angel muse

FINALIST FOR THE PULITZER PRIZE FINALIST FOR THE BOOKER PRIZE LONGLISTED FOR THE WOMEN'S PRIZE AND THE CAROL SHIELDS PRIZE FOR FICTION NAMED A BEST BOOK OF THE YEAR BY BARACK OBAMA, THE WASHINGTON POST, THE NEW YORKER, NPR, THE NEW YORK PUBLIC LIBRARY, VOGUE, TIME MAGAZINE, MARIE CLAIRE, THE LOS ANGELES TIMES, THE GUARDIAN AND MORE! “A tightly wound family drama that reads like a psychological thriller."—NPR One woman, the performance of a lifetime. Or two. An exhilarating, destabilizing Möbius strip of a novel that asks whether we ever really know the people we love. Two people meet for lunch in a Manhattan restaurant. She’s an accomplished actress in rehearsals for an upcoming premiere. He’s attractive, troubling, young—young enough to be her son. Who is he to her, and who is she to him? In this compulsively readable, brilliantly constructed novel, two competing narratives unspool, rewriting our understanding of the roles we play every day – partner, parent, creator, muse – and the truths every performance masks, especially from those who think they know us most intimately. Taut and hypnotic, Audition is Katie Kitamura at her virtuosic best.

FINALIST FOR THE PULITZER PRIZE FINALIST FOR THE BOOKER PRIZE LONGLISTED FOR THE WOMEN'S PRIZE AND THE CAROL SHIELDS PRIZE FOR FICTION NAMED A BEST BOOK OF THE YEAR BY BARACK OBAMA, THE WASHINGTON POST, THE NEW YORKER, NPR, THE NEW YORK PUBLIC LIBRARY, VOGUE, TIME MAGAZINE, MARIE CLAIRE, THE LOS ANGELES TIMES, THE GUARDIAN AND MORE! “A tightly wound family drama that reads like a psychological thriller."—NPR One woman, the performance of a lifetime. Or two. An exhilarating, destabilizing Möbius strip of a novel that asks whether we ever really know the people we love. Two people meet for lunch in a Manhattan restaurant. She’s an accomplished actress in rehearsals for an upcoming premiere. He’s attractive, troubling, young—young enough to be her son. Who is he to her, and who is she to him? In this compulsively readable, brilliantly constructed novel, two competing narratives unspool, rewriting our understanding of the roles we play every day – partner, parent, creator, muse – and the truths every performance masks, especially from those who think they know us most intimately. Taut and hypnotic, Audition is Katie Kitamura at her virtuosic best.

Auf Bali wird Celia Opfer eines mysteriösen Mordes. Für den Reise-Influencer Lawrence war Celia Muse wie Star in seinen Videos und half, seine Follower-Zahl und die Werbegelder von Lifestyle-Marken zu steigern. Im Erfolgsrausch stockt Lawrence sein Team aus Freunden auf, beschließt auf Bali, mit der schönen Jimena die Lücke von Celia zu füllen. Er verstärkt sein Team um Jamison, Tontechniker aus der Club-/Musikfestival-Szene. Der ältere Jamison ist Ruhepol der Truppe — seine Beobachtungen, Gefühle, Gedanken bieten Einblicke in das Geschehen um Lawrence, Jimena und die anderen, beleuchten die extravaganten Reiseziele, die Art ihrer Tätigkeiten, ihr Beziehungsgeflecht untereinander, und zeigen, wie es am Ende zum Desaster kommt. Die Werbung mit Jimena ist auf Social-Media noch erfolgreicher – potente Auftraggeber bedrängen Lawrence. Man filmt in Ostafrika, in Dubai, den Emiraten, erntet Lob und viel Geld. Unterschwellig schwelt ein Konflikt zwischen Lawrence und Jimena – sie fordert Zeit für eigene Projekte. Von Jamison beruhigt, folgt sie nach Los Angeles, geht mit auf Tour durchs kalifornische Death Valley. Dort trifft sie eine YouTuberIn, die ihr rät, von Lawrence erst zu lernen, um danach einen eigenen Kanal aufzubauen. Dieser Einfluss bleibt nicht verborgen. Jamison ahnt, dass Lawrence drastisch reagieren wird, falls er seinen Star Jimena verliert. Lawrence bereitet mit der YouTuberIn für alle den Besuch des Burning Man Festivals vor, um Motivation und neue Ideen zu schöpfen. Jamison erkennt dort, wie Lawrence in einen Taumel aus Irrationalität und Untreue, seinen dunklen Seiten, abdriftet. Oft sondert er sich ab, pflegt engen Kontakt zu einer Frau, der er auf Social-Media folgt. Schließlich begeht Lawrence vor den Augen des Internets eine schreckliche Tat: er legt an einer Kunst-Installation Feuer und provoziert, dass Jimena dabei umkommt. Für Jamison ist klar, dass es ein perfider Plan war, derart, wie Lawrence auf Bali schon Celia durch Jimena ersetzt hat.

