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Author: Howard S. Becker
Publisher: University of Chicago Press
ISBN: 022616652X
Category : Social Science
Languages : en
Pages : 215
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Book Description
In 1963, Howard S. Becker gave a lecture about deviance, challenging the then-conventional definition that deviance was inherently criminal and abnormal and arguing that instead, deviance was better understood as a function of labeling. At the end of his lecture, a distinguished colleague standing at the back of the room, puffing a cigar, looked at Becker quizzically and asked, “What about murder? Isn’t that really deviant?” It sounded like Becker had been backed into a corner. Becker, however, wasn’t defeated! Reasonable people, he countered, differ over whether certain killings are murder or justified homicide, and these differences vary depending on what kinds of people did the killing. In What About Mozart? What About Murder?, Becker uses this example, along with many others, to demonstrate the different ways to study society, one that uses carefully investigated, specific cases and another that relies on speculation and on what he calls “killer questions,” aimed at taking down an opponent by citing invented cases. Becker draws on a lifetime of sociological research and wisdom to show, in helpful detail, how to use a variety of kinds of cases to build sociological knowledge. With his trademark conversational flair and informal, personal perspective Becker provides a guide that researchers can use to produce general sociological knowledge through case studies. He champions research that has enough data to go beyond guesswork and urges researchers to avoid what he calls “skeleton cases,” which use fictional stories that pose as scientific evidence. Using his long career as a backdrop, Becker delivers a winning book that will surely change the way scholars in many fields approach their research.
Author: Howard S. Becker
Publisher: University of Chicago Press
ISBN: 022616652X
Category : Social Science
Languages : en
Pages : 215
Get Book Here
Book Description
In 1963, Howard S. Becker gave a lecture about deviance, challenging the then-conventional definition that deviance was inherently criminal and abnormal and arguing that instead, deviance was better understood as a function of labeling. At the end of his lecture, a distinguished colleague standing at the back of the room, puffing a cigar, looked at Becker quizzically and asked, “What about murder? Isn’t that really deviant?” It sounded like Becker had been backed into a corner. Becker, however, wasn’t defeated! Reasonable people, he countered, differ over whether certain killings are murder or justified homicide, and these differences vary depending on what kinds of people did the killing. In What About Mozart? What About Murder?, Becker uses this example, along with many others, to demonstrate the different ways to study society, one that uses carefully investigated, specific cases and another that relies on speculation and on what he calls “killer questions,” aimed at taking down an opponent by citing invented cases. Becker draws on a lifetime of sociological research and wisdom to show, in helpful detail, how to use a variety of kinds of cases to build sociological knowledge. With his trademark conversational flair and informal, personal perspective Becker provides a guide that researchers can use to produce general sociological knowledge through case studies. He champions research that has enough data to go beyond guesswork and urges researchers to avoid what he calls “skeleton cases,” which use fictional stories that pose as scientific evidence. Using his long career as a backdrop, Becker delivers a winning book that will surely change the way scholars in many fields approach their research.
Author: Susan Larson
Publisher:
ISBN: 9781939113337
Category :
Languages : en
Pages : 218
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Book Description
If you attended the opera in the 18th century, you could buy a program booklet with side-by-side translations of the text and a list of the participants. Think of "The Murder of Figaro" as one such souvenir booklet. Just add music--and imagination: It's 1786, and "The Marriage of Figaro," a new comic opera by Amadé Mozart and Lorenzo Da Ponte, has just begun its first onstage rehearsal when a corpse is discovered in the wings: it's the universally-loathed Imperial Censor. Despite a verdict of suicide, Da Ponte is arrested, and singers accuse each other of murder. In a desperate scramble to save "Figaro," Da Ponte, and their lives, Mozart and his clever wife Constanze set out to solve this deadly mystery. If they fail, "Figaro" will never play in Vienna! Boston diva Susan Larson was a professional concert and operatic soprano for thirty years. She not only sang a string of Mozart's most iconic soprano roles (Cherubino, Donna Anna, Papagena, Fiordiligi, etc.), she has read his collected letters and researched the lives of his contemporaries to create this antic vision of what might have been: Mozart plays Sherlock Holmes "The Marriage of Figaro" started life as a scandalous stage play by Beaumarchais, and became a scandalous opera by Mozart and Da Ponte. The unusual opera libretto format is divided into the classical five acts. Monologues become arias, and dialogs become duets. Since operas of the time often started with multiple overtures, "The Murder of Figaro" has three. The plot follows that of the opera in an extremely loose fashion, with lots of coffee breaks and detours into Shakespeare, other Mozart operas, hot news and scandals of the day, and the American Revolution. Says Larson about her approach to the book: "The original singers in "Figaro" have always fascinated me. They are largely forgotten, but were hard-working international stars in their day. Did they love the music written for them by the brash young upstart Mozart? Did they squabble and throw prima-donna fits? I invented rather messy lives for them, based on the lives of the many opera singers I have known in my life; sometimes behaving nobly sometimes abominably." Regarding Mozart himself, she adds: "I was a professional concert and operatic soprano for thirty years. Mozart was my hero and idol. We were teacher and pupil. I believe we were friends."
