Matching Items (4)
Filtering by
- All Subjects: American studies
- Creators: Feisst, Sabine
Description
In the 1930s, with the rise of Nazism, many artists in Europe had to flee their homelands and sought refuge in the United States. Austrian composer Hanns Eisler who had risen to prominence as a significant composer during the Weimar era was among them. A Jew, an ardent Marxist and composer devoted to musical modernism, he had established himself as a writer of film music and Kampflieder, fighting songs, for the European workers' movement. After two visits of the United States in the mid-1930s, Eisler settled in America where he spent a decade (1938-1948), composed a considerable number of musical works, including important film scores, instrumental music and songs, and, in collaboration with Theodor W. Adorno, penned the influential treatise Composing for the Films. Yet despite his substantial contributions to American culture American scholarship on Eisler has remained sparse, perhaps due to his reputation as the "Karl Marx in Music." In this study I examine Eisler's American exile and argue that Eisler, through his roles as a musician and a teacher, actively sought to enrich American culture. I will present background for his exile years, a detailed overview of his American career as well as analyses and close readings of several of his American works, including three of his American film scores, Pete Roleum and His Cousins (1939), Hangmen Also Die (1943), and None But the Lonely Heart (1944), and the String Quartet (1940), Third Piano Sonata (1943), Woodbury Liederbüchlein (1941), and Hollywood Songbook (1942-7). This thesis builds upon unpublished correspondence and documents available only in special collections at the University of Southern California (USC), as well as film scores in archives at USC and the University of California, Los Angeles. It also draws on Eisler studies by such European scholars as Albrecht Betz, Jürgen Schebera, and Horst Weber, as well as on research of film music scholars Sally Bick and Claudia Gorbman. As there is little written on the particulars of Eisler's American years, this thesis presents new facts and new perspectives and aims at a better understanding of the artistic achievements of this composer.
ContributorsBoyd, Caleb (Author) / Feisst, Sabine (Thesis advisor) / Levy, Benjamin (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
This dissertation illuminates overlaps in Mormonism and the New Spirituality in North America, showing their shared history and epistemologies. As example of these connections, it introduces ethnographic data from women who are members of the Church of Jesus Christ of Latter-day Saints in order to show (a) how living LDS women adapt and integrate elements from the New Spirituality with Mormon ideas about the nature of reality into hybrid spiritualities; and (b) how they negotiate their blended religious identities both in relation to the current American New Spirituality milieu and the highly centralized, hierarchical, and patriarchal Church of Jesus Christ of Latter-day Saints. The study focuses on religious hybridity with an emphasis on gender and the negotiation of power deriving from patriarchal religious authority, highlighting the dance between institutional power structures and individual authority. It illuminates processes and discourses of religious adaptation and synthesis through which these LDS women creatively and provocatively challenge LDS Church formal power structures.
ContributorsDaughtrey, Doe (Author) / Cady, Linell (Thesis advisor) / McDannell, Colleen (Committee member) / Wenger, Tisa (Committee member) / Fessenden, Tracy (Committee member) / Arizona State University (Publisher)
Created2012
Description
This dissertation examines the history of multiracial alliances among internationalist radical activists in the San Francisco Bay Area from the late 1960s through the 1970s. Using the approaches of social movement history and intellectual history, I critically assess the ideological motivations radicals held for building alliances and the difficulties they encountered with their subsequent coalitional work in four areas of coalescence—the antiwar movement, political prisoner solidarity, higher education, and electoral politics. Radical activists sought to dismantle the systemic racism (as well as economic exploitation, patriarchy, and the intersections of these oppressions) that structured U.S. society, through the creation of broad-based movements with likeminded organizations. The activists in this study also held an orientation toward internationalist solidarity, linking the structural oppressions against which they struggled in the United States to the Vietnam War and other U.S. militaristic interventions overseas and viewing these entanglements as interconnected forces that exploited the masses around the world.
Scholarly and popular interpretations of Sixties radical movements have traditionally characterized them as narrowly-focused and divisive. In contrast, my research highlights the persistent desire among Bay Area radicals to form alliances across these decades, which I argue demonstrates the importance of collaborative organizing within these activist networks. Scholarship on coalitional politics also tends to emphasize “unlikely alliances” between “strange bedfellows.” In contrast, this project illuminates how sharing similar ideological principles predisposed these radical organizations to creating alliances with others. Coalitions remain integral to contemporary social and political movements, and excavating the possibilities but also problems within previous broad-based organizing efforts provides a usable history for understanding and confronting societal issues in the present day. At the same time, the multifarious manifestations of racism and other systems of inequality demonstrate the need to first understand how these oppressions affect minority groups uniquely, before we can understand how they affect groups in comparison to each other.
