John Cage : composed in America

書誌事項

John Cage : composed in America

edited by Marjorie Perloff and Charles Junkerman

University of Chicago Press, 1994

  • : cloth
  • : paper

大学図書館所蔵 件 / 17

この図書・雑誌をさがす

注記

Includes bibliographical references and index

内容説明・目次

巻冊次

: cloth ISBN 9780226660561

内容説明

When the great avant-gardist John Cage died, just short of his eightieth birthday in 1992, he was already the subject of dozens of interviews, memoirs, and discussions of his contribution to music, music theory, and performance practice. But Cage never thought of himself as only (or even primarily) a composer; he was a poet, a visual artist, a philosophical thinker, and an important cultural critic. "John Cage: Composed in America" is the first book-length work to address the "other" John Cage, a revisionist treatment of the way Cage himself has composed and been "composed" in America. Cage, as these original essays testify, is a contradictory figure. A disciple of Duchamp and Schoenberg, Satie and Joyce, he created compositions that undercut some of these artists' central principles and then attributed his own compositional theories to their "tradition." An American in the Emerson-Thoreau mold, he paradoxically won his biggest audience in Europe. A freewheeling, Californian artist, Cage was committed to a severe work ethic and a firm discipline, especially the discipline of Zen Buddhism. Following the text of Cage's lecture-poem "Overpopulation and Art," delivered at Stanford shortly before his death and published here for the first time, ten critics respond to the challenge of the complexity and contradiction exhibited in his varied work. In keeping with Cage's own interdisciplinarity, the critics approach that work from a variety of disciplines: philosophy (Daniel Herwitz, Gerald L. Bruns), biography and cultural history (Thomas S. Hines), game and chaos theory (N. Katherine Hayles), music culture (Jann Pasler), opera history (Herbert Lindenberger), literary and art criticism (Marjorie Perloff), cultural poetics (Gordana P. Crnkovic, Charles Junkerman), and poetic practice (Joan Retallack). But such labels are themselves confining: each of the essays sets up boundaries only to cross them at key points. The book thus represents, to use Cage's own phrase, a much needed "beginning with ideas."
巻冊次

: paper ISBN 9780226660578

内容説明

When the avant-gardist John Cage died, he was already the subject of many interviews, memoirs and discussions of his contribution to music, music theory and performance practice. This text includes a revisionist treatment of the way Cage himself has composed and been "composed" in America. A disciple of Duchamp and Schoenberg, Satie and Joyce, Cage created compositions that undercut some of these artists' central principles and then attributed his own compositional theories to their "tradition." Following the text of Cage's "Overpopulation and Art," delivered at Stanford shortly before his death, ten critics respond to the complexity and contradiction exhibited in his work. In keeping with Cage's own interdisciplinarity, the critics approach the work from a variety of disciplines: philosophy (Daniel Herwitz, Gerald L. Bruns), biography and cultural history (Thomas S. Hines), game and chaos theory (N. Katherine Hayles), music culture (Jann Pasler), opera history (Herbert Lindenberger), literary and art criticism (Marjorie Perloff), cultural poetics (Gordana P. Crnkovic, Charles Junkerman), and poetic practice (Joan Retallack).

「Nielsen BookData」 より

詳細情報

ページトップへ