A vision of architecture that transcends concerns of form and function and finds the connections between the architect's wish to design a beautiful world and architecture's imperative to provide a better place for society. The forced polarity between form and function in considerations of architecture—opposing art to social interests, ethics to poetic expression—obscures the deep connections between ethical and poetical values in architectural tradition. Architecture has been, and must continue to be, writes Alberto Pérez-Gómez, built upon love. Modernity has rightly rejected past architectural excesses, but, Pérez-Gómez argues, the materialistic and technological alternatives it proposes do not answer satisfactorily the complex desire that defines humanity. True architecture is concerned with far more than fashionable form, affordable homes, and sustainable development; it responds to a desire for an eloquent place to dwell—one that lovingly provides a sense of order resonant with our dreams. In Built upon Love Pérez-Gómez uncovers the relationship between love and architecture in order to find the points of contact between poetics and ethics—between the architect's wish to design a beautiful world and architecture's imperative to provide a better place for society. Eros, as first imagined by the early lyric poets of classical Greece, is the invisible force at the root of our capacity to create and comprehend the poetic image. Pérez-Gómez examines the nature of architectural form in the light of eros, seduction, and the tradition of the poetic image in Western architecture. He charts the ethical dimension of architecture, tracing the connections between philia—the love of friends that entails mutual responsibility among equals—and architectural program. He explores the position of architecture at the limits of language and discusses the analogical language of philia in modernist architectural theory. Finally, he uncovers connections between ethics and poetics, describing a contemporary practice of architecture under the sign of love, incorporating both eros and philia.

Moving chronologically through America's past, from the antebellum and postbellum periods, through the Jim Crow era and the Cold War, to the present, this volume introduces an important new framework to the field of lesbian and gay history - that of the region.

The first study of the interface between Deleuzian theory and film performance.

In What You Will Kathryn Schwarz traces a curious pattern in sixteenth- and seventeenth-century representations of femininity: women pose a threat when they conform too willingly to social conventions. Exemplary texts describe chaste women who kill their rapists, constant wives who make marriage a debilitating obligation, and devoted mothers who destroy the fitness of children. These cautionary tales draw attention to the more ordinary, necessary choices that take prescribed roles as a mandate for purposeful acts. For early modern narratives, writes Schwarz, intentional compliance poses a complex problem: it sustains crucial tenets of order and continuity but unsettles the hierarchical premises from which those tenets derive. Feminine will appears as a volatile force within heterosociality, lending contingent security to a system that depends less on enforced obedience than on contract and consent. The book begins with an examination of early modern disciplines that treat will as an aspect of the individual psyche, of rhetoric, and of sexual and gendered identities. Drawing on these readings, Schwarz turns to Shakespearean works in which feminine characters articulate and manage the values that define them, revealing the vital force of conventional acts. Her analysis engages with recent research that has challenged the premise of feminine subordination, both by identifying alternative positions and by illuminating resistance within repressive structures. Schwarz builds on this awareness of disparate modes and sites of action in formulating the book's central questions: With what agency, and to what effect, do feminine subjects inhabit the conventions of femininity? In what sense are authenticity and masquerade inseparable aspects of social performance? How might coercive systems produce effective actors? What possibilities emerge from the paradox of prescribed choice? Her conclusions have implications not only for early modern scholarship but also for histories of gender and sexuality, queer studies, and theories of the relationship between subjectivity and ideological constraint.

