A History of Embryology. Aquatic Insects in New York State. Changing perspectives in the history of science. Essays in honour of Joseph Needham. Clerks and craftsmen in China and the West. Lectures and addresses on the history of science and technology. Clerks and Craftsmen in China and the West. Dialogue Des Civilisations Chine-Occident. Dragonflies of North America: The great astronomical clocks of medieval China.
History Is on Our Side. Hopkins and Biochemistry, Papers concerning Sir Frederick Gowland Hopkins.. Implications of Chinese textile and cast-iron technology for certain basic inventions in mechanical engineering. Volume 6 Biology And Biological Technology. Agriculture By Francesca Bray. La science chinoise et l'Occident. Physics and Physical Technology, Part I: Chemistry and Chemical Technology, Part I: Science and Civilisation in China. Science and civilisation in China. Mathematics and the sciences of the heavens and the earth. History and scientific thought.
Volume 1 Introductory Orientations. Science And Civilisation In China. Spagyrical Discovery And Invention: Magisteries Of Gold And Immortality. Physics and physical technology. Biology and biological technology. Spagyrical discovery and invention.
Chemistry and chemical technology. Spagyrical discovery and invention: Biology and biological technology-part II: Science in Traditional China. Science Religion and Reality. Science, Religion and Reality. Science and Society in East and West. The Hall of heavenly records. Korean Astronomical Instruments and Clocks The Life of Inland Waters: Essays and Addresses, - Entretiens avec Didier Gazagnadou. White And Black In Australia.
Within the four seas. The dialogue of east and west. The dialogue of East and West. A Season in Red: Charles Hawker - Soldier, Pastoralist, Statesman. The Hall of Heavenly Records. Korean astronomical instruments and clocks Mary Rounceval, Charing Cross.
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Twelve Centuries of Bookbindings A note on kinship and marriage on Pantara. A Structural Analysis of Aimol Society. Age, category, and descent. Ciculating Connubium in Eastern Sumba; A literary analysis. Classification and Alliance among the Karo: Death-names and solidarity in Penan Society.
Terminology, Alliance, and Analysis. Jataka, Pancatantra, and Kodi fables. Needham's Inferno, by Richard J. Notes on Comparative Method and Prescriptive Alliance. Notes on the Analysis of Asymmertic Alliance. Prescription and Variation in Rembong, Western Flores. Principles and Variations in the Social Classification of Komodo. Skeptical Essays About Kinship.
December 2018
Rethinking Kinship and Marriage. Symmetry and asymmetry in perspective alliance: Further comments on an alleged fallacy. The Evolution of Social Classification: A Commentary on the Warao Case. Passage of the Thames: Selective deposition in the British Early Bronze Age. World Archaeology, volume 20, No. A Letter to the President concerning certain chalky tubulous Concretions, called Malm: The Bell of the Four Evangelists.
The Boy in Red. Illustrated by Joyce Bruce. The Changeling of Monte Lucio. The House of the Paladin. The Woods of Windri. On business, marketing, resources, production, financial trading and businees plans. Endah, terminology, alliance and analysis. Bijdragen tot de Land-, Taal en Volkenkunde , Deel And Socialist Union Bureaucrats: Albeson and the Germans.
Sea Officer William Bentley Novels. Home Arts Needlecraft Magazine. The Home Arts Magazine. The Magazine of Home Arts - August The Magazine of Home Arts - December The Magazine of Home Arts - July The Magazine of Home Arts - April The Magazine of Home Arts - November The Magazine of Home Arts - January The Magazine of Home Arts - March The Magazine of Home Arts - June A Sense of the Cosmos: Guerrillas in the Bureacracy: De ontmoeting van de moderne wetenschap en de oude waarheid.
A Sourcebook of Methods and Techniques. Sacred Tradition and Present Need. The Economics of Housing. The Way of the Physician. Birds in a tree. Boy in front of a landscaped abode. Dutch scene with maidens, windmill and flowers. The story of the Stewarts, the Stricklands, the Traills and the Moodies.
An Introduction to Latin American Politics: American Women Printmakers Dedicated to councillor A. Met kleuren illustraties. Pflanzen in unserer Wohnung. Native fishing in the Great Lakes; A multidisciplinary approach to zooarchaeological remains from precontact Iroquoian villages near Lake Simcoe, Ontario.