Author: Scott Mariani
Publisher: Simon and Schuster
ISBN: 1439193371
Category : Fiction
Languages : en
Pages : 436
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Book Description
Former British Special Air Service officer Ben Hope is running for his life. Enlisted by Leigh Llewellyn--the beautiful, world-famous opera star and Ben's first love--to investigate her brother's mysterious death, Ben finds himself caught up in a puzzle dating back to the 1700s.
Author: H. S. Brockmeyer
Publisher:
ISBN: 9780595477135
Category : History
Languages : en
Pages : 0
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Book Description
New Evidence of Murder * How Mozart was Murdered * Who Did It? * Where Mozart is Buried * Why Mozart was Murdered When H. S. Brockmeyer first became interested in Mozart and his tragic early death, she wasn't thinking of murder or any kind of foul play. Her curiosity was piqued, however, by all the unanswered questions that were overlooked by the scholars. As her interest grew and she began doing her own research, she was shocked to find more and more holes in the official story. She was hooked-and years later the result is this book. The damning facts about Mozart's tragic death are revealed in Echoes of a Distant Crime. This evidence has been available since his death in 1791; it has just been hidden in darkness-until now. Hint: Mozart was not killed by poison. Hint: Salieri didn't kill Mozart. Hint: Mozart is not buried in a pauper's grave-or any kind of grave-in the St. Marx cemetery in Vienna. An 18th century document holds an important clue to Mozart's life - and death - and is revealed in stunning detail in Brockmeyer's book, weaving a controversial, thoroughly researched tale of the composer's last two fatal years.
Author: Roye E. Wates
Publisher: Amadeus Press
ISBN: 1574671898
Category : Performing Arts
Languages : en
Pages : 338
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Book Description
(Amadeus). Mozart: An Introduction to the Music, the Man, and the Myths explores in detail 20 of the composer's major works in the context of his tragically brief life and the turbulent times in which he lived. Addressed to non-musicians seeking to deepen their technical appreciation for his music while learning more about Mozart the man than the caricature portrayed in the 1986 movie Amadeus , this book offers extensive biographical and historical background debunking many well-established Mozart myths along with guided study of compositions representing every genre of 18th-century music: opera, concerto, symphony, church music, divertimento and serenade, sonata, and string quartet. Author Roye E. Wates, a Mozart specialist, has taught music history to thousands of non-musicians, both undergraduates and adults, as a Professor of Music at Boston University and from 2002-2004 as director of Boston University's Adult Music Seminar at Tanglewood, summer residence of the Boston Symphony Orchestra. Mozart: An Introduction to the Music, the Man, and the Myths provides a unique combination of biographical detail, up-to-date research, detailed musical analyses, and clear definitions of terms. Amateurs as well as more advanced musicians will gain a greater understanding of Mozart's encyclopedic mastery.