Auf Bali wird Celia Opfer eines mysteriösen Mordes. Für den Reise-Influencer Lawrence war Celia Muse wie Star in seinen Videos und half, seine Follower-Zahl und die Werbegelder von Lifestyle-Marken zu steigern. Im Erfolgsrausch stockt Lawrence sein Team aus Freunden auf, beschließt auf Bali, mit der schönen Jimena die Lücke von Celia zu füllen. Er verstärkt sein Team um Jamison, Tontechniker aus der Club-/Musikfestival-Szene. Der ältere Jamison ist Ruhepol der Truppe — seine Beobachtungen, Gefühle, Gedanken bieten Einblicke in das Geschehen um Lawrence, Jimena und die anderen, beleuchten die extravaganten Reiseziele, die Art ihrer Tätigkeiten, ihr Beziehungsgeflecht untereinander, und zeigen, wie es am Ende zum Desaster kommt. Die Werbung mit Jimena ist auf Social-Media noch erfolgreicher – potente Auftraggeber bedrängen Lawrence. Man filmt in Ostafrika, in Dubai, den Emiraten, erntet Lob und viel Geld. Unterschwellig schwelt ein Konflikt zwischen Lawrence und Jimena – sie fordert Zeit für eigene Projekte. Von Jamison beruhigt, folgt sie nach Los Angeles, geht mit auf Tour durchs kalifornische Death Valley. Dort trifft sie eine YouTuberIn, die ihr rät, von Lawrence erst zu lernen, um danach einen eigenen Kanal aufzubauen. Dieser Einfluss bleibt nicht verborgen. Jamison ahnt, dass Lawrence drastisch reagieren wird, falls er seinen Star Jimena verliert. Lawrence bereitet mit der YouTuberIn für alle den Besuch des Burning Man Festivals vor, um Motivation und neue Ideen zu schöpfen. Jamison erkennt dort, wie Lawrence in einen Taumel aus Irrationalität und Untreue, seinen dunklen Seiten, abdriftet. Oft sondert er sich ab, pflegt engen Kontakt zu einer Frau, der er auf Social-Media folgt. Schließlich begeht Lawrence vor den Augen des Internets eine schreckliche Tat: er legt an einer Kunst-Installation Feuer und provoziert, dass Jimena dabei umkommt. Für Jamison ist klar, dass es ein perfider Plan war, derart, wie Lawrence auf Bali schon Celia durch Jimena ersetzt hat.

A legendary love letter to Los Angeles by the city's most charming daughter, complete with portraits of rock stars at Chateau Marmont, surfers in Santa Monica, prostitutes on sunset, and Eve's own beloved cat, Rosie. Journalist, party girl, bookworm, artist, muse: by the time she d hit thirty, Eve Babitz had played all of these roles. Immortalized as the nude beauty facing down Duchamp and as one of Ed Ruscha s Five 1965 Girlfriends, Babitz s first book showed her to be a razor-sharp writer with tales of her own. Eve s Hollywood is an album of vivid snapshots of Southern California s haute bohemians, of outrageously beautiful high-school ingenues and enviably tattooed Chicanas, of rock stars sleeping it off at the Chateau Marmont. And though Babitz s prose might appear careening, she s in control as she takes us on a ride through an LA of perpetual delight, from a joint serving the perfect taquito, to the corner of La Brea and Sunset where we make eye contact with a roller-skating hooker, to the Watts Towers. This daughter of the wasteland is here to show us that her city is no wasteland at all but a glowing landscape of swaying fruit trees and blooming bougainvillea, buffeted by earthquakes and the Santa Ana winds and every bit as seductive as she is.