Kinderversjes en Gedichtjes voor de Lieve Jeugd. Nun komm der Heiden Heiland. Nun freut euch, lieben Christen. Grande Polonaise brillante op. Clair de Lune Verlaine. Il segreto per esser felici Lucrezia Borgia - transcription Weigel for violin, clarinet, cello and piano. Pomp and Circumstance March No. Les gazons sont verts! Peer Gynt Suite No. She never told her Love Shakespeare Hob. Lippen schweigen Die lustige Witwe - transcription Weigel for violin, clarinet, cello and piano.
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Etude de Concert No. Der du von Himmel bist Goethe erste Fassung. Der du von Himmel bist Goethe zweite Fassung. Pace non trovo Sonetto del Petrarca. Wer hat dies Liedlein erdacht? Des Antonius von Padua Fischpredigt. Wenn mein Schatz Hochzeit macht. Die zwei blauen Augen. Das Aehrenfeld Hoffmann von Fallerslen. Lied aus Ruy Blas Victor Hugo.
Amen des Anges, des Saints, du chant des oiseaux. Amen de la Consommation.
Regard de la Vierge. Regard du Fils sur le Fils. Regard de la Croix. Regard de l'Onction terrible. Je dors, mais mon coeur veille. Regard de l'Eglise d'amour. Il vecchio castello, Promenade. Ballet of the Little Chickens. Samuel Goldenberg und Schmuyle, Promenade. Catacombae sepulcrum romanum, Con mortuis in lingua mortua. The Leaves Rustled Sadly Pleshcheyev. What are Words of Love to You? The Old Man's Song Goethe. Je veux m'en fourrer La Vie parisienne , transcription Weigel for violin, clarinet, cello and piano.
Je suis veuve La Vie parisienne , transcription Weigel for violin, clarinet, cello and piano. Que j'aime les militaires Gerolstein , transcription Weigel for violin, clarinet, cello and piano. Une ruine coquille vide. Le front comme un drapeau perdu. Une roulotte couverte en tuile. Je n'ai envie que de t'aimer. Nous avons fait la nuit. E lucevan le stelle Tosca - transcription Weigel for piano solo. Il Barbiere di Siviglia - Overture transcription Weigel for piano solo.
Largo al factotum Il Barbiere - transcription Weigel for violin, clarinet, cello and piano. Seit ich ihn gesehen. Er, der Herrlichste von allen. Ich kann's nicht fassen, nicht glauben. Du Ring an meinem Finger. Eminescu's Liebestod Wagner's Romantic expression of 'love-death' is reversed by the Poetry Testing our faith. There are famous examples, eg Edgar Allan Poe.
A long poem or song that tells a story through a series of stanzas Traditional Music, Crisis and the Poetry of Seamus Aug 17, - Revolution in In this context, Romantics sought to reassert the importance of creativity, imagination and community, while still affirming The University of California. From Postwar to Millennium Apostila01 - Publicidade x Propaganda Prof.
Understanding Propaganda - PhilPapers The Diary of Anne Frank is not an incidence of propaganda. Erkenntnis und Propaganda Erkenntnis und Propaganda. Signale der neuen Zeit. Propaganda Through the Ages Nov 7, The use of propaganda has been an integral part of human history and can be traced By the end of the 19th century, improvements in the size and speed of In the 20th and 21st centuries, we have witnessed an unprecedented Poetry Sessions Handbook rewarding discussion Pensadores como Michel Foucault destacaba las estructuras de control A Light in the Attic, Slam Poetry Poetry slam, a relatively new phenomenon in the United States, emerged out of inner Metaphysical Poetry Metaphysical Poetry.
Poetry - NYU poetry by e.
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Following is the title page from The Enormous Room. This epigraph is to Anne Barton,. As the war clouds gathered the BBC. She studied music at the University of Exeter before doing postgraduate work in music and French studies at Royal Holloway, University of London. The influence of policy and ideology on the musical and the poetic is addressed by drawing on theoretical frameworks of the archive, memory, trauma and testimony.
Case studies investigate cultural memories constructed through three contrasting soundscapes. Concentrating on the role of the archive as both narrative source and theoretical frame, this study offers a new approach to the understanding of soundscapes and demonstrates the processes involved in the creation of sonic cultural memory in the context of global conflict. A catalogue record for this book is available from the British Library.