Scholarly and popular interpretations of Sixties radical movements have traditionally characterized them as narrowly-focused and divisive. In contrast, my research highlights the persistent desire among Bay Area radicals to form alliances across these decades, which I argue demonstrates the importance of collaborative organizing within these activist networks. Scholarship on coalitional politics also tends to emphasize “unlikely alliances” between “strange bedfellows.” In contrast, this project illuminates how sharing similar ideological principles predisposed these radical organizations to creating alliances with others. Coalitions remain integral to contemporary social and political movements, and excavating the possibilities but also problems within previous broad-based organizing efforts provides a usable history for understanding and confronting societal issues in the present day. At the same time, the multifarious manifestations of racism and other systems of inequality demonstrate the need to first understand how these oppressions affect minority groups uniquely, before we can understand how they affect groups in comparison to each other.
ContributorsBae, Aaron Byungjoo (Author) / Garcia, Matthew (Thesis advisor) / Leong, Karen J. (Committee member) / Delmont, Matthew (Committee member) / Arizona State University (Publisher)
Created2016
Description
The American sublime aesthetic, discussed frequently in literature and art of the United States, is equally manifest in the nation’s symphonic music as a concurrent and complementary aesthetic. The musical application of the American sublime supports and enriches current scholarship on American musical identity, nationality, and the American symphonic enterprise. I suggest that the American sublime forms an integral part of nineteenth-century American music and is key to understanding the symphony as a genre in the United States. I discuss American symphonic works by Anthony Philip Heinrich, George Frederick Bristow, William Henry Fry, Dennison Wheelock, and Florence Beatrice Price, aided by an analytical tool which I developed, to illuminate my appraisal of the nineteenth-century American symphonic enterprise. Their compositions contribute meaningfully to the complex history of identity formation for both American composers and the nation. In focusing on these incorporations of the sublime by white composers and composers of color from the nineteenth and early twentieth centuries, my research demonstrates how the American sublime expanded and transformed to better accommodate the country’s diverse citizenry, despite the marginalization of some.
The nineteenth-century trans-Atlantic dialogue between Americans and their European contemporaries sustained a “distinctly cosmopolitan cultural ethos,” a phenomenon also described by Douglas Shadle as “one of the most vibrant intercultural exchanges in all of Western music history.” This dialogue shaped the cultural formation of identity for many American composers throughout the century and provided the foundation for a symphonic repertoire, which became internationally recognized for the first time as “American.” In this cosmopolitan environment, the Americanization of the sublime aided in the rebranding of long-established European artistic expressions like the symphony, while perpetuating the idealization of the nation’s geography, its people, and its beliefs. Perhaps most importantly, the American sublime supported the widely held belief in American exceptionalism and manifest destiny. The applicability of the American sublime to various genres made it a useful tool to assert autonomy and individuality in forms such as the symphony. For this reason, a revaluation of American symphonic music and its relation to the American sublime amplifies the significance of this repertoire.
The nineteenth-century trans-Atlantic dialogue between Americans and their European contemporaries sustained a “distinctly cosmopolitan cultural ethos,” a phenomenon also described by Douglas Shadle as “one of the most vibrant intercultural exchanges in all of Western music history.” This dialogue shaped the cultural formation of identity for many American composers throughout the century and provided the foundation for a symphonic repertoire, which became internationally recognized for the first time as “American.” In this cosmopolitan environment, the Americanization of the sublime aided in the rebranding of long-established European artistic expressions like the symphony, while perpetuating the idealization of the nation’s geography, its people, and its beliefs. Perhaps most importantly, the American sublime supported the widely held belief in American exceptionalism and manifest destiny. The applicability of the American sublime to various genres made it a useful tool to assert autonomy and individuality in forms such as the symphony. For this reason, a revaluation of American symphonic music and its relation to the American sublime amplifies the significance of this repertoire.
ContributorsHicks, Glen Wayne (Author) / Norton, Kay (Thesis advisor) / Feisst, Sabine (Committee member) / Solís, Ted (Committee member) / Shadle, Douglas W. (Committee member) / Arizona State University (Publisher)
Created2020