Bloomsbury presents Tin Can Coast by Joseph Ogilvy, read by Ryan Wilson."Powerful nature writing . . . a lively story about the consequences of rapacious capitalism." —LOS ANGELES TIMES"You'll never look at a can of tuna the same way again." —MALCOM HARRIS, nationally bestselling author of Palo AltoThe hidden story of the California Coast, told through generations of immigrants, surges of industry, and three marine species caught in the dragnet of human history.Look west from San Francisco or Monterey, past the surfers and cargo ships. This is the California Current, 1,900 miles of the most productive waters on earth. It was here that eighteenth-century locals encountered frisbee-sized abalone mollusks, sardine schools the size of buses, and Yellowfin tuna, each the size of a man. But it was not to last.Over the next three centuries, the abalone, sardine, and tuna were swept into the violent undertow of history. Their species became resources. Fishing and hunting drove the Spanish-Russian territory battle of the eighteenth century, California's virulently racist first "conservation" laws in the 19th, and an ad campaign that kept America fed on just-like-chicken canned goods in the 20th. Along the way, they became drivers of geopolitical competition, catalysts for the dramatic rise and fall of Cannery Row aristocracy, and even surly muses for John Steinbeck and Fritz Lang.Collapsing the distinctions between human and natural history, Tin Can Coast brings the cautionary tale of the California shore to life.

Naxos AudioBooks begins its new series of Great Poets - represented by their most popular poems on one CD - with William Blake, whose 250th anniversary of birth falls this year. This CD contains all of his most popular works - Tyger, the Auguries of Innocence, Jerusalem, as well as some lesser-known poetry that demonstrates the range and power of his verse. They are strikingly read by Robert Glenister, Michael Maloney and Stephen Critchlow. INCLUDED IN The Great Poets - William Blake Auguries of Innocence Introduction to Songs of Innocence A Cradle Song Introduction to Songs of Experience A Dream The Chimney Sweeper The Chimney-Sweeper The Divine Image A Divine Image from The Gates of Paradise, For The Sexes, Prologue Infant Joy Gnomic Verses The Fly Song Holy Thursday HolyThursday Laughing Song The Garden of Love from An Island in the Moon A Little Boy Found A Little Boy Lost The Little Girl Found A Little Girl Lost I Heard an Angel The Human Abstract Night from Jerusalem London The Land of Dreams Nurse's Song Love's Secret A Poison Tree preface to Milton The Little Vagabond On Art and Artists The Sick Rose Ah, Sunflower The Voice of the Ancient Bard To The Muses The Lamb The Tiger On Another's Sorrow

A legendary love letter to Los Angeles by the city's most charming daughter, complete with portraits of rock stars at Chateau Marmont, surfers in Santa Monica, prostitutes on sunset, and Eve's own beloved cat, Rosie.  Journalist, party girl, bookworm, artist, muse: by the time she d hit thirty, Eve Babitz had played all of these roles. Immortalized as the nude beauty facing down Duchamp and as one of Ed Ruscha s Five 1965 Girlfriends, Babitz s first book showed her to be a razor-sharp writer with tales of her own. Eve s Hollywood is an album of  vivid snapshots of Southern California s haute bohemians, of outrageously beautiful high-school ingenues and enviably tattooed Chicanas, of rock stars sleeping it off at the Chateau Marmont. And though Babitz s prose might appear careening, she s in control as she takes us on a ride through an LA of perpetual delight, from a joint serving the perfect taquito, to the corner of La Brea and Sunset where we make eye contact with a roller-skating hooker, to the Watts Towers. This daughter of the wasteland is here to show us that her city is no wasteland at all but a glowing landscape of swaying fruit trees and blooming bougainvillea, buffeted by earthquakes and the Santa Ana winds and every bit as seductive as she is.