I’ve gone back: back to the place where it all started, where somebody else had the final say. I did it out of love for my family. I’m trying to rebuild my life, to stay standing, even though my legs hurt like hell. I’m concentrating on myself, on my career. I’m ready to tear everything apart to try and keep it all together. To hate without feeling guilty for it, because hating others is the only way I know how to keep myself - the person I am - going; and I was doing it. I was strong. I was untouchable. I was invincible. Actually, I was deluded. I didn’t consider everything. I didn’t consider her: the only woman I really want to hate, but who gives me hope. A woman who turns your world upside-down, who entwines herself into your life even if she can only stay until tomorrow. I’m not looking for tomorrow: I want a future. But I don’t believe in that anymore. And I can’t turn back, not even for her. My name is Ryan O’Connor, and I’m about to make a huge mistake. I’m about to let her believe in me, to take a chance. But she’d be betting on the wrong man. I’ve never been the right one. And she’ll be left accepting her bitter defeat. Each book in the O'Connor Brothers Series is STANDALONE: - Ian - Ryan - Nick

NEW YORK TIMES BESTSELLER • A beautifully written, witty memoir that is also an immersive exploration of classical music—its power, its meanings, and what it can teach us about ourselves—from the MacArthur “Genius” Grant–winning pianist “Jeremy Denk has written a love letter to the music, and especially to the music teachers, in his life.”—Conrad Tao, pianist and composer In Every Good Boy Does Fine, renowned pianist Jeremy Denk traces an implausible journey. His life is already a little tough as a precocious, temperamental six-year-old piano prodigy in New Jersey, and then a family meltdown forces a move to New Mexico. There, Denk must please a new taskmaster, an embittered but devoted professor, while navigating junior high school. At sixteen he escapes to college in Ohio, only to encounter a bewildering new cast of music teachers, both kind and cruel. After many humiliations and a few triumphs, he ultimately finds his way as a world-touring pianist, a MacArthur “Genius,” and a frequent performer at Carnegie Hall. Many classical music memoirs focus on famous musicians and professional accomplishments, but this book focuses on the everyday: neighborhood teacher, high school orchestra, local conductor. There are few writers capable of so deeply illuminating the trials of artistic practice—hours of daily repetition, mystifying advice, pressure from parents and teachers. But under all this struggle is a love letter to the act of teaching. In lively, endlessly imaginative prose, Denk dives deeply into the pieces and composers that have shaped him—Bach, Mozart, and Brahms, among others—and offers lessons on melody, harmony, and rhythm. How do melodies work? Why is harmony such a mystery to most people? Why are teachers so obsessed with the metronome? In Every Good Boy Does Fine, Denk shares the most meaningful lessons of his life, and tries to repay a debt to his teachers. He also reminds us that we must never stop asking questions about music and its purposes: consolation, an armor against disillusionment, pure pleasure, a diversion, a refuge, and a vehicle for empathy.

Birthed from a mixture of real life testimonies and fiction, YOM KIPPUR unfolds as a Jewish family suffers the horrors of the Holocaust. Through the cruelest of separations in which survival is a daily miracle, only one thought unites them: They must live to be reunited! Enduring pain in the most terrible conditions, their feelings fluctuate from hatred to love and from calm to storm. Will the child ever forget the scenes he witnessed in the operation room of the concentration camp? Could an enemy really help him escape? Could a love be strong enough to overcome the barriers of animosity and rancor and to arise out of the post-war chaos and destruction? Must their lives be forever bound to the cursed war booty? Could uniting themselves to the itinerary of the Nazi gold be their path to freedom? Yom Kippur will lead you step-by-step through the answers to these questions to its surprising outcome, enveloping you with its plea for love and forgiveness while bringing you to tears.

First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

The field of literature changed dramatically at the end of the eighteenth century, as under the shadow of Romanticism the novel became the most important literary genre of its day. Often neglected, the novels of the Romantic era puzzle critics yet are much more concerned with the unexpected, the unconventional, and the uncanny than their immediate predecessors or successors, and their authors include some of the most important novelists of British literary history—Jane Austen, Fanny Burney, James Hogg, Mary Shelley, and Sir Walter Scott among them. Featuring contributions from distinguished scholars in the field, Recognizing the Romantic Novel evaluates the vibrancy and centrality of the Romantic novel, showcasing the important new voices and directions in the field and showing it can hold its own in the canon of literary scholarship. “These essays offer us a lens through which we may recognize the Romantic novel as it has never been recognized before.”—Times Literary Supplement