Library of Congress Cataloging-in-Publication Data: Launchbury, Claire, Music, poetry, propaganda: British Broadcasting Corporation--Historyth century. Radio and literature--Great Britain. Radio and music--Great Britain. Mass media and nationalism--France. World War, Music and the war. All parts of this publication are protected by copyright. Any utilisation outside the strict limits of the copyright law, without the permission of the publisher, is forbidden and liable to prosecution. This applies in particular to reproductions, translations, microfilming, and storage and processing in electronic retrieval systems.
Un grand merci radiophonique to Karine Le Bail, whose own work on the French broadcasting has richly informed my research. My mother, Janet Launchbury, provided very real and material support in the final stages of my doctoral studies for which I am most grateful. A final word of gratitude goes to my examiners, Barbara Kelly and particularly to Michael Sheringham, whose interest in this project has been of immense encouragement and support.
Seghers, , Editions Labor, , Its continued presence today is testament — in part — to eradication. Michael Rothberg, Multidirectional Memory: Stanford University Press, Harvard University Press, On Cultural Memory and Soundscapes 3 It is the desire to preserve memory precisely in defiance of its destruction that marks the threshold of its loss. Henry Rousso, The Vichy Syndrome: History and Memory in France since , trans. Arthur Goldhammer New Haven: Yale University Press, [] London became a crucible of diverse memories and experiences of refugees, exiled resistance fighters and others who invested time and energy in cultural production.
On Cultural Memory and Soundscapes 5 advances in international broadcasting, such cultural soundscapes could be constructed, aired and transmitted across the world. Or rather, not a profound, but a shallow superstition. A Holocaust Girlhood Remembered London: Goertz sees a timescape as a co-existing polyphony of divergent memory rather than a site of perpetual modification, replacement or, indeed whitewashing.
This is because the temporality of memory and location as expressed through the evocations of soundscapes is at issue. The dual analysis of sound and time, of music and temporality, invokes a very old conception of musica: Cultural Memory and the Holocaust, ed. Julia Epstein and Lori Lefkovtz Urbana: On Cultural Memory and Soundscapes 7 that the Holocaust changed the way we think about things and thinking about history in particular: This literally polyphonic text explores, among other things, the boundaries between the text as written and the text as heard.
Oxford University Press, [] , It is also, inevitably, concerned with the Holocaust. They are ghostlike and haunting and they mark, as a trace, the void between what is left and what happened there: Works such as Dora Bruder by Patrick Modiano, in particular, represent a structuring of active self-orientated narrative combined with, and inspired by, the role of a historian in the archive, using paper traces, photographs, newspapers, empirical information, in short, as the catalyst for imagination in creative literary endeavour. However, it 24 T. Adorno, The Essay as Form [—8], trans. Such writing not only identifies a contemporary preoccupation with the trace and traceability of a life or a past, but is enacted quite clearly within the imaginative space that the archive inspires.
It also asks what counts as testimony and investigates what might be extrapolated epistemologically from creative works: The novel, poem, cantata and slogan all attest in some form to human experience, and the archive is a memorial storehouse that represses, guards and maintains not simply empirical facts but our own complex relationship with the experiences of others who have gone before. Such memorial discourse is inevitably associated with, if not rooted in, the clinical working through of psychoanalysis. Live broadcasts were often those organised with the greatest fanfare, yet ironically, in archival terms, are now the most ephemeral.
The archive also contains scripts, scores, contracts, correspondence and cuttings. Three main types of dossiers have been consulted: Seuil, , Since the BBC was broadcasting during wartime, records of intelligence gathering, propaganda reporting and government are also relevant. Both the archive and music operate as generative impulses in twentieth-century literary production. It is a means for the repressed to be brought into societal discourse and for the constructing mechanisms of cultural memory to be exposed, discussed and, perhaps, cured. The concept of a timescape was proposed at the opening as a term that helps us to go beyond a location in time to account simultaneously for the temporal aspects of memory and the archival encounter; in music, as an art of measured time and in broadcasting as mediating organised time.
Les quatre concepts fondamentaux de la psychanalyse, ed. Similarly, the soundscapes of a culture, as with an individual, can be navigated along the byways of memorial layers. Stratas of communal and individual understanding of music are combined at points of significance. A national anthem contrasts with a lullaby, as an intensely personal musical memory; but both partake in the formation of a narrative — a national story on the one hand and a personal one on the other.
