□ 106 [Chicago Symphony Orchestra]
A Portrait in Four Movements: The Chicago Symphony under Barenboim, Boulez, Haitink, and Muti / Patner, Andrew & John R. Schmidt (tr) 212 p. Chicago UP, 2019:04.
“Playing in an orchestra in an intelligent way is the best school for democracy.”--Daniel Barenboim
□ 107 [Comparative Literature]
The Oxford Handbook of the Baroque / Lyons, John D.
(Oxford Handbooks) 944 p. Oxford, 2019.
The book extends the concept of "Baroque" far beyond the visual arts and music, exploring its link to philosophy, science, religion, and literature. The first large-scale treatment of the Baroque that emphasizes the role of religious difference,
technological innovation, the practical implications of mechanistic philosophy, colonization, and new practices of self-cultivation.
□ 108 [Film Studies]
Movies, Modernism, and the Science Fiction Pulps
/ Telotte, J. P. 192 p. Oxford, 2019.
ISBN:9780190949662 pap \6,349
…traces this early relationship between film and literature through four common features: stories that involve film or the film industry; film-related advertising; editorial matters and readers' letters commenting on film; and the magazines' heralded cover and story illustrations. By surveying these haunting traces of another medium in early science fiction discourse, we can begin to see the key role that a cinematic mindedness played in this formative era.
□ 109 -The Oxford Handbook of Sound and Imagination, Volume 1 / Grimshaw-Aagaard, Mark et al. (ed)
880 p. Oxford, 2019:07.
Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors shift the focus of imagination away from the visual by addressing the topic of sonic imagination and expanding the field beyond musical compositional creativity and performance technique into other aural arenas where the imagination holds similar power.
□ 110 –Ditto, Volume 2 / Grimshaw-Aagaard, Mark et al. (ed) 704 p. Oxford, 2019:07.
Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination in architectural design; and the design of sound artifacts for cinema and computer games.
□ 111 [Japanese Art]
The Life of Animals in Japanese Art Singer, Robert T. & Masatomo, Kawai (ed) 323 p., 350 color illus, Princeton UP, 2019.
The catalog is organized into themes, including the twelve animals of the Japanese zodiac; animals in Shinto and Buddhism; animals and samurai; land animals, winged creatures, and creatures of the river and sea; and animals in works of humor and parody.
□ 112 [Kubrick, Stanley]
Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film / Robert P. Kolker and Nathan Abrams
248 p. Oxford, 2019:06.
ISBN:9780190678036 pap \4,193
Kubrick's Eyes Wide Shut was on the director's mind for some 50 years before he finally put it into production. Using the Stanley Kubrick Archive at the University of the Arts, London, and interviews with participants in the production, the authors create an archeology of the film that traces the progress of the film from its origins to its completion, reception, and afterlife. The book is also an appreciation of this enigmatic work and its equally enigmatic creator.
□ 113 [Psychology (Sports)]
The Oxford Encyclopedia of Sport, Exercise, and Performance Psychology / Acevedo, Edmund O. (ed)
1384 p. Oxford, 2019.
The study of human psychomotor performance spans numerous activities including sport, performing arts, surgery, firefighting, law enforcement, military operations, and physical activity participation. In addition, research questions address factors that influence optimal performance as well as the adoption and maintenance of physical activity for mental and physical health.
□ 114 [Theatre Studies]
Words for the Theatre / Cole, David (Focus on Dramaturgy)
67 p. Routledge, 2019.
The book’s four essays each offer a dramaturgical perspective on a different aspect of the playwright’s practice: How does the playwright juggle the transcriptive and prescriptive aspects of their activity? Does the ultimate performance of a playtext in fact represent something to which all writing aspires? Does the playwright’s process of withdrawing to create their text echo a similar process in the theatre more widely? Finally, how can the playwrig
ht counter theatre’s pervasive leaning towards the ‘mistake’ of realism?