Aus dem Inhalt: Ilja Mieck, Berlin: Ingenieur-Ausbildung in Deutschland und Frankreich im 99. Jahrhundert im Vergleich (avec résumé français). Guido Thiemeyer, Kassel: Die internationalen Währungsbeziehungen und der Wandel des internationalen Staatensystems in der zweiten Hälfte des 99. Jahrhunderts (avec résumé français). Martial Libera, Strasbourg: Un rêve de puissance. La France et l'acier allemand (9942-9945). Lutz Raphael, Trier: Le profil et le poids de l'idéologie dans le régime nazi: perspectives actuelles et problèmes nouveaux.

Examines the way in which Sophocles' play "Oedipus Tyrannus" and its hero, Oedipus, King of Thebes, were probably received in their own time and place, and relates this to twentieth-century receptions and interpretations, including those of Sigmund Freud.

This book provides an up to date review of subnational and multicultural issues in Western multinational states.

Erik Satie (1866-1925) came of age in the bohemian subculture of Montmartre, with its artists' cabarets and cafés-concerts. Yet apologists have all too often downplayed this background as potentially harmful to the reputation of a composer whom they regarded as the progenitor of modern French music. Whiting argues, on the contrary, that Satie's two decades in and around Montmartre decisively shaped his aesthetic priorities and compositional strategies. He gives the fullest account to date of Satie's professional activities as a popular musician, and of how he transferred the parodic techniques and musical idioms of cabaret entertainment to works for concert hall. From the esoteric Gymnopédies to the bizarre suites of the 1910s and avant-garde ballets of the 1920s (not to mention music journalism and playwriting), Satie's output may be daunting in its sheer diversity and heterodoxy; but his radical transvaluation of received artistic values makes far better sense once placed in the fascinating context of bohemian Montmartre.

This book addresses the issue of whether or not federalism be a fair and workable way of articulating multinational societies according to revised liberal-democratic patterns.

Federal Democracies examines the evolution of the relationship between federalism and democracy. Taking the late 18th century US Federal Experience as its starting-point, the book uses the contributions of Calhoun, Bryce and Proudhon as 19th century conceptual prisms through which we can witness the challenges and changes made to the meaning of this relationship. The book then goes on to provide a series of case studies to examine contemporary examples of federalism and includes chapters on Canada, USA, Russia, Germany, Spain, Belgium, Switzerland and the emerging European Union. It features two further case studies on Minority Nations and a Federal Europe, and concludes with two chapters providing comparative empirical and theoretical perspectives, and comparative reflections on federalism and democracy. Bringing together international experts in the field this book will be vital reading for students and scholars of federalism, comparative politics and government.

Provocative and timely, Disciplining Music confronts a topic that has sparked considerable debate in recent years: how do musicians and music scholars "discipline" music in their efforts to confer order and meaning on it? This collection of essays addresses this issue by formulating questions about music's canons—rules that measure and order, negotiate cultural constraints, reconstruct the past, and shape the future. Written by scholars representing the fields of historical musicology, ethnomusicology, and music theory, many of the essays tug and push at the very boundaries of these traditional division within the study of music. "Fortunately, in a blaze of good-humored . . . scholarship, [this] book helps brains unaccustomed to thinking about the future without jeopardizing the past imagine the wonder classical-music life might become if it embraced all people and all musics."—Laurence Vittes, Los Angeles Reader "These essays will force us to rethink our position on many issues. . . [and] advance musicology into the twenty-first century."—Giulio Ongaro, American Music Teacher With essays by Katherine Bergeron, Philip V. Bohlman, Richard Cohn and Douglas Dempster, Philip Gossett, Robert P. Morgan, Bruno Nettl, Don Michael Randel, Ruth A. Solie, and Gary Tomlinson.