Bøger udgivet af Hollitzer Wissenschaftsv.

This publication includes the contributions of three symposia organized by Don Juan Archiv Wien in Istanbul and Vienna from 2013 to2015: "Culture of Politics or Cultural Politics: Ambassadors as Cultural Actors in Ottoman-European Relations" (Istanbul 2013), "Culture ofPolitics or Cultural Politics - Act Two: Representation, Theatricality and Cultural Transfer in Ottoman-European Diplomatic Relations" (Vienna 2014) and "Culture, Diplomacy and Peacemaking: Ottoman-European Relations in the Wake of the Treaty of Belgrade (1739) and the Era of Maria Theresia" (Istanbul 2015). The series "Diplomatica" will also include 'Interludia' - historical texts of diplomatic reflections from the 15th to the 20th centuries - as intermezzi to the seven parts of this publication, which will be edited in two volumes.

Ludvig Holberg (1684-1754) is to Danish theatre what playwrights such as Shakespeare, Molière, Ibsen, Strindberg are to their national stages - and the world stage. During his lifetime, Holberg was a major figure in European literature and thought. In Denmark, his work forms the backdrop to writers such as Søren Kierkegaard, Hans Christian Andersen, Karen Blixen. The quality of Holberg'swriting, the universality of his themes, his understanding of stage and auditorium, more than qualify him to resume his place on the international stage.This third volume in a series of new translations presents Holberg's philosophical essay on the popular (but not with the authorities) masked entertainment of his day, the masquerade. Two plays then wittily expose and explore subtle negotiations around identity, gender, class, generation, each with particular focus on the mask as means of unmasking codes and conventions."Epistle 347" is a philosophical take on the carnivalesque masquerade as being 'truer' than the social roleplays, under the paradoxical maxim that "strictly speaking we are not truly masked except when bare faced".In the play "Masquerade", a patriarchal master of his house sees his hierarchical world order under threat from the young generation - and even his own wife! - enjoying 'useless' masked amusements. At the other end of the scale, the servant pays no heed to rules and hierarchies. Ultimately, however, they are all but pawns in a game of chance.In the ironic harlequinade "The Invisibles", a young gentleman falls in love with an 'invisible' (masked) lady. This noble case of amour causes the servant - Harlequin - to reassess his own wholesome, sensual relationship to his sweetheart - Columbine - and he finds their amour sadly lacking any sophistication. His ensuing high-flown attempts at imitating aristocratic courtesy cast an ambiguous light on the cultured protocols. It is up to female intelligence to remove the mask from the illusion."I never tire of reading Holberg's plays." (Henrik Ibsen, 1869)

Despite arguements of modernisation within the Ottoman-Turkish society in terms of import or imitation of Western models, this study aims to disclose the inner dynamics of a rich and diverse milieu that created its unique hybrid cultural forms through the scenic arts.In the 19th century Armenians pioneered with melodramas necessitating the presence of female impersonators; Armenian women thus went onstage with patriotic motives. Among the two heroes of the Turkish Republic period are Nazim Hikmet, the most prolific butseverely censured Turkish dramatist and Muhsin Ertugrul, who founded the subsidised theatres of Istanbul and Ankara. The last phase of modernism arrived in the sixties with a social awakening towards the conditions of the rural society ... Ankara became the seat of "popular" theater after the founding of Ankara Art Theatre, 1961. Mehmet Ulusoy's work in France in the 1970-1980's crowned the final synthesis.

Das Vokaloeuvre von Josef StraussIn seinem heute weitgehend vergessenen Vokaloeuvre offenbart Josef Strauss seine melancholisch-dramatische Seite. Sechs Lieder, wahrscheinlich aus einer frühen Schaffensperiode, erzählen von Todessehnsucht, Trauer und einer im restlichen Werk kaum thematisierten Frömmigkeit.Fünf Lieder - Elegie, Meineid, Der Todtengräber, Nachtgebeth und Der Bettler - für eine tiefe Männerstimme gesetzt, sind bis heute im Autograph erhalten und wurden niemals zuvor veröffentlicht. Das sechste - Wenn ein Kindlein faltet fromm die Hände - erschien 1866 im Oesterreichischen Volkskalender.In dieser Edition setzt sich Günter Stummvoll kritisch mit dem Notentext auseinander, der die damalige musikalische Avantgarde als Josef Strauss' Inspirationsquelle erkennen lässt. Und schließlich wird mit dem Versuch der Rekonstruktion der Entstehungs- und Überlieferungsgeschichte eine Publikations- und Forschungslücke im OEuvre eines der wichtigsten Komponisten der Wiener Tanz- und Unterhaltungsmusik des 19. Jahrhunderts geschlossen.

