In the long history of America’s influence on the politics of innovation in Europe, the case of the planned football Super League stands out. This is not because of the project as such, but simply because, of all the variety of responses Europe has produced when faced with the latest American novelty, none has provoked enthusiasm and rejection—above all rejection—with such extraordinary intensity, unity, and speed.
Like many aspects of choral composition, choosing the words is a combination of practical and creative considerations. If you want your music to be performed (and most composers do!), thinking about who might sing the words, and on what occasion, is as important as their inspirational qualities.
The question of whether Athens was a Greek or Roman city seems straightforward, but among scholars there is some debate.
When I look back at my childhood, I see that I was just starting down the path that has defined the music I write: I was trying to find places between my cultural identities that felt resonant to me. TāReKiṬa is one of those resonant places.
Already during the initial spread of the coronavirus pandemic during the early months of 2020, when the organizers of the Eurovision Song Contest determined the world’s largest and most extravagant musical competition could not take place in May, plans were underway for its return a year later, on 22 May, 2021 in Rotterdam. The intervening year was one of introspection.
I first became aware of the work of Edna St. Vincent Millay after composer Alison Willis set one of her poems (‘The Ballad of the Harp-Weaver’) for Juice Vocal Ensemble, a group I co-founded with fellow singers and composers, Kerry Andrew and Anna Snow. The collection from which this particular poem is taken won Millay the Pulitzer Prize for Poetry in 1923 and helped to further consolidate her blossoming career not only as a poet but also as a writer of plays and short stories, receiving mass-recognition under the pseudonym, Nancy Boyd.
On 16 June 1871 the Prussian army, 42,000 strong, entered Berlin in triumph. Wilhelm I, King of Prussia, had been proclaimed German Emperor five months before in Versailles.
In January, Oxford University Press announced its support for SHAPE, a new collective name for the humanities, arts, and social sciences and an equivalent term to STEM. SHAPE stands for Social Sciences, Humanities, and the Arts for People and the Economy and aims to underline the value that these disciplines bring to society. Over the last year or so, huge attention has—rightly—been placed on scientific and technological advancement but does that mean we’re overlooking the contribution of SHAPE in finding solutions to global issues?
The coronavirus pandemic greatly impacted traditional universities, with closures happening globally and students turning to remote learning. But what impact is COVID-19 having on institutions that historically teach mainly online?
We all know the joyful anticipation of that exciting phrase. Whether getting ready for a “race” with my granddaughter or waiting for the gun at the start of a half-marathon, just the thought of it brings a bit of an adrenaline rush. This mindset transcends culture, space, and time, and presents itself structurally in Classical Era music.
This summer will mark the 85th anniversary of the start of the Spanish Civil War, a brutal struggle that began with a military uprising against the democratic Second Republic and ended, three years later, in victory for the rebels under General Francisco Franco. The enduring fascination of that conflict, its ability to grip the global imagination, belies its geographical scale and is testament to the power of art.
Successful word-coinages—those that stay in lingual currency for a good, long time—tend to conceal their beginnings. In The Hidden History of Coined Words, author and word sleuth Ralph Keyes explores the etymological underworld of terms and expressions and uncovers plenty of hidden gems.
OUP have recently announced our support for the newly created SHAPE initiative—Social Sciences, Humanities, and the Arts for People and the Economy. To further understand the crucial role these subjects play in our everyday lives, we have put three questions to four British Academy SHAPE authors and editors—social and cultural historian Lucy Noakes, historian of objects and faith Eyal Poleg, historical sociolinguist Laura Wright, and Lecturer in Contemporary Art History Mary Kelly—on what SHAPE means to them, and to their research.
It might be an exaggeration to say a boar broke the internet. But when someone posted an image of wild boar sleeping on a mattress and surrounded by garbage from a recently-raided dumpster in Haifa, Israel in March, Twitter briefly erupted. In a recent article in The New York Times, Patrick Kingsley documented the uneasy relationship, not only between people and pigs, but also between the people who want the animals eliminated and those who welcome them. But Kingsley curiously omits an important detail: the drama over the fate of Haifa’s boar plays out against a backdrop of taboo and religious law.
Imagine being invited by a trusted friend to a “life-changing” event. Should you go? The event could be a church service, self-help talk, concert, movie, festival, hike, play, dinner party, book club, union organizing meeting, etc. What sorts of considerations do you reach for in making your choice? The philosopher L. A. Paul has put problems like these, termed transformative choices, on the map for philosophical and scientific inquiry.
Placing the reader in the poetic and ethical space is the first step toward direct action that affects the larger human community: a step toward activism. Activism formalizes the values that inspire and ultimately direct our will—and action—to preserve and protect. By opening new worlds, other spaces, and creating experiences for the reader—and, crucially, letting the reader explore those worlds for herself or for himself—the lyric writer has an opportunity to create a protected zone for significant communication.