As one of the most important philosophers of the 20th century; Michel Foucaultrsquo;s reputation today rests on his political philosophy in relation to the contemporary subject in a neo-liberal and globalized society. This book offers insight into the role of the arts in Foucaultrsquo;s thought as a means to better understanding his contribution to larger debates concerning contemporary existence. Visual culture; literary; film and performance studies have all engaged with Foucauldian theories; but a full examination of Foucaultrsquo;s significance for aesthetic discourse has been lacking until now. This book argues that Foucaultrsquo;s particular approach to philosophy as a way of thinking the self through the work of art provides significant grounds for rethinking his impact today. The volume moves across as many disciplinary boundaries as Foucault himself did; demonstrating the value of Foucaultrsquo;s approach to aesthetic discourse for our understanding of how the arts and humanities reflect upon contemporary existence in a globalized society.
#2205592 in eBooks 2012-09-20 2016-10-28File Name: B01M72QRKQ
Review
0 of 0 people found the following review helpful. textBy B. MurphyAccurate but the text is weird and requires squinting but you will get used to it I suppose. Achilles last stand is very accurate.0 of 1 people found the following review helpful. Five StarsBy CustomerAwesome8 of 9 people found the following review helpful. Good detailed guidelinesBy CryptoJimIve got the Alfreds Platinum Album Editions for Zeppelins final four studio albums. including Coda. For the most part. theyre thorough and well done. though as is usual with transcriptions directly from recorded versions. there are some simplifications and omissions. Thats fine with me. because I wouldnt want to play a given song exactly as it is on the record anyway; Led Zeppelin certainly never did. So these editions work well as detailed guidelines to the guitar parts of these songs. and its good to have everything up to date and based. or so the publisher says. on archival footage and interviews and so forth. Its good also to have transcriptions of lesser known songs from Zeppelins catalog. such as "Tea for One" and "Carouselambra" (from In Through the Out Door).I have noted some rhythmic oddities in the Presence volume. though. For example. the transcriber places the downbeats in "Candy Store Rock" an eighth note off from how Ive always counted it and how it just naturally feels. To do so. he has to use bars of 7/8 and 9/8. and this just looks and feels very weird. Its a 70s take on rockabilly. and I really doubt that Page and/or Bonham counted it as its shown in the book. Then again. a reviewer of the transcriptions of the first album made a similar observation about "Black Mountain Side." but he also noted that the transcriber apparently spoke with Jimmy Page. who confirmed that it was correctly noted in terms of rhythm. So maybe this is correct too. but Im dubious. Ive seen this before with transcriptions of Zeppelins songs; I think maybe that because some songs did have complicated rhythms with many meter changes ("The Crunge"). transcribers tend to use different time signatures to notate rhythms that are really just very syncopated within 4/4 (the opening section of "Over the Hills and Far Away." which is sometimes shown as alternating bars of 9/8 and 7/8. is a good example).Another peculiarity is in the guitar solo in "For Your Life": at the bottom of page 49. theres a bar of 2/4 that. on the record. is very plainly actually a bar of 5/8. That. or theres a pause on the first beat of the following measure of 4/4. but the transcription doesnt show that either (with a fermata. for example).But these are the kinds of little glitches most of these sorts of supposedly note-for-note transcriptions have. and by and large. theyre no big deal. Anyone skilled enough to take on "For Your Life" is probably going to know whats going on and compensate for these little errors. So. overall. well done. Alfred!
