MARC details
| 000 -LEADER |
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| fixed length control field |
03404pam a2200349 a 4500 |
| 001 - CONTROL NUMBER |
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| control field |
0193031703 /MN |
| 003 - CONTROL NUMBER IDENTIFIER |
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| control field |
DLC |
| 005 - DATE AND TIME OF LATEST TRANSACTION |
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| control field |
20190729105907.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION |
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| fixed length control field |
930805s1994 maua b 001 0 eng |
| 010 ## - LIBRARY OF CONGRESS CONTROL NUMBER |
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| LC control number |
93031703 /MN |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER |
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| International Standard Book Number |
0674740831 (acidfree paper) |
| 040 ## - CATALOGING SOURCE |
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| Original cataloging agency |
DLC |
| Transcribing agency |
DLC |
| Modifying agency |
DLC |
| -- |
MiTN |
| 049 ## - LOCAL HOLDINGS (OCLC) |
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| Holding library |
EY8A |
| 050 00 - LIBRARY OF CONGRESS CALL NUMBER |
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| Classification number |
ML197 |
| Item number |
.W437 1994 |
| 059 ## - |
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| -- |
001 HIST 93031703 |
| 082 00 - DEWEY DECIMAL CLASSIFICATION NUMBER |
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| Classification number |
780/.9/04 |
| Edition number |
20 |
| 092 ## - LOCALLY ASSIGNED DEWEY CALL NUMBER (OCLC) |
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| Classification number |
780.904 W325 |
| 100 1# - MAIN ENTRY--PERSONAL NAME |
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| Personal name |
Watkins, Glenn, |
| Dates associated with a name |
1927- |
| 245 10 - TITLE STATEMENT |
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| Title |
Pyramids at the Louvre : |
| Remainder of title |
music, culture, and collage from Stravinsky to the postmodernists / |
| Statement of responsibility, etc. |
Glenn Watkins. |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. |
|---|
| Place of publication, distribution, etc. |
Cambridge, Mass. : |
| Name of publisher, distributor, etc. |
Belknap Press of Harvard University Press, |
| Date of publication, distribution, etc. |
1994. |
| 300 ## - PHYSICAL DESCRIPTION |
|---|
| Extent |
ix, 571 p. : |
| Other physical details |
ill. ; |
| Dimensions |
25 cm. |
| 504 ## - BIBLIOGRAPHY, ETC. NOTE |
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| Bibliography, etc. note |
Includes bibliographical references and index. |
| 505 ## - FORMATTED CONTENTS NOTE |
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| Formatted contents note |
1. "And the Moon Descends over the Temple That Was" -- 2. Of Nightingales and Ukiyo-e -- 3. Out of Africa and the Steppes -- 4. "Massacre" and Other Neologisms -- 5. The Creation of the World -- 6. Josephine and Jonny -- 7. The Cunard Line -- 8. Take the "A" Train -- 9. The Valley of the Bells -- 10. Stravinsky and the Cubists -- 11. Obsessions with Pierrot -- 12. Masks and Machines -- 13. Oedipus and Agon: "Husks of Style?" -- 14. Exodus: 1939 -- 15. Tristan's Scissors -- 16. Pyramids at the Louvre -- 17. Envoi: The New Cartography |
| 520 ## - SUMMARY, ETC. |
|---|
| Summary, etc. |
A pyramid in front of the Louvre. Buffalo Bill's Wild West Show and The Rite of Spring. Schoenberg and Shirley Temple. Just as the odd juxtapositions of Modernism produced a new way of seeing, so now collage, in the hands of Glenn Watkins, offers a new perspective on the art of our age. A rich and revealing picture of twentieth-century music and the arts, Watkins' work shows us what our present Postmodern aesthetic owes to our Modernist past. Behind the many guises of Modernism we find an appetite for opposing impulses: the exotic and the home-grown, high and low, black and white, the passionate and the cool, the cerebral and the instinctive. Watkins shows us these oppositions at play in the music of Stravinsky and Ravel, Debussy and Schoenberg, Ives, Satie, Hindemith, Ellington, and Gershwin, in the art of Picasso and the Cubists, Cocteau, Leger, Brancusi and Noguchi, in the anthologies of Nancy Cunard and Alain Locke, in the ballet companies of Sergei Diaghilev and Rolf de Mare, and in the performances of Josephine Baker. Throughout, collage asserts its power to enlighten through juxtaposition, resist resolution, sponsor pluralism, and promote understanding of an order that eludes all edicts. The masks of Oskar Schlemmer, of Japanese No drama, and of the commedia dell'arte, the mythologies attendant to the retrieval of folk traditions and the emergence of jazz, and the mass relocation of artists in a time of war - all have a place in this depiction and assessment of the legacy of Modernism. A heady exploration of questions surrounding Primitivism, Orientalism, and technology as they surface at either end of our century, this book exposes the millennial preoccupations mutually invested in our search for "first times" and our convictions about "the end of culture." |
| 596 ## - |
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| -- |
1 |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
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| Topical term or geographic name entry element |
Music |
| Chronological subdivision |
20th century |
| General subdivision |
History and criticism. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
|---|
| Topical term or geographic name entry element |
Music |
| General subdivision |
Philosophy and aesthetics. |
| 650 00 - SUBJECT ADDED ENTRY--TOPICAL TERM |
|---|
| Topical term or geographic name entry element |
Art and music. |
| 948 ## - LOCAL PROCESSING INFORMATION (OCLC); SERIES PART DESIGNATOR (RLIN) |
|---|
| Series part designator, SPT (RLIN) |
u44923 |
| 949 ## - LOCAL PROCESSING INFORMATION (OCLC) |
|---|
| a |
33039000440833 |
| 903 ## - LOCAL DATA ELEMENT C, LDC (RLIN) |
|---|
| a |
29938 |