The twenty-fifth anniversary edition of the landmark biography that tells the full-scale, riveting, and untold story of Marlene Dietrich. Wildly entertaining, Maria Riva reveals the rich life of her mother in vivid detail, evoking Dietrich the woman, her legendary career, and her world. Opening with Dietrich's childhood in Berlin, we meet an energetic, disciplined, and ambitious young actress, whose own mother equated the stage with a world of vagabonds and thieves. Dietrich would quickly rise to stardom on the Berlin stage in the 1920s with her sharp wit and bisexuality-wearing the top hat and tails that revolutionized our concept of beauty and femininity. She would play vulgarity but not become in; startle the world but still maintain the aloofness of an aristocrat. As Riva herself remembers, "At age three, I knew quite definitely that I didn't have a mother, I belonged to a queen." Marlene Dietrich comes alive in these pages in all of her incarnations: as muse, artistic collaborator, bonafide movie star, box-office poison, lover, wife, and mother. Dietrich would stand up to the Nazis and galvanize American troops, eventually earning the Congressional Medal of Freedom. There were her rich artistic relationships with Josef von Sternberg (The Blue Angel, Morocco, Shanghai Express), Colette, Erich Maria Remarque, Noël Coward and Cole Porter, and her heady romances. In her final years, she would make herself visibly invisible, devoting herself to the immortality of her legend. Maria Riva's biography of her mother has the depth, range, and resonance of a novel and captures the conviction and passion of its remarkable subject.

Die Ultimate Easy Piano Songlist ist eine Noten Sammlung mit über 40 der meistverkauften Songs seit den 50er Jahren bis heute. Alle Songs im Notenbuch sind für Klavier leicht arrangiert. Die Sammlung umfasst Hits wie 7 Years von Lukas Graham und Let It Go vom Disney Film Frozen sowie Klassikern wie Nat King Cole's Let There Be Love bis zu Space Oddity von David Bowie. Inhalt: 7 Years (Lukas Graham) All I Ask (Adele) All I Want (Kodaline) Another Love (Tom Odell) Anyone Who Had A Heart (Cilla Black) As Time Goes By (Bing Crosby) Bewitched (Ella Fitzgerald) The Christmas Song (Nat King Cole) Creep (Radiohead) Cry Me a River (Julie London) Dangerous (David Guetta) Do They Know It's Christmas (Band Aid) Driving Home For Christmas (Chris Rea) Earned It (The Weekend) Every Time We Say Goodbye (Cole Porter) Fly Me To The Moon (Frank Sinatra) Ghost (Ella Henderson) Great Balls Of Fire (Jerry Lee Lewis) The Hanging Tree (Jennifer Lawrence) Hold On (Michael Buble) Hotel California (Eagles) If I Could Fly (One Direction) If I Ruled The World (Jamie Cullum) Last Christmas (Wham) Lego House (Ed Sheeran) Let It Go (from Frozen) Let There Be Love (George Shearing) Like I'm Gonna Lose You (Meghan Trainor & John Legend) Love Me Like You Do (Ellie Goulding) Ne Mais Quitte Pas (If You Go Away) (Nina Simone) Not About Angels (Birdy) One Call Away (Charlie Puth) One Day Like This (Elbow) The Power Of Love (Gabrielle Aplin) Ring Of Fire (Johnny Cash) See You Again (Wiz Khalifa) Sorry (Justin Bieber) Space Oddity (David Bowie) Sweet Child O' Mine (Guns N Roses) Uprising (Muse) Uptown Funk (Mark Ronson feat. Bruno Mars) Waterloo Sunset (The Kinks) When I Fall In Love (Nat King Cole) White Cliffs Of Dover (Vera Lynn) Zombie (Cranberries)

