Your search for: historicism

This book attempts to justify and theorize old historicism, defining archaeo-historicism as a method by which scholars can reconstruct past context in order to apply it to the interpretation of works and events of that time. If such reconstruction is to be more than wildly impressionistic, it must ...

This book attempts to justify and theorize old historicism, defining archaeo-historicism as a method by which scholars can reconstruct past context in order to apply it to the interpretation of works and events of that time. If such reconstruction is to be more than wildly impressionistic, it must be grounded in hard evidence handled according to clear rules. In this intriguing and rigorous analysis, Robert Hume identifies legitimate objects for reconstruction and proposes procedures and principles by which such interpretation may be pursued. He then examines the failures of the same method, which works only when adequate evidence can be found. In particular, Hume flatly denies the intellectual legitimacy of literary history as it is commonly practised and attempts to disentangle such history from the practice of historicism. The final chapter is devoted to a cogent discussion of how archaeo-historicism relates to various forms of contemporary theory. Hume offers a profusion of examples of good and bad historicist reconstruction and interpretation, drawing largely on English literature but also on American and other world literatures, theatre history, and music theory. Although addressed primarily to literary critics, this wide-ranging and bold work will be of interest to historians and cultural critics as well.

James Garratt explores the revival of sixteenth-century music in nineteenth-century Germany, focusing on the reception of Palestrina by critics, historians, performers and composers. He demonstrates that the Palestrina revival was just as significant for nineteenth-century culture as parallel ...

James Garratt explores the revival of sixteenth-century music in nineteenth-century Germany, focusing on the reception of Palestrina by critics, historians, performers and composers. He demonstrates that the Palestrina revival was just as significant for nineteenth-century culture as parallel movements in the other arts. This study is of relevance to scholars, students and devotees of nineteenth-century music, as well as those with interests in nineteenth-century culture, art, architecture, literature and aesthetics, the history of church music and the early music revival.