Broken Harmony


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Music was a subject of considerable debate during the Renaissance. The notion that music could be interpreted in a meaningful way clashed regularly with evidence that music was in fact profoundly promiscuous in its application and effects. Subsequently, much writing in the period reflects a desire to ward off music’s illegibility rather than come to terms with its actual effects. In Broken Harmony Joseph M. Ortiz revises our understanding of music’s relationship to language in Renaissance England. In the process he shows the degree to which discussions of music were ideologically and politically charged. Offering a historically nuanced account of the early modern debate over music, along with close readings of several of Shakespeare’s plays (including Titus Andronicus, The Merchant of Venice, The Tempest, and The Winter’s Tale) and Milton’s A Maske, Ortiz challenges the consensus that music’s affinity with poetry was widely accepted, or even desired, by Renaissance poets. Shakespeare more than any other early modern poet exposed the fault lines in the debate about music’s function in art, repeatedly staging disruptive scenes of music that expose an underlying struggle between textual and sensuous authorities. Such musical interventions in textual experiences highlight the significance of sound as an aesthetic and sensory experience independent of any narrative function.




Francesco Crispi


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The Expository Times


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Broken Sky


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Welcome to a ‘perfect’ world. Where war is illegal, where harmony rules. And where your date of birth marks your destiny. But nothing is perfect. And in a world this broken, who can Amity trust? Set in a daring and distorted echo of 1940s America, Broken Sky is an exhilarating epic of deception, heartbreak and rebellion.




The Quest


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Proceedings of the International Conference Theory and Applications in the Knowledge Economy TAKE 2019


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Foreword Ten years is a long time. In 2009 a bunch of friends gathered in Portugal for a conference that was to precede TAKE. In 2011 we repeated. Then, after a strange sequence of events, we finally organized TAKE for the first time in 2015 in Aveiro, followed by Zagreb, Poznan and now Vienna. Florian Kragulj was in the first TAKE in Aveiro and from the start showed the highest level of enthusiasm and professionalism in the event. These characteristics were kept alive during all the 15 or so months during which we organized TAKE 2019. That this edition of TAKE involves several entities linked with academia, i.e. WU Vienna University of Economics and Business, the Austrian Economic Chamber and the Institute for Applied Research on Skilled Crafts and Trades (IAGF). This in itself a big success and a sign of the Conference improvement. Also, we may see, by analysing the papers and in particular the streams, that TAKE has been following the economic times, and this year we have several papers on the Gig Economy. Only good conferences adjust, the others get stuck in time. And success in Conferences is about teams. And in TAKE that team, is indeed, a very large group of people including the co-chairs, the local organizing team, the material organizers (Book of Abstracts and Proceedings), the stream leaders, and the paper reviewers – without all these persons nothing could have been done. And finally we had to depend on the authors, and their willingness to work with us. Without the work of these large dozens of devoted and skilled people TAKE 2019 would not have existed. May I also mention that this time and with Florian’s impulse and skill the organization of TAKE was improved in technological terms – in short we became techno – we used a website to deliver the mail list, a website to receive the scientific material and another website to receive the fees. All these were investments that eventually paid of, and that will guarantee a more stable organization for TAKE in the future. And we owe it to Florian. However, as the Human Resource Development part of TAKE (and more than anyone Gary Mc Lean) would remind us – “We are humans, Eduardo”, and technology helps, but in the end, is attention to detail, capacity to deal with the bizarre and to accommodate the weirdness making sometimes the impossible possible that differentiates a good conference, made doing things right, from an excellent conference, based in doing the right things. And on this last matter, believe me, we in TAKE are among the best in the world, because apart from being outstanding scholars, and good colleagues, we are an amazing group of friends, and friendship is the best way to turn good conferences into outstanding ones. Many thanks, from the heart and enjoy the Conference. Eduardo Tomé Conference Chair, Universidad Europeia Lisbon, July 2019, Lisbon, Portugal




From Poverty to Power


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Staging Harmony


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In Staging Harmony, Katherine Steele Brokaw reveals how the relationship between drama, music, and religious change across England’s long sixteenth century moved religious discourse to more moderate positions. It did so by reproducing the complex personal attachments, nostalgic overtones, and bodily effects that allow performed music to evoke the feeling, if not always the reality, of social harmony. Brokaw demonstrates how theatrical music from the late fifteenth to the early seventeenth centuries contributed to contemporary discourses on the power and morality of music and its proper role in religious life, shaping the changes made to church music as well as people’s reception of those changes. In representing social, affective, and religious life in all its intricacy, and in unifying auditors in shared acoustic experiences, staged musical moments suggested the value of complexity, resolution, and compromise rather than oversimplified, absolutist binaries worth killing or dying for. The theater represented the music of the church’s present and past. By bringing medieval and early Tudor drama into conversation with Elizabethan and Jacobean drama, Brokaw uncovers connections and continuities across diverse dramatic forms and demonstrates the staying power of musical performance traditions. In analyzing musical practices and discourses, theological debates, devotional practices, and early staging conditions, Brokaw offers new readings of well-known plays (Marlowe’s Doctor Faustus, Shakespeare’s The Tempest and The Winter’s Tale) as well as Tudor dramas by playwrights including John Bale, Nicholas Udall, and William Wager.







Formation for Knowing God


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"God is Self-Revealed" we are assured by many Christians today. Yet this conviction stems only from eighteenth-century Enlightenment debates. Early and ongoing Christians, with their Jewish roots, trusted God as a committed and saving but heavily clouded presence (whether by God's choice, or our inadequacy, or both). Continuing Christian tradition has thus insisted that there is much more to this God than we can hope to get our heads round. Yet such Christians have trusted that this loving, saving, triune God's purpose is to transform us Godward. "The divine Word became as we are so we might become as he is." Meanwhile, some of us at least can find ourselves drawn to share with our predecessors and one another in imagining how this may be. And then we may be drawn to realize in practice what we imagine--in active service to God among fellow humans and all God's fragile creation. Then, we may hope, we may have been brought to know God more nearly as God is. Gerald Downing first argued this fifty years ago, and here he restates the issues with fresh insights and renewed hope.