Dostoevsky lost everything at the Wiesbaden casino, but the episode seemed to finally reveal to him the true depth of his habit, that it threatened not only his marriage but the life of his wife.Benjamin Shull · Issue 7 ·
French departments do not stop teaching French literature after Moliere and Racine, Italian departments do not stop teaching Italian literature after Dante and Petrarch, so why do almost all classics departments feel they have no duty to study and teach Latin literature after Juvenal, Martial and Seneca?A. M. Juster · Issue 6 ·
Poulenc’s style, and the French aesthetic that he inherited from Satie, Fauré, and Debussy, are defined by their elegance, lightness of touch, and humor, but with the ability to move one deeply.Samuel I. Grosby ·
Israel seems quite correct in his claim that if Melville’s Ahab, with his bitter rage at what is morally offensive and cosmically disordered, may be seen as a representative figure revealing the haunted soul of American white Protestants, for the Jews the complementary imaginative construction is the Yiddish writer Sholom Aleichem’s Tevye the Milkman. David A. Gerber · Issue 5 ·
Reitter and Wellmon do propose Weberian vocation as a universal possibility which, if we all acted on it, would grant us more meaningful lives. But an equally plausible conclusion is that there is something wrong with Weber’s ideal of vocation.Ashley Barnes · Issue 5 ·
Lake takes her readers through a history of artifacts that people dug up or collected in England during the eighteenth century, focusing on coins, manuscripts, weapons, and grave goods as specific case studies.Lydia Pyne · Issue 5 ·
Ozsváth and Turner, amazingly, have achieved the impossible: the syllabic count, the metrics, the rhyme scheme, and the even the number and line placement of the feminine endings matches Goethe’s German perfectly.Mark Olival-Bartley · Issue 5 ·
Greene offers a gentle, albeit powerful call-to-action: “The world is chockablock with untold wonders, there for the taking, ready to be uncovered at any moment, if only we keep our eyes open.” Elizabeth Molacek · Issue 5 ·
Kindness, amity, and benevolence are the motivating factors. These aspirations are embedded in the central artwork linguistically with the prominently utilized kanji seals for “heart” and “friend.”Robert E. Gordon · Issue 5 ·
You don’t have to believe anything spiritual to find yourself bewitched by El Greco’s acidic palette, fantastic settings, and writhing, soaring saints.Brian Allen · Issue 5 ·
The popular picture of Leonardo as an inventor of machines (and the many science-museum exhibitions that have followed) and as a scholar of anatomy was essentially formed in the twentieth century as his manuscripts and drawings were widely published for the first time.Mark Rosen · Issue 5 ·
What distinguishes Beethoven is his insistence that the performer and listener engage in Bildung of their own through his music. Having performed a great deal of Beethoven’s music, I am often in awe not at what he wrote on the page, but what he left off it; that is to say what he forces the performer to interpret, discover and create themselves. Samuel I. Grosby ·
Making appearances are flying dogs, people traveling in weird conveyances, all sorts of raging lunatics, defecating monks, acrobats, gluttons, murderers in the act, and phantoms dancing.Brian Allen · Issue 4 ·
Despite Braun’s sense of hope- and aimlessness, he keeps on writing, and a new poetic role opens up in the process through the very act of writing: he becomes a seismograph of the aftershocks of the great earthquake.Jeffrey D. Todd · Issue 4 ·