After a brief account of an old study on sociopolitical vs formalist styles of literary criticism and the lessons it taught about relating cultural objects to context, I turn to more recent work on talk-in-interaction and engage three themes: (1) That the events of conversation have a sense and import to participants which are at least partially displayed in each successive contribution, and which are thereby put to some degree under interactional control. Accordingly, academic accounts of the import of conversational `texts' can be endogenously grounded, and this is a worthy analytic aspiration; (2) The pursuit of this goal mandates relevant senses of context to be consulted for analysis, and these are senses and aspects of context which are demonstrably relevant to the participants in the event being examined, not necessarily ones relevant to the inquirer doing the analysis; and (3) Its technical grounds and mandate aside, this is a useful contraint on analysis in disciplining work to the indigenous pre...

Whose Text? Whose Context?

ion, Metaphor and Mimesis Southwest is very conscious of its own corporate ‘way of life’. A list is given on its website under the heading ‘culture’ of the desired characteristics of a Southwest person (perseverant, egalitarian, passionate), and these qualities are abstracted into the more general injunctions to be low cost and have high customer service delivery, and the mission statement talks of warmth, friendliness, individual pride and company spirit. So there are clear abstractions here that create a unity and coherence to activities across domains. Throughout this book I have shown how entanglements involve material and conceptual components. In Chapter 2 I described a pebble on a beach that was brought into different assemblies with other things depending on how it was recognized, remembered and owned. In that chapter too I described how the equipmental totality of a thing depended on the different theories about and perspectives towards it. In Chapter 3 I used the quote from Gibson that ‘an affordance points both ways, to the environment and to the observer’ (1986: 129). In Chapter 4 I noted that the maintenance of walls in the Yorkshire Dales depended on expert ideas about organic foods and recent collective nostalgia for a rural way of life. In Chapter 5 I showed how a sail boat had different entanglements, and different affordances depending on the perspectives of sailing, entertaining and protecting the ecosystem of the bay. These ideas about the boat are themselves tied to wider ideas about what is leisure and how the environment should be protected. So entanglements and affordances and functions are always tied to abstractions (ideas, thoughts, words, feelings and senses). These abstractions are hierarchical and nested as noted above, and they often cross domains so that humans seek unities, coherence, metaphor within different realms of experience. Abstractions are general and can often be applied to more than one domain of activity. Their transferability Hodder_c06.indd 120 2/3/2012 12:14:59 PM

Entangled: An Archaeology of the Relationships between Humans and Things

Scientific objectivity is neither monolithic nor immutable: our current usage is compounded of several meanings - metaphysical, methodological and moral - and each meaning has a distinct history, as well as a history of fusion within what now counts as a single concept of `objectivity'. The rise of aperspectival history in nineteenth-century science is one strand of this plaited history of objectivity, as embodied in scientific ideals and practices. It is conceptually and historically distinct from the ontological aspect of objectivity that pursues the ultimate structure of reality, and from the mechanical aspect of objectivity that forbids interpretation in reporting and picturing scientific results. Whereas ontological objectivity is about the fit between theory and the world, and mechanical objectivity is about suppressing the universal human propensity to judge and aestheticize, aperspectival objectivity is about eliminating individual (or occasionally group) idiosyncracies. It emerged first in the mo...

Objectivity and the escape from perspective

L'A. extrapole et clarifie les implications et les contributions d'une economie morale en science, qui constitue un systeme logique de forces emotionnelles

The moral economy of science

Between Process and Product: Music and/as Performance

Preface Music and Sound Imagining the sound Romantic paradoxes: the absent melody Classical and Romantic pedal Conception and realization Tone color and structure Fragments Renewal The Fragment as Romantic form Open and closed Words and music The emancipation of musical language Experimental endings and cyclical forms Ruins Disorders Quotations and memories Absence: the melody suppressed Mountains and Song Cycles Horn calls Landscape and music Landscape and the double time scale Mountains as ruins Landscape and memory Music and memory Landscape and death: Schubert The unfinished workings of the past Song cycles without words Formal Interlude Mediants Four-bar phrases Chopin: Counterpoint and the Narrative Forms Poetic inspiration and craft Counterpoint and the single line Narrative form: the ballade Changes of mode Italian opera and J. S. Bach Chopin: Virtuosity Transformed Keyboard exercises Virtuosity and decoration (salon music?) Morbid intensity Chopin: From the Miniature Genre to the Sublime Style Folk music? Rubato Modal harmony? Mazurka as Romantic form The late mazurkas Freedom and tradition Liszt: On Creation as Performance Disreputable greatness Die Lorelei: the distraction of influence The Sonata: the distraction of respectability The invention of Romantic piano sound: the Etudes Conception and realization The masks of Liszt Recomposing: Sonnet no. 104 Self-Portrait as Don Juan Berlioz: Liberation from the Central European Tradition Blind idolaters and perfidious critics Tradition and eccentricity: the idee fixe Chord color and counterpoint Long-range harmony and contrapuntal rhythm: the "Scene d'amour" Mendelssohn and the Invention of Religious Kitsch Mastering Beethoven Transforming Classicism Classical form and modern sensibility Religion in the concert hall Romantic Opera: Politics, Trash, and High Art Politics and melodrama Popular art Bellini Meyerbeer Schumann: Triumph and Failure of the Romantic Ideal The irrational The inspiration of Beethoven and Clara Wieck The inspiration of E.T.A. Hoffmann Out of phase Lyric intensity Failure and triumph Index of Names and Works

The Romantic Generation

This outstanding book treating the three most beloved composers of the Vienna School is basic to any study of Classical-era music. Drawing on his rich experience and intimate familiarity with the works of these giants, Charles Rosen presents his keen insights in clear and persuasive language.

The Classical Style: Haydn, Mozart, Beethoven

Romanticism and realism : the mythology of nineteenth century art

Beethoven's piano sonatas form one of the most important collections of works in the whole history of music. Spanning several decades of his life as a composer, the sonatas soon came to be seen as the first body of substantial serious pieces for piano suited to performance in large concert halls seating hundreds of people. In this comprehensive and authoritative guide, Charles Rosen places the works in context and provides an understanding of the formal principles involved in interpreting and performing this unique repertoire, covering such aspects as sonata form, phrasing, and tempo, as well as the use of pedal and trills. In the second part of his book, he looks at the sonatas individually, from the earliest works of the 1970s through the sonatas of Beethoven's youthful popularity of the early 1800s, the subsequent years of mastery, the years of stress (1812-1817), and the last three sonatas of the 1820s. Composed as much for private music-making as public recital, Beethoven's sonatas have long formed a bridge between the worlds of the salon and the concert hall. For today's audience, Charles Rosen has written a guide that brings out the gravity, passion, and humour of these works and will enrich the appreciation of a wide range of readers, whether listeners, amateur musicians or professional pianists. This book includes a free CD of Rosen performing extracts from several of the sonatas, illustrating points made in the text.

Charles Rosen

Papers

The Romantic Generation

The Classical Style: Haydn, Mozart, Beethoven

The Classical Style: Haydn, Mozart, Beethoven

Romanticism and realism : the mythology of nineteenth century art

Beethoven's Piano Sonatas: A Short Companion