are confined to the realm of the personal. Rather, the gospels are a summons to a moral life expressive of shared ‘deep themes’ of liberation, dispossession and love. He elaborates on this through a critical appreciation of the way these gospel themes have been taken up in modern discussions of ethics and politics from Immanuel Kant to Romand Coles.
Examines the reception of the canonical gospels and of their ‘effects’ in particular times and places. Here, the first part gives an account of reception history as a relatively new discipline in gospel studies, while the second part offers as a case study some of the ways in which the synoptic stories of the women who visit the tomb of Jesus have been represented in the visual arts.
The role of Christian worship and devotional practices in making the gospels come alive in ever-changing historical circumstances and across ecclesial traditions is explored. Among the arts, attention is paid to the signal contribution of music (J. S. Bach, Black gospel music, and hymns) to the appreciation and appropriation of gospel texts.
Throughout the history of Christianity, the four canonical gospels have proven to be vital resources for Christian thought and practice, and an inspiration for humanistic culture generally. Indeed, the gospels and their interpretation have had a profound impact on theology, philosophy, the sciences, ethics, worship, architecture, and the creative arts. Building on the strengths of the first edition, The Cambridge Companion to the Gospels, 2nd edition, takes account of new directions in gospels research, notably: the milieu in which the gospels were read, copied, and circulated alongside non-canonical gospels; renewed debates about the sources of the gospels and their interrelations; how central gospel themes are illuminated by a variety of critical approaches and theological readings; the reception of the gospels over time and in various media; and how the gospels give insight into the human condition.