Author: Matt Rees
Publisher: Harper Collins
ISBN: 006209937X
Category : Fiction
Languages : en
Pages : 246
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Book Description
Award-winning author Matt Rees takes readers to 18th centuryAustria, where Mozart’s estranged sister Nannerl stumblesinto a world of ambition, conspiracy, and immortal music while attempting touncover the truth about her brother’s suspicious death. Did Mozart’s life endin murder? Nannerl must brave dire circumstances tofind out, running afoul of the secret police, the freemasons, and even theAustrian Emperor himself as she delves into a scandal greater than she had everimagined. With captivating historical details, compelling characters, and areal-life mystery upon which everything hinges, Rees—the award-winning authorof the internationally acclaimed Omar Yussefcrime series—writes in the tradition of Irvin Yalom’sWhen Nietzsche Wept, Louis Bayard’s The Pale Blue Eye, andPhillip Sington’s The Einstein Girl to achievethe very best in historical fiction with Mozart’s Last Aria.
Author: Ken Roy
Publisher:
ISBN: 9780759644267
Category : Fiction
Languages : en
Pages : 176
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Book Description
Author: William Stafford
Publisher: Springer
ISBN: 1349125164
Category : Music
Languages : en
Pages : 295
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Book Description
There is a macabre fascination in the spectacle of one so brilliant, dying so young, in such tragic circumstances. Was Mozart poisoned? Was he irresponsible and childish, dying from debauchery and dissipation? Did his wife contribute to his downfall? Was he driven to destruction by being ostracised as a rebel? Did his genius render him incapable of normal human contact and worldly prudence? Did he die because he had accomplished his mission as an artist and burnt himself out? Was he the victim of a run of bad luck? From 1791 to the present such stories have flourished; this book examines their development and the evidence for them.
Author: Bernard Bastable
Publisher: Pan Macmillan
ISBN: 1447239245
Category : Fiction
Languages : en
Pages : 213
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Book Description
It is 1820, and George IV has just assumed the throne. An ageing Wolfgang Amadeus Mozart is intrigued by the prospect of a coronation, scenting rich pickings. As a child he had visited England with his family in 1764, but instead of returning to Austria and an early death (as orthodox music history relates), they stayed on, deluded by a piece of royal generosity – the result of a misunderstanding of guttural royal English. Now Mozart conducts his own meretricious rubbish at a London theatre, but dreams of having one more ‘real’ opera staged before he dies. However, the trial of George IV’s wayward queen for adultery, before the Lords, leads Mozart into dangerous – and indeed murderous – waters. Insulted (most graciously) by the King, the composer finds himself involved in disposing of an inconvenient corpse and initiating enquiries to uncover the murderer . . . a matter which seems of remarkably little consequence to everyone else. This diverting and perplexing piece of alternative history is a delightful addition to our knowledge of the great composer, and to the output of Bernard Bastable, also known to crime fans as Robert Barnard. ‘Not only fetchingly funny, but also craftily plotted.’ The Scotsman ‘Great fun is had with real and imagined historical personages.’ Irish Times ‘Tremendous period skulduggery’ Sunday Times
Author: Janet Malcolm
Publisher: Vintage
ISBN: 0307797872
Category : Language Arts & Disciplines
Languages : en
Pages : 177
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Book Description
A seminal work and examination of the psychopathology of journalism. Using a strange and unprecedented lawsuit by a convicted murder againt the journalist who wrote a book about his crime, Malcolm delves into the always uneasy, sometimes tragic relationship that exists between journalist and subject. Featuring the real-life lawsuit of Jeffrey MacDonald, a convicted murderer, against Joe McGinniss, the author of Fatal Vision. In Malcolm's view, neither journalist nor subject can avoid the moral impasse that is built into the journalistic situation. When the text first appeared, as a two-part article in The New Yorker, its thesis seemed so radical and its irony so pitiless that journalists across the country reacted as if stung. Her book is a work of journalism as well as an essay on journalism: it at once exemplifies and dissects its subject. In her interviews with the leading and subsidiary characters in the MacDonald-McGinniss case -- the principals, their lawyers, the members of the jury, and the various persons who testified as expert witnesses at the trial -- Malcolm is always aware of herself as a player in a game that, as she points out, she cannot lose. The journalist-subject encounter has always troubled journalists, but never before has it been looked at so unflinchingly and so ruefully. Hovering over the narrative -- and always on the edge of the reader's consciousness -- is the MacDonald murder case itself, which imparts to the book an atmosphere of anxiety and uncanniness. The Journalist and the Murderer derives from and reflects many of the dominant intellectual concerns of our time, and it will have a particular appeal for those who cherish the odd, the off-center, and the unsolved.
