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    Melting the Venusberg

    Melting the Venusberg

    Paperback, in zeer goede staat

    This book begins with a pointed critique of the foundations of the understanding of Western music: that music from Pythagoras to the Renaissance has been viewed as the source and model of order in the universe and in society. Unfortunately that order was rigidly hierarchical, so that over the centuries music reinforced established social prejudices, particularly those against women. Nowhere was this more evident than in religious music that was regarded by male ecclesiastics and scholars as the instrument of choice for taming hysterical female eruptions.

    Through her mordant commentary on a rich selection of texts by major thinkers from two millennia of Christian theology, Heidi Epstein shows in the first part of Melting the Venusberg that music as the erotic embodiment of human engenderment has been ignored or suppressed, while music as the expression of transcendent harmony, order, and restraint has been extolled.

    The second re-constructive part of Melting the Venusberg draws on ignored sources and lost tropes from the Christian tradition as well as on insights from the music and thought of historical and contemporary woman composers and performers from Hildegard of Bingen and Lucrezia Vizzana to Rosetta Tharpe and Diamanda Galas. Through this recuperative synthesis, music's
    theological significance changes keys, as it moves beyond its symbolic function as divinely ordained, harmonious microcosm into more dissonant metaphorical registers. Those who have ears to hear will be delighted.

    Heidi Epstein ;

    € 11,50

    The first six books of...

    The first six books of the elements of Euclid [met cassette]

    Cassette met linnen gebonden hardback (de facsimile) en paperback in zeer goede staat. De deel linnen uitgevoerde cassette is deels licht verkleurd en heeft wat vlekjes. Het essay van Oechslin is drietalig: Engels, Duits en Frans.

    Facsimile of the famous first edition of 1847.

    Red, yellow, blue - and of course black - are the colours that Oliver Byrne employs for the figures and diagrams in his most unusual 1847 edition of Euclid, published by William Pickering and printed by Chiswick Press, and which prompt the surprised reader to think of Mondrian. The author makes it clear in his subtitle that this is a didactic measure intended to distinguish his edition from all others: "The Elements of Euclid in which coloured diagrams and symbols are used instead of letters for the greater ease of learners." Byrne is not content to trust solely in the supposed intuitive "logical" structure of Euclid's axioms and theorems - who doesn't know the first famous sentences of Euclid's Elements: "I. A point is that which has no parts. II. A line is length without breadth"? -, but translates them into colourful diagrams and symbols. He thereby thinks in terms of the school classroom: he compares his colours to the dyed chalks in which figures are drawn on the blackboard.

    Oliver Byrne (c. 1810-c. 1880) was an Irish author and civil engineer. Little is known about his life, though he wrote a considerable number of books. As Surveyor of Her Majesty's Settlements in the Falkland Islands, Byrne had already published mathematical and engineering works, but never anything like his edition on Euclid. This remarkable example of Victorian printing has been described as one of the oddest and most beautiful books of the 19th century.

    Each proposition is set in Caslon italic, with a four-line initial, while the rest of the page is a unique riot of red, yellow and blue. On some pages, letters and numbers only are printed in colour, sprinkled over the pages like tiny wild flowers and demanding the most meticulous alignment of the different colour plates for printing. Elsewhere, solid squares, triangles and circles are printed in bright colours, expressing a verve not seen again on the pages of a book until the era of Dufy, Matisse and Derain.

    Euclid; Oliver Byrne; Werner Oechslin;

    € 100,00
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