11,873 research outputs found
Christliche Unterweisung / Aus dem Französischen des Herrn Elias Bertrands Predigers der Französischen Kirche zu Bern, und Mitglieds der Königl. Gesellschaften der Wissenschaften zu Berlin und Göttingen [et]c.
No full textAutopsie nach Ex. der ULB Sachsen-AnhaltVorlageform des Erscheinungsvermerks: Leipzig, bey Weidemanns Erben und Reich. 1767
Telegram from B. C. Reich, Jr. to Minnie Meacham Carter
No full textTelegram from B. C. Reich, Jr. to Minnie Meacham Carter upon the death of Amon Giles Carter. The telegram expresses condolences about his death.https://mavmatrix.uta.edu/specialcollections_meachamcarterpapers/1541/thumbnail.jp
Geistliche Oden und Lieder / von C. F. Gellert
No full textAutopsie nach Ex. der ULB Sachsen-AnhaltVorlageform des Erscheinungsvermerks: Leipzig, bey M. G. Weidmanns Erben und Reich. 1772.Frontisp. (1 Kupferst.
Steve Reich : a bio-bibliography
No full textIn the late 1960s and early 1970s, Steve Reich was considered a fringe experimentalist. His work consisted largely of repeating, slowly changing patterns unlike either the serialism or the aleatory that predominated at that time. Today, however, Reich is one of the most prominent and celebrated contemporary composers, one about whom the scholarly and popular literature offers an assortment of critical, historical, and analytical perspectives. Author D.J. Hoek's bio-bibliography serves as an essential guide to this literature, comprehensively surveying Reich's life and work. Included are details of all of Reich's compositions: dates, instrumentation, premiere performances, and publishers; a discography listing all commercial recordings of the composer's oeuvre; and an annotated bibliography of publications in English, French, German, and Italian. The Reich scholar or aficionado could not find a more thorough encapsulation of his brilliant career
Linguaserra spandeli sp. nov. (Echinodermata: Ophiocistioidea) from the Late Permian (Zechstein) of Thuringia, Germany
No full textFrom the Late Permian Zechstein reefs (Lopingian: Wuchiapingian) of eastern Thuringia, Germany, the new ophiocistioid goniodont Linguaserra spandeli sp. nov., is described, figured, and discussed, within the Linguaserridae Reich and Haude, 2004. The (para)genus Linguaserra is redefined; the stratigraphical and regional distribution as well as the phylogenetic position are briefly discussed. Linguaserra spandeli sp. nov. is the stratigraphically youngest record of this echinoderm group (Echinozoa: Ophiocistioidea) worldwide. (C) 2007 Elsevier Masson SAS. All rights reserved
Moralische Vorlesungen
No full textNicht identisch mit VD18 90468554, dort: S. IV, 1 Zeile "einen", S. XXXVI Kustode "Vorre-", ab Bogen I4 abw. ZeilenfallVorlageform des Erscheinungsvermerks: Leipzig, bey M. G. Weidmanns Erben und Reich, 1770.Frontispiz (Kupferst.
Doktor-Reich Family Collection 1828-1988
No full textPhotocopies of genealogical notes and of documents of the Doktor and Reich families.Pauline C. Reichdigitize
Illusion / anti-illusion: the music of Steve Reich in context, 1965-1968
No full textThis dissertation situates the work of Steve Reich during the mid-to-late 1960s in its intricate socio-cultural context. Exploring biographical, hermeneutic, aesthetic, and political implications, it attempts to shed light on the composer’s early years. The historical narrative concentrates on the period between the first instantiation of the phase-shifting technique in 'It’s Gonna Rain, or, Meet Brother Walter in Union Square after Listening to Terry Riley' (1965) and the theoretical treatise ‘Music as a Gradual Process’ (1968). It reaches back, however, to the cultural nexus of San Francisco and ahead to the mercurial gallery scene in New York. In addition, modal compositions from 1966 and 1967 are subject to detailed analyses which question the boundary between ‘impersonal’ process and composerly intervention.
Chapter 1 deals with Reich’s relationship to Process art and Minimalism(s), paying particular attention to where he presented his work and with whom he was associated. Chapter 2 traces his involvement with the San Francisco Tape Music Center, the San Francisco Mime Troupe, and the filmmaker Robert Nelson; problematic issues surrounding race and representation are also considered. Chapter 3 critiques two transitional works: 'Melodica' and 'Reed Phase', the latter representing a striking omission from the accepted Reich canon. Chapter 4 is concerned with the relationship between musical teleology and consumer desire in post-war ‘affluent society’, building on the work of Robert Fink. The conclusion proposes that broader social contradictions of the 1960s can be detected in Reich’s music
Lexicon manuale Novi Testamenti ...
No full textAutopsie nach Exemplar der ULB Sachsen-Anhalt (Halle)Vorlageform des Erscheinungsvermerks: Lipsiae Ex officina Weidmann. et Reich A. C. N. MDCCLXXX
Wilhelm Reich versus the Flying Saucers
No full textThe convenient myth of Wilhelm Reich is that he “lost his mind” in the early 1950s, if not before, and that the last seven years of his life and work — the orgone and radiation experiments, the cloudbuster, and flying saucer intrigues — present an embarrassment. Even the counterculture that embraced Reich, not least William S. Burroughs, Norman Mailer, and filmmaker Dušan Makavejev, tended to distort his theory. The psychosis attached to Reich by his detractors was the culmination of decades of scapegoating by psychoanalysts, Nazis, communists, and conservatives. But Reich’s environmental and Cold War preoccupations and his slow-burning fascination with UFO phenomena were not signs of a madness incipient since his break with Sigmund Freud. They anticipated and reflected much in the American psyche. Defining the presence of a “cinematic self” in the misunderstood analyst once considered an heir to Freud, Wilhelm Reich versus the Flying Saucers rejects orthodox portrayals of Reich’s final years as merely pathological. Combining original analysis and evidence from the Wilhelm Reich Archive, James Reich uncovers the fatal moments in the psychologist’s uncanny identification with the “spaceman,” and the myth of a scientist lost to his own grandiosity and paranoia. Taking seriously the influence of The Day the Earth Stood Still, Bad Day at Black Rock, and other pop cultural narratives on Reich, this “psychoanalytic detective story” concerns existential traps, conscious and unconscious collaborations and betrayals by disciples, and unidentified flying object-relations. Reich’s is an atomic-age passion narrative. Vitally, Reich’s story could be ours. The author is not related to his subject
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