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“... The description of this prime young filly, taken from the Edinburgh publication A Genuine List of Sporting Ladies (c. 1770) is typical of many entries from whores’ directories included by PeterWagner in Eros Revived. Harris’s List of Covent Garden Ladies, published regularly between 1760 and the early 1790s, prided itself on providing up-to-date information for the sporting gentlemen of ...”
“... The bewildering variety of interests and standards in Wagner scholarship (or what passes for it) is congenitally resistant to study.’ Thus John Deathridge, the leading Wagner scholar of the English-speaking world, at the beginning of his chapter on Wagner research in the Wagner Handbook. It so learned and au courant a scholar as Deathridge is daunted by trying to make ...”
“... desk. He wrote: ‘Out of a profane god I have made myself a symbol exhorting decency in life. For death is the real terminus that yields to no one.’Like anyone who has spent time thinking about Wagner, I have inevitably come back to the subject of boundaries and limits, and in particular to questions about the boundary that lies between Wagner’s works and his listeners, and about the experience ...”
“... revenge for the Franco-Prussian War. The Boulez-Chéreau Ring has also been described, more preposterously, as ‘the Ring of the century’ – an accolade which plainly belongs to the 1951 Wieland Wagner production which inaugurated the ‘New Bayreuth’. Musically, the Boulez Ring cannot compare with Furtwängler’s La Scala performance or Knappertsbusch’s 1957 cycle, both available on record ...”
“... subtitle in full is that it is symptomatic of one of our intellectual age’s grand delusions – of the belief that Hitler has a specific history in German Romanticism. It is a delusion which Peter Paret and especially William Vaughan are quite ready to take for reality, while Norman Stone’s own dreams about ‘the positive qualities of Hitler, his real achievements’ (thus Professor J.H ...”
“... pertain to a wide variety of topics, including music, art, architecture, poetry, dreams, humour, culture, civilisation, philosophy, faith, God, talent, originality, Shakespeare, Beethoven, Schubert, Wagner. It seemed to Georg Henrik Von Wright, one of Wittgenstein’s literary executors, that many of these reflections would be of interest to people who would not read Wittgenstein’s philosophical work ...”
“... the interwar years, in medicine as in other spheres, notions that blurred the boundary between the scientific and the criminal, the professional and the political. Scull recounts the story of Julius Wagner von Jauregg, who was threatened with prosecution for the barbaric electrical treatment he had inflicted on recalcitrant soldiers in the First World War. He was rescued by Freud, who helped turn ...”
“... in 1784-85. The book was prison-cell pornography, but prison conditions had honed Sade’s interest in social issues, and he used sex in his writings as a way of describing power relations. As PeterWagner demonstrated in Eros Revived (1988), politicised pornography was an 18th-century commonplace. Sade’s pornography, as one would expect from a man who so calamitously lacked the power to ...”
“... of 1903, which she exhibited at the Berliner Secession that year. ‘Woman with Dead Child’ (1903) Kollwitz modelled for this image in front of a mirror, sitting naked cradling her young son Peter. Her mouth is pressed to his chest as if, in the words of her friend Beate Bonus-Jeep, she is trying ‘to swallow back into herself the disappearing life that once belonged to her womb’. Peter...”
“... seems shaky, the historic context he supplies is sparse. Still, the book is eminently useful, for it records Nietzsche’s devotional concern for his books. As his friend and helpmeet in publishing, Peter Gast (the familiar pseudonym for Heinrich Köselitz), wrote to him, probably after having seen early versions of passages from Ecce Homo (in a letter not cited in Schaberg’s book): ‘Life and ...”
“... satisfying our most atavistic pantomime cravings for the larger-than-life, and to keep caste as caviare to the general. This applies just as much to the self-confessed puritans of the genre (Gluck, Wagner, Birtwistle) as to the unapologetic sensualists (Handel, the Italians, Strauss): perhaps only Debussy in Pelléas et Mélisande has successfully transcended this fundamental crudity of impact. In the ...”
“... ller’s Die Schwestern von Prag scaled symphonic heights undreamed of by its creator in Beethoven’s Kakadu Variations for piano trio): but who today has heard of Bernard Anselm Weber’s Deodata, Peter von Winter’s Das Unterbrochene Opferfest, Friedrich von Drieberg’s Don Tacagno, Friedrich Himmel’s Fanchon, Anton Fischer’s Das Hausgesinde or Carl Ludwig Hellwig’s Die Bergknappen? One ...”
“... and then there may be an entirely different date which Miller has superimposed to give the audience a new idea. It is easiest to make such changes when the playwright is dead. John Osborne and Peter Nichols did not want Miller to alter their plays, but he was more fortunate when he directed Robert Lowell’s version of Aeschylus’s Prometheus Bound. Since Miller did not want to set this play in ...”
“... an art ‘not of transformation but of transposition’, when transformation is art’s proper aim. Transposition of what? Foster begins his book with the pronouncement of the architects Alison and Peter Smithson: ‘Today we collect ads.’ For the first Pop artists this was an article of faith. Avid bottom-feeders, they scraped up regular doses of tabloid violence and pulp pornography, raiding the ...”
“... element in All for Nothing is more conspicuous than in Homeland. There’s also a larger cast of characters but the central figure, and one of the few still alive at the end, is 12-year-old Peter, who the author readily admitted was a self-portrait, not least in his reluctance to be a Hitler Youth. The family home is a large estate, the Georgenhof, once affluent, less so since the war began ...”