Cunegonde S Kidnapping

In a remote village on the Dutch-German border, a young Catholic woman named Cunegonde tries to kidnap a baby to prevent it from being baptized in a Protestant church. When she is arrested, fellow Catholics stage an armed raid to free her from detention. These dramatic events of 1762 triggered a cycle of violence, starting a kind of religious war in the village and its surrounding region. Contradicting our current understanding, this war erupted at the height of the Age of Enlightenment, famous for its religious toleration. Cunegonde’s Kidnapping tells in vivid detail the story of this hitherto unknown conflict. Drawing characters, scenes, and dialogue straight from a body of exceptional primary sources, it is the first microhistorical study of religious conflict and toleration in early modern Europe. In it, Benjamin J. Kaplan explores the dilemmas of interfaith marriage and the special character of religious life in a borderland, where religious dissenters enjoy unique freedoms. He also challenges assumptions about the impact of Enlightenment thought and suggests that, on a popular level, some parts of eighteenth-century Europe may not have witnessed a “rise of toleration.”

How a popular religious war erupted on the Dutch-German border, despite the ideals of religious tolerance proclaimed by the Enlightenment In a remote village on the Dutch-German border, a young Catholic woman named Cunegonde tries to kidnap a baby to prevent it from being baptized in a Protestant church. When she is arrested, fellow Catholics stage an armed raid to free her from detention. These dramatic events of 1762 triggered a cycle of violence, starting a kind of religious war in the village and its surrounding region. Contradicting our current understanding, this war erupted at the height of the Age of Enlightenment, famous for its religious toleration. Cunegonde's Kidnapping tells in vivid detail the story of this hitherto unknown conflict. Drawing characters, scenes, and dialogue straight from a body of exceptional primary sources, it is the first microhistorical study of religious conflict and toleration in early modern Europe. In it, award-winning historian Benjamin J. Kaplan explores the dilemmas of interfaith marriage and the special character of religious life in a borderland, where religious dissenters enjoy unique freedoms. He also challenges assumptions about the impact of Enlightenment thought and suggests that, on a popular level, some parts of eighteenth-century Europe may not have witnessed a "rise of toleration."

Although many opera dictionaries and encyclopedias are available, very few are devoted exclusively to operas in a single language. In this revised and expanded edition of Operas in English: A Dictionary, Margaret Ross Griffel brings up to date her original work on operas written specifically to an English text (including works both originally prepared in English, as well as English translations). Since its original publication in 1999, Griffel has added nearly 800 entries to the 4,300 from the original volume, covering the world of opera in the English language from 1634 through 2011. Listed alphabetically by letter, each opera entry includes alternative titles, if any; a full, descriptive title; the number of acts; the composer’s name; the librettist’s name, the original language of the libretto, and the original source of the text, with the source title; the date, place, and cast of the first performance; the date of composition, if it occurred substantially earlier than the premiere date; similar information for the first U.S. (including colonial) and British (i.e., in England, Scotland, or Wales) performances, where applicable; a brief plot summary; the main characters (names and vocal ranges, where known); some of the especially noteworthy numbers cited by name; comments on special musical problems, techniques, or other significant aspects; and other settings of the text, including non-English ones, and/or other operas involving the same story or characters (cross references are indicated by asterisks). Entries also include such information as first and critical editions of the score and libretto; a bibliography, ranging from scholarly studies to more informal journal articles and reviews; a discography; and information on video recordings. Griffel also includes four appendixes, a selective bibliography, and two indexes. The first appendix lists composers, their places and years of birth and death, and their operas included in the text as entries; the second does the same for librettists; the third records authors whose works inspired or were adapted for the librettos; and the fourth comprises a chronological listing of the A–Z entries, including as well as the date of first performance, the city of the premiere, the short title of the opera, and the composer. Griffel also include a main character index and an index of singers, conductors, producers, and other key figures.

This text offers a fresh look at the history of anthropological theory. Anthropological ideas about human diversity have always been rooted in the socio-political conditions in which they arose, and exploring them in context helps students understand how and why they evolved, and how theory relates to life and society.

It is the task of art, he contends, to make the most of these conventions, to use the very disguises of civilization to counter the barbarism they mask. Tracing this idea through seventeenth- and eighteenth-century French literature, Starobinski charts the historical and intellectual limits of criticism itself.".

Leonard Bernstein is a household name. Most know him for his classic musical reworking of Shakespeare’s Romeo and Juliet as Broadway’s West Side Story. But Bernstein accomplished so much more as a composer, and his body of work is both broad and varied. He composed ballets (Fancy Free, Facsimile, Dybbuk), operas (Trouble in Tahiti, Candide, A Quiet Place), musicals (On the Town, Wonderful Town), film scores (On the Waterfront), symphonies, choral works, chamber music pieces, art songs, and piano works. In Experiencing Leonard Bernstein: A Listener’s Companion, Kenneth LaFave guides readers past Bernstein’s famously tortured personal problems and into the clarity and balance of his Serenade after Plato’s Symposium for Violin and Orchestra, the intense drama of his music for On the Waterfront, the existential cosmography of his three symphonies, and his vibrant works for the musical stage. Perhaps the most famous American classical musician born in the twentieth century, Bernstein divided his time between c

Candide has been delighting readers since 1759 with its satiric wit, provocations, and warnings. The novella has never been out of print and has been translated into every conceivable language. The text of this Norton Critical Edition remains that of Robert M. Adams’s superlative translation, accompanied by explanatory annotations. The Norton Critical Edition also includes: · A full introduction by Nicholas Cronk. · Six background studies of Enlightenment ideas and themes (by Richard Holmes, Adam Gopnik, W. H. Barber, Dennis Fletcher, Haydn Mason, and Nicholas Cronk), five of these new to the Third Edition. · Seven critical essays—five of them new to this edition—representing a wide range of approaches to Candide. Contributors include J. G. Weightman, Robin Howells, James J. Lynch, Philip Stewart, Erich Auerbach, and Jean Starobinski. · A revised and expanded Selected Bibliography.

The New Pocket Kobbe's Complete Opera Book is the world's leading reference work on opera, and (in the words of Bernard Levin) 'no single-volume operatic guide can possibly compare with it'. Kobbe is the only book which summaries the libretti of the world's opera, describes their music and gives a history of their performance within a single volume. But it is a large and relatively expensive book. The new pocket edition, at a price accessible to the huge new audience for opera, has been redesigned and extended, existing entries have been rewritten, and new operas included. The total number of works covered is now over 200, including important new works like John Adams Nixon in China, Harrison Birtwistle's Gawain and Thomas Ades's Powder Her Face, and a number of half-forgotten works that are now undergoing revival. Unlike the previous edition, it is now simply arranged, alphabetically by composer. Lord Harewood's strongly individual commentaries, together with his unparalleled knowledge of and enthusiasm for opera, make the New Pocket Kobbe a book no opera-goer can afford to be without.