What is distinctive about Greek lyric? How should we conceptualize it in relation to literature, song, music, rhetoric, history? This discussion investigates such questions, analysing a range of influential methodologies that have shaped the recent history of the field.
Alan Jay Lerner wrote the lyrics for some of the most beloved musicals in Broadway and Hollywood history. Most notably, with composer Frederick Loewe he created enduring hits such as My Fair Lady, Gigi, Camelot, and Brigadoon. In The Complete Lyrics of Alan Jay Lerner, editors and annotators Dominic McHugh and Amy Asch bring all of Lerner's lyrics together for the first time, including numerous draft or alternate versions and songs cut from the shows. Compiled from dozens of archival collections, this invaluable resource and authoritative reference includes both Lerner's classic works and numerous discoveries, including his unproduced MGM movie Huckleberry Finn, selections from his college musicals, and lyrics from three different versions of Paint Your Wagon. This collection also includes extensive material from Lerner's two most ambitious musicals: Love Life, to music by Kurt Weill, and 1600 Pennsylvania Avenue, which Lerner wrote with Leonard Bernstein.
Present scholarly conversations about early European and global modernity have yet to acknowledge fully the significance of Spain and Spanish cultural production. Poetry and ideology in early modern Spain form the backdrop for Imperial Lyric, which seeks to address this shortcoming. Based on readings of representative poems by eight Peninsular writers, Imperial Lyric demonstrates that the lyric was a crucial site for the negotiation of masculine identity as Spain’s noblemen were alternately cajoled and coerced into abandoning their identifications with images of the medieval hero and assuming instead the posture of subjects. The book thus demonstrates the importance of Peninsular letters to our understanding of shifting ideologies of the self, language, and the state that mark watersheds for European and American modernity. At the same time, this book aims to complicate the historicizing turn we have taken in the field of early modern studies by considering a threshold of modernity that was specific to poetry, one that was inscribed in Spanish culture when the genre of lyric poetry attained a certain kind of prestige at the expense of epic. Imperial Lyric breaks striking new ground in the field of early modern studies.