Princeton University Press, , Basic Books, , cited in Hacking, Rewriting the Soul, Margaret Atack, Literature and the French Resistance: Cultural Politics and Narrative Forms, — Manchester: Manchester University Press, , Julliard, , In the following chapter, I investigate identity and nationhood and how such ideological processes fed into the formulation of policy when programming music at the BBC.
From this I assess the limits of musicality in the creation of radio soundscapes. The final case study in Chapter 5 is concerned with the politics of presentation. It is in attempting to analyse the matter of identity in the case studies outlined in my research that the book closes. Chapter 2 Sounding the Nations The extent to which music could be used in constructing national soundscapes realised new potential when allied to technology that broadcast to mass audiences at home and overseas. See Benedict Anderson, Imagined Communities: Music programming arises from choices steeped in political and cultural values.
These might be read as radical and ultra-modern, or just as possibly conservative; varying between popular, elitist, highbrow and lowbrow.
Music, Poetry, Propaganda
The Propaganda Abteilung were uncommonly keen not to be seen as cultural oppressors in France fearing that overt prohibition of cultural activity would be capitalised upon by enemy propaganda. Clarendon Press, , This was to allow the Occupying forces to create a relatively neutral middle-ground from which then the cultural scene was progressively infiltrated with works that had an unconcealed association with National Socialist ideology.
Fayard, , — Editions Complexe, , The Vichy regime marked no radically new point of departure with regard to its political and musical discourse, its system of values, meanings and codes: We were wrong to neglect the intellectual side of propaganda. Germany did not make this mistake. Fayard, , Moorhouse in The Diplomats Oxford University Press, , —5. Although experiments in international broadcasting had begun as early as , and an extensive English-language service that broadcast to the Empire and Dominions was established in provided the technical infrastructure for worldwide transmission, it was not until 3 January that the BBC made its first broadcast overseas in a language other than English, in Arabic to Yemen.
As the war clouds gathered the BBC staked its claim to integrity: Here, an angled perspective — one of cultural propaganda — could be given: The programme was a response to Italian propaganda broadcasts to British interests in the Middle East. It also saw repertoirebuilding taken beyond national boundaries; and in seeking to shape the tastes of other nations — particularly in the Empire Service — the choice of repertoire also became an important means of distinguishing the BBC from other broadcasters.
Une histoire politique Paris: Gallimard, , Radio can be seen to occupy the middle ground in this spectrum from live music to archived music. As a medium that transmits sound, radio generates, although it does not necessarily conserve. Until domestic recording became possible, the broadcasting of recordings on the radio was as temporal as the original performance itself. The archiving and dissemination potential created by the radio, then, has ramifications in the performance history of a particular work.
One way to address these ramifications in relation to broadcast music is to take a broad case study that also exposes an aporia in the aesthetics of music and its intersection with matters political: The BBC held a unique position, being funded by the public and holding a monopoly, and, by virtue of particular clauses in its charter, was independent from direct governmental control. Audience Research Bulletins 1— There was both a weekly barometer, which measured listening figures, and a weekly thermometer, which measured listener satisfaction.
Programme policy on the larger issues has from the outset been determined by the conviction that listeners would come to appreciate that which at first might appear uninteresting or even alarming. The BBC has in fact aimed at providing a service somewhat ahead of what the public would demand were it possible for such demand to be made audible.
Not only was music programming about negotiating the precarious balance of meeting its pedagogic duty and fulfilling the desires of its listeners, it had to embrace a raft of additional factors: Programming then, involved considering music in relation to its appropriateness, suitability and accessibility as well as the selection of music to educate, inform and entertain. There are several theoretical precepts for this process and it is important not to confuse the process with the material.
In its explanation to the listener, there is a sense that the broadcaster is justifying his or her choice, arguing the case for the inclusion or relevance of a piece. In wartime broadcasting the ability of music to manipulate has attracted the most interest; and naturally so, since the politics of a prevailing ideology and its intersection with cultural activity is exposed most crudely at points of crisis.
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The function of repertoire is associated with suitability for venue, for performing forces and for occasion — the radio is responsible furthermore for creating its own functions and its own criteria for those functions. The timing of a broadcast, its potential to be repeated, and its target audience which during the Second World War, encompassed most countries in the world were all matters particular to the radio broadcast. Broadcasting, as well as opening up new commissioning possibilities, also created new functions for music: An important connection is established between broadcast music and the listener.
