Cosmopolitanism and Transatlantic Circles in Music and Literature

ISBN-13: 9783030132002 / Angielski / Miękka / 2019 / 305 str.

Ryan R. Weber

Spis treści

Chapter 1: Introduction: Surveying Time, Place, and Space

            1.1  Cosmopolitan Creeds and Transatlantic Gestures: Intersections in Music and      Literature

                1.2  Circles of Influences, Triangles of Affinities: Widening the Scope of Investigation

            1.3 Cosmopolitan Dimensions: Conceptualizing Time and Space

            1.4  Taking Back the Discourse: The Utility of Conflict in Cosmopolitan Networks

            1.5  False Oppositions, “Real” Hybrids: Distance, Detachment, and the Problem of   Definitions

            1.6  Outline of Chapters

 

2.  Chapter 2:  Local Debates, International Partnerships: Garborg, Benzon, and Grieg’s Idea of Cosmopolitanism

            2.1  National Problems, Cosmopolitan Solutions: Timeless Principles or Emergent     Moments?

            2.2  Boundaries in Flux: The Polemics of a Country Divided

            2.3  The Language Debate and the Dialectic of Identity

            2.4  Courting the Other: Grieg’s Both/And Affiliations

            2.5  Vinje and the Problem of Historicism

            2.6  From Literary Models to Musical Language: Grieg, Garborg, and the Path toward            Cosmopolitan Synthesis

 

3.  Chapter 3: From Songs to Psalms: Grieg’s Cosmopolitan Aesthetic

            3.1   Universalism Found, Universalism Contested: Grieg, Benzon, and the Problem of         Locality

            3.2  Death and Despair as Universalizing Forces: “Beside Mother’s Grave,” (Ved Moders     Grav) Op. 69, No. 3

            3.3  Cosmopolitan Conditions, Chromatic Techniques: “Eros,” Op. 70, No. 1

            3.4  A System of Opposites or a Dialogue of Correspondences?

            3.5  Cosmopolitan Layers in Grieg’s Last Published Works: Four Psalms, Op. 74

            3.6  Cosmopolitanizing the Nation: A Survey of Grieg’s Additive Layers

 

4.  Chapter 4: Cosmopolitan Practices: Grieg, Grainger, and the Search for a Musical Analogue

            4.1  Late Songs, Early Meetings: Grieg, Grainger, and Cosmopolitan Ambitions

            4.2  Literary Influences, Musical Reflections

            4.3  In Search of Universal Vistas: Whitman and Grainger’s Early Nordic Gaze

            4.4  Whitman meets Grieg: Grainger’s “Democratic Textures” in his Marching Song of         Democracy

            4.5  “Cumulative Cosmopolitanism” and the Path to Modernism

            4.6  Divided Legacies: Alternate Paths Toward Cultural Salience

 

5.  Chapter 5: Cosmopolitan Ideas: Grieg, MacDowell, and a Tale of Weary Men

            5.1 Crumbling Idols and Constructing Models: MacDowell’s Fight Against Parochialism

            5.2  Daniel Gregory Mason and the Rhetoric of Cosmopolitanism in American

            5.3  Cosmopolitan Remainders and the Cultivation of Detachment: Literary Models as          Paradigm for Musial Mediations

            5.4 Embracing the Local, Unlocking the Universal: MacDowell, Garland, and “Veritism”      in America

            5.5 The Nordic as Cosmopolitan Surrogate

            5.6 Towards a New Kunstvereinigung: Navigating the Transatlantic Space of             Cosmopolitanism

6.  Chapter 6:  In Search of Hybridity: MacDowell, Grainger, and the End of Anachronisms

            6.1 Locating Cosmopolitanism: A Diachronic Comparison of Responses to Cultural Hegemony

            6.2  Living in America, Looking to Norway: A Synchronic Comparison of Musical   Approaches

            6.3 Ancient Literature, Modern Music: Sagas, Tales, and the Bifocality of Cosmopolitan       Vistas

            6.4  Harnessing a “Restless Spirit of Change”: The Pursuit of Hybridity as the Goal of          Progress

            6.5  Toward a Development of a Cosmopolitan Aesthetic in America: MacDowell’s “Eight   Songs,” Op. 47

            6.6  Cosmopolitanism and the End of Anachronisms

 

7.  Chapter 7:  The Grainger Paradox: Manufacturing Hybridity, Circulating Exclusivity

            7.1 Marking and Unmarking: The Problem of Universalism in Music

            7.2  “Of Rhetoric and Representation”: The Literature of Eugenics, Eugenics in Literature

            7.3  Dangerous Hybrids & A Biological View of Progress

            7.4 Between I and We: A New Matrix of the Individual and Society.

            7.5 Race as Binding Agent: From Nordic Gaze to Nordic Fantasy to Nordic Supremacy

            7.6 Cosmopolitanism at its Limits: Racial Identity and the Transitive Property of       Belonging

 

8.  Chapter 8: Conclusion

            8.1 The Nordic Cause & the Limits of Cosmopolitanism: Preserving the Minority,     Improving the Majority

            8.2 Whose Cosmopolitanism is It?: Double Consciousness and Compound Imperatives

            8.3 Ten Theses on Cosmopolitanism in Music and Literature

            8.4 Moving Forward or Falling Back?: Continuing Resurgence from the Margins

O autorze

Ryan R. Weber is Assistant Professor of Musicology at Misericordia University, USA, where he also serves on the faculty of the Medical and Health Humanities Program.  His research has appeared in the journals Ars Lyrica, Musicology Australia, Journal of Musicological Research, Nineteenth-Century Music Review, and others.

Blurb

Cosmopolitanism and Transatlantic Circles in Music and Literature traces the transatlantic networks that were constructed between a select group of composers, including Edvard Grieg, Edward MacDowell, and Percy Grainger, and the writers with whom they shared cosmopolitan affinities, including Arne Garborg, Hamlin Garland, Madison Grant, and Lathrop Stoddard.  Each overlapping case study surveys the diachronic transmission of cosmopolitanism as well as the synchronic practices that animated these modernist ideas.  Instead of taking a strictly chronological approach to organization, each chapter offers an examination of the different layers of identity that expanded and contracted in relation to a mutual interest in Nordic culture.  From the burgeoning “universal” ambitions around 1900 to the darker racialized discourse of the 1920s, this study offers a critical analysis of both the idea and practice of cosmopolitanism in order to expose its common foundations as well as the limits of its application.