03363nam a2200433Ii 45000.3998/mpub.10207791MiU20221117073008.0m o d cr unu||||||||221117t20232023miua ob 001 0 eng dEYMengrdapnEYM9780472903009(open access)0472903004(open access)9780472133284(hardcover)0472133284(hardcover)9780472039098(paperback)0472039091(paperback)10.3998/mpub.10207791doiML197Nickleson, Patrick,authorhttps://orcid.org/0000-0002-2588-133XThe names of minimalism :authorship, art music and historiography in dispute /Patrick Nickleson.Ann Arbor, Michigan :University of Michigan Press,2023.©20231 online resource (xi, 253 pages) :illustrationstexttxtrdacontentcomputercrdamediaonline resourcecrrdacarrierIncludes bibliographical references (pages 233-244) and index.Open access.Minimalism stands as the key representative of 1960s radicalism in art music histories-but always as a failed project. In The Names of Minimalism, Patrick Nickleson holds in tension collaborative composers in the period of their collaboration, as well as the musicological policing of authorship in the wake of their eventual disputes. Through examinations of the droning of the Theatre of Eternal Music, Reich's Pendulum Music, Glass's work for multiple organs, the austere performances of punk and no wave bands, and Rhys Chatham and Glenn Branca's works for massed electric guitars, Nickleson argues for authorship as always impure, buzzing, and indistinct. Expanding the place of Jacques Rancière's philosophy within musicology, Nickleson draws attention to disciplinary practices of guarding compositional authority against artists who set out to undermine it. The book reimagines the canonic artists and works of minimalism as "(early) minimalism," to show that art music histories refuse to take seriously challenges to conventional authorship as a means of defending the very category "art music." Ultimately, Nickleson asks where we end up if we imagine the early minimalist project-artists forming bands to perform their own music, rejecting the score in favor of recording, making extensive use of magnetic type as compositional and archival medium, hosting performances in lofts and art galleries rather than concert halls-not as a utopian moment within a 1960s counterculture doomed to fail, but as the beginning of a process with a long and influential afterlife.This work is licensed under the Creative Commons CC BY-NC-ND 4.0 International LicenseCreative Commons Attribution-Non-Commercial-NoDerivativeshttps://creativecommons.org/licenses/by-nc-nd/4.0Description based on information from the publisher.Minimal musicAuthorship.Minimal musicHistoriography.Music20th centuryHistory and criticism.Electronic books.Michigan Publishing (University of Michigan),publisher.https://doi.org/10.3998/mpub.102077910
02860nam a2200445 i 450010.3998/mpub.11683923MiU20220923071644.0m o d cr una||||||||220923t20232023miua ob 001 0 eng dEYMengrdapnEYM9780472903108open access0472903101open access9780472075768hardcover book9780472055760paperback book10.3998/mpub.11683923doia-ja---e-gx---DS845Hatch, Walter F.,author.Ghosts in the neighborhood :why Japan is haunted by its past and Germany is not /Walter F. Hatch.Ann Arbor, Michigan :University of Michigan Press,2023.©20231 online resource (xii, 170 pages) :illustrations.texttxtrdacontentcomputercrdamediaonline resourcecrrdacarrierWeiser Center for Emerging DemocraciesIncludes bibliographical references (pages 157-170) and index.Open accessGermany, which brutalized its neighbors in Europe for centuries, has mostly escaped the ghosts of the past, while Japan remains haunted in Asia. The most common explanation for this difference is that Germany knows better how to apologize; Japan is viewed as "impenitent." Walter F. Hatch rejects the conventional wisdom and argues that Germany has achieved reconciliation with neighbors by showing that it can be a trustworthy partner in regional institutions like the European Union and NATO; Japan has never been given that opportunity (by its dominant partner, the U.S.) to demonstrate such an ability to cooperate. This book rigorously defends the argument that political cooperation--not discourse or economic exchange--best explains Germany's relative success and Japan's relative failure in achieving reconciliation with neighbors brutalized by each regional power in the past. It uses paired case studies (Germany-France and Japan-South Korea; Germany-Poland and Japan-China) to gauge the effect of these competing variables on public opinion over time. With numerous charts, each of the four empirical chapters illustrates the powerful causal relationship between institution building and interstate reconciliation.Description based on information from the publisher.JapanForeign relations1945-GermanyForeign relations1945-ReconciliationJapan.ReconciliationGermany.Electronic books.Michigan Publishing (University of Michigan),publisher.Weiser Center for Emerging Democracies series.https://doi.org/10.3998/mpub.116839230
