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For centuries, the sea and those who sail upon it have inspired the imaginations of British musicians. Generations of British artists have viewed the ocean as a metaphor for the mutable human condition - by turns calm and reflective, tempestuous and destructive - and have been influenced as much by its physical presence as by its musical potential. But just as geographical perspectives and attitudes on seascapes have evolved over time, so too have cultural assumptions about their meaning and significance. Changes in how Britons have used the sea to travel, communicate, work, play, and go to war have all irresistibly shaped the way that maritime imagery has been conceived, represented, and disseminated in British music. By exploring the sea's significance within the complex world of British music, this book reveals a network of largely unexamined cultural tropes unique to this island nation. The essays are organised around three main themes: the Sea as Landscape, the Sea as Profession, and the Sea as Metaphor, covering an array of topics drawn from the seventeenth century to the twenty-first. Featuring studies of pieces by the likes of Purcell, Arne, Sullivan, Vaughan Williams, and Davies, as well as examinations of cultural touchstones such as the BBC, the Scottish fishing industry, and the Aldeburgh Festival, The Sea in the British Musical Imagination will be of interest to musicologists as well as scholars in history, British studies, cultural studies, and English literature.
ERIC SAYLOR is Associate Professor of Musicology at Drake University.
CHRISTOPHER M. SCHEER is Assistant Professor of Musicology at Utah State University.
CONTRIBUTORS: Byron Adams, Jenny Doctor, Amanda Eubanks Winkler, James Brooks Kuykendall, Charles Edward McGuire, Alyson McLamore, Louis Niebur, Jennifer Oates, Eric Saylor, Christopher M. Scheer, Aidan J. Thomson, Justin Vickers, Frances Wilkins
When Professor Norbert Lennartz invited me to open the conference at the University of Vechta, on the subject of Lord Byron and the Margins of Romanticism, I was initially puzzled. How could Byron, more widely read in England than any of the other Romantic poets, and read both in English and in translation across Europe, be at the margins of Romanticism? Yet, as the conference progressed, I began to see the scope for such an approach and started to realise how Byron does not fit so neatly into the traditional Romantic canon.
The papers from that conference have now been brought together in this book, which encourages us to approach Byron in a different and sometimes provocative way. By asking readers to look afresh at aspects of Byron that are familiar – his admiration for Classical poets such as Pope and Dryden, his hostility towards many of his contemporary Romantic poets, the heavy irony and stark realism that characterise so much of his work – we are invited to consider to what extent Byron can be categorised as a ‘true’ Romantic.
Within the broad scope of this volume, distinguished scholars seek to examine a number of important texts sometimes marginalised in Byron studies, to explore how Byron's own self-created identity as an outsider redefines a form of Romanticism centred on rebelliousness and to reflect on the geographic marginalisation of Byron's own life outside England and his interest in the Orient.
Although I write as someone who is far from being an English literature scholar, I am sure that this volume will make an important contribution to the debate as to whether Byron was indeed marginal to Romanticism, or whether through his rebellious iconoclasm, his humour and irony, and the persona of the marginalised outsider, Byron created a new variant of Romanticism where he takes centre stage.
Environmental and animal studies are rapidly growing areas of interest across a number of disciplines. Natures of Africa is one of the first edited volumes which encompasses transdisciplinary approaches to a number of cultural forms, including fiction, non-fiction, oral expression and digital media. The volume features new research from East Africa and Zimbabwe, as well as the ecocritical and eco-activist ‘powerhouses’ of Nigeria and South Africa. The chapters engage one another conceptually and epistemologically without an enforced consensus of approach. In their conversation with dominant ideas about nature and animals, they reveal unexpected insights into forms of cultural expression of local communities in Africa. The analyses explore different apprehensions of the connections between humans, animals and the environment, and suggest alternative ways of addressing the challenges facing the continent. These include the problems of global warming, desertification, floods, animal extinctions and environmental destruction attendant upon fossil fuel extraction. There are few books that show how nature in Africa is represented, celebrated, mourned or commoditised. Natures of Africa weaves together studies of narratives – from folklore, travel writing, novels and popular songs – with the insights of poetry and contemporary reflections of Africa on the worldwide web. The chapters test disciplinary and conceptual boundaries, highlighting the ways in which the environmental concerns of African communities cannot be disentangled from social, cultural and political questions. This volume draws on and will appeal to scholars and teachers of oral tradition and indigenous cultures, literature, religion, sociology and anthropology, environmental and animal studies, as well as media and digital cultures in an African context.
Edited by
Eric Saylor, Associate Professor, musicology (Drake University),Christopher M. Scheer, Associate Professor, musicology (Utah State University)
Edited by
Eric Saylor, Associate Professor, musicology (Drake University),Christopher M. Scheer, Associate Professor, musicology (Utah State University)
Edited by
Eric Saylor, Associate Professor, musicology (Drake University),Christopher M. Scheer, Associate Professor, musicology (Utah State University)
Edited by
Eric Saylor, Associate Professor, musicology (Drake University),Christopher M. Scheer, Associate Professor, musicology (Utah State University)
Edited by
Eric Saylor, Associate Professor, musicology (Drake University),Christopher M. Scheer, Associate Professor, musicology (Utah State University)
Edited by
Eric Saylor, Associate Professor, musicology (Drake University),Christopher M. Scheer, Associate Professor, musicology (Utah State University)
Edited by
Eric Saylor, Associate Professor, musicology (Drake University),Christopher M. Scheer, Associate Professor, musicology (Utah State University)
Edited by
Eric Saylor, Associate Professor, musicology (Drake University),Christopher M. Scheer, Associate Professor, musicology (Utah State University)
Edited by
Eric Saylor, Associate Professor, musicology (Drake University),Christopher M. Scheer, Associate Professor, musicology (Utah State University)
Edited by
Eric Saylor, Associate Professor, musicology (Drake University),Christopher M. Scheer, Associate Professor, musicology (Utah State University)
Edited by
Eric Saylor, Associate Professor, musicology (Drake University),Christopher M. Scheer, Associate Professor, musicology (Utah State University)