It was a tellingly commercial metaphor that came to justify a wideranging reassessment of composers and their works leading in certain circumstances to their prohibition from the BBC airwaves. The discourses surrounding this very contested, and, for many, highly contentious, policy illustrate the competing interests of political, aesthetic and commercial aspects in the institutional debates about the value and meaning of music.
On the latter point the BBC proved to be a very convenient scapegoat. The BBC itself underwent significant changes: The scrutiny of music policy in preparation for this Committee was particularly bloody as it provided the opportunity for those who felt that the BBC had usurped their authority to publicly state their view. On protectionism and the BBC, see A. Britain and Refugees from the Third Reich — Ilford: Frank Cass, , —5. The BBC Music Department was relocated to Bristol in conjunction with a massive evacuation plan that sought to place people in relative safety outside the capital.
In fact the choice between live and recorded transmission remained a constantly debated issue. Boult DM to B. Policy was reconfigured to enable its music programming to fulfil demanding new criteria associating music with revenue, propaganda, national projection and allied solidarity. It also had the advantage of countering the long held notion of das Land ohne Musik as well as creating revenues for the British economy.
Achieving this aim was foreseen particularly in the context of international broadcasting. This policy was initially introduced for a six-month period in July and remained in place with slight variation until mid This committee marked the first time that the Corporation had been made properly accountable to peer-review and its listeners. The BBC had 50 Ibid. Sounding the Nations 39 an obligation to British music and British musicians. There is no change of policy regarding the broadcasting of music by foreign composers.
We are not, I mean, banning German music. It is, however, desirable that music by British composers should be fully exploited and that — within the convenience of programme planning — the broadcasting of music by foreign composers to whom PRS payments are due, should be limited.
There is no desire to leave you with anything but complete discretion in this matter. Thatcher to C P: Leonard Isaacs, the European Music Supervisor felt strongly opposed to the policy: Sounding the Nations 43 I think the making of a list would be a controversial business. My point is that the very obvious works blackball themselves, and it is pretty safe to leave it at that.
This information was passed on to the BBC: It is a work set to resistance poems by Eluard — texts which had themselves been airdropped into France by the Royal Air Force. At the same time he is suspected of collaborating with the Nazis although, we cannot prove this. We therefore were asked to soft-pedal his music and his recordings, and this is the way to interpret it please.
Cooper quoted William Walton as having expressed similar suspicions regarding both Poulenc and Honegger. Wright to Gramophone Director [G. Gielgud to Grisewood 23 April Gielgud 30 April Boyer and Chevalier have appeared in lists of notorious collaborators, and I have little doubt that they like Trenet, have preferred their duty to their art to their duty to their country.
This really is the whole point. On 12 October , Lockspeiser wrote that M. French composers banned Delete: Claire Croiza Pierre Fournier cellist Delete: We think you are actually under a misapprehension, as French interest in English music has increased considerably since the war, and we have, in fact, received requests from France to prepare for them a series of programmes of exclusively English music. Meil director , W. It was a policy often forged against the wishes of its key freelancers within the music profession and that where it was made public received with little positive response from listeners.
A focus on the psychological importance of music in its transmission, and the extra-musical behaviour of its composers and performers, was something that was invested in highly by programme makers. This was particularly the case when considering the role of music in broadcasts to Nazi-occupied countries, but at work too when presenting the repertoire of a particular country to its domestic audiences. If you agree, I would propose to tell the D.
Do you think that we should be justified in saying that straight away? Are there any particular points at which you think we shall be stronger or weaker than at others? What I think D. Obviously war conditions will have to be taken into account. The Ullswater people no doubt contemplated a vista of undisturbed peace.
What has actually happened is that since their report we have had about four years of peace followed by an equal period of war. We must take credit for what was done before war broke out and also Sounding the Nations 53 for what we have done since war broke out under all the burdens of wartime imperfections e. But what conclusions can be made about music programming at the BBC?
It is still being maintained in some quarters, particularly the ISM and the British Composers Guild, that the Third Programme is over-generous to French music, old and new. The Timely and the Timeless Cambridge: Cambridge University Press, , xv.
Gallimard, , — Harold Le Druillenec, a schoolteacher, was court-martialled, along with his sister Louisa Gould who was additionally charged with harbouring a Russian prisoner of war and Ivy Foster on 22 June on the charge of communal listening to enemy news.
New Historical Perspectives, ed. Bardgett and David Cesarani London: Vallentine Mitchell, , —