Titlebook: Jean-Jacques Rousseau: Music, Illusion and Desire; Michael O’Dea Book 1995 Palgrave Macmillan, a division of Macmillan Publishers Limited

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危機(jī)

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Palgrave Macmillan, a division of Macmillan Publishers Limited 1995

CHANT

Nausea

Introduction,e chateau had been placed at his disposal by the Prince de Conti. It had been one of the most exhausting and terrifying years of the writer’s life, filled with demonic fantasies that had led him to abandon his English retreat without warning and to travel half the length of the country in an effort

棲息地

The Early Musical Writings and the Controversy with Rameau, figure. His early attempt at a diplomatic career in Venice had ended ignominiously; his previous ventures into music theory and composition had failed or made little impact. Rousseau depicts himself in the . as seizing this new opportunity with febrile energy. He works at a exhausting pace and with

狂亂

Music, Imitation and Illusion,he theory of overtones, Rousseau will equally refer his admiration for the Greeks, his rejection of French music, his belief in the priority of melody, to a history of the human voice that is also a history of the human race. Against the incipient materialism of Rameau’s theories, with their vibrati

ingestion

Interstellar

,Social Order and ‘,’,wever, the phrase also acknowledges a difficulty in classifying . If it is a kind of novel, it is a different kind from most, one that even by the spacious standards of the eighteenth century shows a rare disregard for narrative economy. More fundamentally, this novel is not like others in that it i

他姓手中拿著

,Les Confessions: ‘Ivresse, délires, folies’,out: ‘.’ (3). Within the text, every comment on the aims and method of the work lays claim to exactness, completeness, frankness; every embarrassing admission calls forth a reminder that such admissions demonstrate the author’s good faith. That being so, fiction may seem a perverse starting-point fo