03320nam a2200433 i 450010.3998/mpub.12210885MiU20220927091747.0m o d cr una||||||||220927t20222023miu ob 000 0deng dEYMengrdapnEYM9780472903337open access book0472903330open access book9780472075744hardcover book9780472055746paperback book10.3998/mpub.12210885doiPN1872Claycomb, Ryan M.,1974-author.In the lurch :verbatim theater and the crisis of democratic deliberation /Ryan Claycomb.Ann Arbor, Michigan :University of Michigan Press,2023.©20221 online resource (viii, 154 pages)texttxtrdacontentcomputercrdamediaonline resourcecrrdacarrierOpen accessThis work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International Licensehttps://creativecommons.org/licenses/by-nc-nd/4.0Includes bibliographical references and index.Some of theater's most powerful works in the past thirty years fall into the category of "verbatim theater," socially engaged performances whose texts rely on word-for-word testimony. Performances such as Fires in the Mirror, The Laramie Project, and The Vagina Monologues have at their best demonstrated how to hold hard conversations about explosive subjects in a liberal democracy. But in this moment of what author Ryan Claycomb terms the "rightward lurch" of western democracies, does this idealized space of democratic deliberation remain effective? In the Lurch asks that question in a pointed and self-reflexive way, tracing the history of this branch of documentary theater with particular attention to the political outcomes and stances these performances seem to seek. But this is not just a disinterested history--Claycomb reflects on his own participation in that political fantasy, including earlier scholarly writing that articulated with breathless hopefulness the potential of verbatim theater, and on his own theatrical attendance, imbued with a belief that witnessing this idealized public sphere was a substitute for actual public participation. In the Lurch also recounts the bumpy path towards its completion, two years marked by presidential impeachments, an insurrection, a national reckoning with racism, and a global pandemic. At the heart of the book is a central question: is verbatim theater any longer an effective cultural response to what can look like the possible end of democracy?Description based on information from the publisher.Historical drama21st centuryHistory and criticism.Historical drama20th centuryHistory and criticism.Historical drama21st centuryPolitical aspects.Historical drama20th centuryPolitical aspects.Claycomb, Ryan M.,1974-Criticism, Textual.Electronic books.Michigan Publishing (University of Michigan),publisher.https://doi.org/10.3998/mpub.122108850
03752nam a2200529Ii 450010.3998/mpub.12221256MiU20220929072713.0m o d cr unu||||||||220929t20232023miua ob 001 0deng dEYMengrdapnEYM9780472903030(open access)0472903039(open access)9780472075690(hardcover)0472075691(hardcover)9780472055692(paperback)0472055690(paperback)10.3998/mpub.12221256doiHQ773.6Apgar, Amanda,authorhttps://orcid.org/0000-0001-5483-7787https://ror.org/00xhj8c72The disabled child :memoirs of a normal future /Amanda Apgar.Ann Arbor, Michigan :University of Michigan Press,2023.©20231 online resource (x, 195 pages) :illustrationstexttxtrdacontentcomputercrdamediaonline resourcecrrdacarrierCorporealities: Discourses of DisabilityIncludes bibliographical references (pages 179-195) and index.Open accessWhen children are born with disabilities or become disabled in childhood, parents often experience bewilderment: they find themselves unexpectedly in another world, without a roadmap, without community, and without narratives to make sense of their experiences. The Disabled Child: Memoirs of a Normal Future tracks the narratives that have emerged from the community of parent-memoirists who, since the 1980s, have written in resistance of their children's exclusion from culture. Though the disabilities represented in the genre are diverse, the memoirs share a number of remarkable similarities; they are generally written by white, heterosexual, middle or upper-middle class, ablebodied parents, and they depict narratives in which the disabled child overcomes barriers to a normal childhood and adulthood. Apgar demonstrates that in the process of telling these stories, which recuperate their children as productive members of society, parental memoirists write their children into dominant cultural narratives about gender, race, and class. By reinforcing and buying into these norms, Apgar argues, "special needs" parental memoirs reinforce ableism at the same time that they're writing against it.This work is licensed under the Creative Commons CC BY-NC-ND 4.0 International LicenseCreative Commons Attribution-Non-Commercial-NoDerivativeshttps://creativecommons.org/licenses/by-nc-nd/4.0Description based on information from the publisher.Parents of developmentally disabled childrenBiography20th centuryHistory and criticism.Parents of developmentally disabled childrenBiography21st centuryHistory and criticism.Children with disabilities in literatureHistory and criticism20th century.Children with disabilities in literatureHistory and criticism21st century.Children with disabilitiesBiographyHistory and criticism20th century.Children with disabilitiesBiographyHistory and criticism21st century.Children with disabilitiesCareHistory and criticism20th century.Children with disabilitiesCareHistory and criticism21st century.Discrimination against people with disabilities.Electronic books.Michigan Publishing (University of Michigan),publisher.Corporealities.https://doi.org/10.3998/mpub.122212560