A detailed survey of Chinese traditional music: folk songs, dance music, narrative singing, music from Chinese opera, and instrumental music"Comprehensive Introduction to Chinese Traditional Music" offers a detailed survey of Chinese traditional music in five chapters, each dealing with a different genre. The five genres are folk songs, dance music, narrative singing, music from Chinese opera, and instrumental music.The book begins with an introduction providing an overview of Chinese traditional music history, its connotations and main musical features, an indispensable context for readers unfamiliar with the subject. Within the main text, the authors discuss not only the local music genres, focusing on instruments, music analysis, and tonal theories, but also the historical evolution, performance, and social contexts associated with the music. A glossary of Chinese musical terms is listed in the appendix.

This anthology features the proceedings of Don Juan Archiv Wien's symposium organized in March 2016 in cooperation with the University of Vienna and STVDIVM FÆSVLANVM. It introduces contributions which focus on and investigate 'gender', a lesser studied aspect in studies of diplomatic history. The term 'gender' quintessentially is associated with and suggests at first hand 'the female'; acknowledging this, the volume endeavours to provide a balance of both genders, and does so by looking at the cult urally relevant aspects of the male gender as well as considering both genders in their interwoven network of relationships; that is in marital, cultural, diplomatic contexts. The volume features thefollowing chapters: Women as Diplomatic Actors, Diplomacy of Queens, The Birth of the Ambassadress, Stages for Male Diplomacy.

The importance of audio-visual documents for new approaches in the field of musicologyHow are music and sound involved in the creation of audiovisual documents? What kind of quantitative and qualitative researchpermits the examination of music and, more generally, sound for Austrian (music) history on the basis of digitized audiovisual sources? These questions were approached in the interdisciplinary Digital Humanities project "Telling Sounds" at the University of Music and Performing Arts.This volume consists of various case studies conducted by the members of the team. The project's main task was the conceptionand development of a Digital Humanities research tool: LAMA -Linked Annotations for Media Analysis. It was designed for the purpose of using machine-readable open data to annotate and link the ways in which music has been used and contextualized in different audio and audiovisual media texts in different times throughout Austrian history. Each of the case studies is dedicated to different genres of music, media texts, and events or timespans in history.

This volume brings together thirteen musicological perspectives on the creativity of women composers and the question of 'femininity' in Southeastern-European musical cultures from 1918 on. In the questions about and beyond a 'female aesthetics' socio-cultural approaches to the lives of creative women prove to be indispensable for contemporary musicological gender research, because highly complex facts of musical life and social realities in political systems cannot be separated from each other. By this means the exclusion and marginalization of women composers in the national and international music establishment, as well as strategies for overcoming these systems, are made visible and brought to consciousness. This volume therefore focusses on the social, cultural, and biological preconditions of cultural action, and intends to arouse curiosity for multi-layered realities; it aims to increase the reception of the compositional oeuvre of women composers from Southeastern Europe by the global music scene, the musicological discourse, and an engaged audience.

This publication follows the history of discoveries pertaining to Portuguese travel to the New World, from the 15th century to the1920s, with an emphasis on the events leading to the development of jazz. The diversity of cultural influences from all over the world have made the United States a treasury of improvised music. Hendler portrays the development of American music scenes in centuries past, reporting on aspects such as the background of the slave trade, particularly in the Antilles, the music of European immigrant families, and the sounds of the (Spanish-controlled) Mississippi. He sketches the musical relationships between Cuba and the United States and their influence on American popular music around 1900. The highly fashionable march music leaves its mark, as do ragtime and spirituals, all blending to form an impressive repertoire of improvised music. The reader is inspired by the richness of forms and styles and the power of the artistic performances in the prehistory of jazz.