"Consent" is a Molotov cocktail, flung at the face of the French establishment, a work of dazzling, highly controlled fury...By every conceivable metric, her book is a triumph." -- The New York Times Already an international literary sensation, an intimate and powerful memoir of a young French teenage girl's relationship with a famous, much older male writer-a universal #MeToo story of power, manipulation, trauma, recovery, and resiliency that exposes the hypocrisy of a culture that has allowed the sexual abuse of minors to occur unchecked. Sometimes, all it takes is a single voice to shatter the silence of complicity. Thirty years ago, Vanessa Springora was the teenage muse of one of the country's most celebrated writers, a footnote in the narrative of a very influential man in the French literary world. At the end of 2019, as women around the world began to speak out, Vanessa, now in her forties and the director of one of France's leading publishing houses, decided to reclaim her own story, offering her perspective of those events sharply known. Consent is the story of one precocious young girl's stolen adolescence. Devastating in its honesty, Vanessa's painstakingly memoir lays bare the cultural attitudes and circumstances that made it possible for a thirteen-year-old girl to become involved with a fifty-year-old man who happened to be a notable writer. As she recalls the events of her childhood and her seduction by one of her country's most notable writers, Vanessa reflects on the ways in which this disturbing relationship changed and affected her as she grew older. Drawing parallels between children's fairy tales and French history and her personal life, Vanessa offers an intimate and absorbing look at the meaning of love and consent and the toll of trauma and the power of healing in women's lives. Ultimately, she offers a forceful indictment of a chauvinistic literary world that has for too long accepted and helped perpetuate gender inequality and the exploitation and sexual abuse of children. Translated from the French by Natasha Lehrer "...One of the belated truths that emerges from [Consent] is that Springora is a writer. [...]Her sentences gleam like metal; each chapter snaps shut with the clean brutality of a latch." -- The New Yorker "Consent [is] rapier-sharp, written with restraint, elegance and brevity." -- The Times (London) "[Consent] has something steely in its heart, and it departs from the typical American memoir of childhood abuse in exhilarating ways." -- Slate "Lucid and nuanced...[Consent] will speak to trauma survivors everywhere." -- Los Angeles Review of Books "A piercing memoir about the sexually abusive relationship she endured at age 14 with a 50-year-old writer...This chilling account will linger with readers long after the last page is turned." -- Publishers Weekly "Springora's lucid account is a commanding discussion of sexual abuse and victimization, and a powerful act of reclamation." -- Booklist "A chilling story of child abuse and the sophisticated Parisians who looked the other way...[Springora] is an elegant and

“Consent” is a Molotov cocktail, flung at the face of the French establishment, a work of dazzling, highly controlled fury...By every conceivable metric, her book is a triumph.” -- The New York Times Already an international literary sensation, an intimate and powerful memoir of a young French teenage girl's relationship with a famous, much older male writer—a universal #MeToo story of power, manipulation, trauma, recovery, and resiliency that exposes the hypocrisy of a culture that has allowed the sexual abuse of minors to occur unchecked. Sometimes, all it takes is a single voice to shatter the silence of complicity. Thirty years ago, Vanessa Springora was the teenage muse of one of the country's most celebrated writers, a footnote in the narrative of a very influential man in the French literary world. At the end of 2019, as women around the world began to speak out, Vanessa, now in her forties and the director of one of France's leading publishing houses, decided to reclaim her own story, offering her perspective of those events sharply known. Consent is the story of one precocious young girl's stolen adolescence. Devastating in its honesty, Vanessa's painstakingly memoir lays bare the cultural attitudes and circumstances that made it possible for a thirteen-year-old girl to become involved with a fifty-year-old man who happened to be a notable writer. As she recalls the events of her childhood and her seduction by one of her country's most notable writers, Vanessa reflects on the ways in which this disturbing relationship changed and affected her as she grew older. Drawing parallels between children's fairy tales and French history and her personal life, Vanessa offers an intimate and absorbing look at the meaning of love and consent and the toll of trauma and the power of healing in women's lives. Ultimately, she offers a forceful indictment of a chauvinistic literary world that has for too long accepted and helped perpetuate gender inequality and the exploitation and sexual abuse of children. Translated from the French by Natasha Lehrer "...One of the belated truths that emerges from [Consent] is that Springora is a writer. [...]Her sentences gleam like metal; each chapter snaps shut with the clean brutality of a latch." -- The New Yorker "Consent [is] rapier-sharp, written with restraint, elegance and brevity." -- The Times (London) "[Consent] has something steely in its heart, and it departs from the typical American memoir of childhood abuse in exhilarating ways." -- Slate "Lucid and nuanced...[Consent] will speak to trauma survivors everywhere." -- Los Angeles Review of Books ”A piercing memoir about the sexually abusive relationship she endured at age 14 with a 50-year-old writer...This chilling account will linger with readers long after the last page is turned.” -- Publishers Weekly "Springora's lucid account is a commanding discussion of sexual abuse and victimization, and a powerful act of reclamation." -- Booklist "A chilling story of child abuse and the sophisticated Parisians who looked the other way...[Springora] is an elegant and perceptive writer." -- Kirkus

Frontmatter -- INHALT -- I. AUFSÄTZE -- Das Verhältnis von Volkslied und Modelied im deutschen Volksgesang -- Das Gruppenlied als Gegenstand -- Adam Reißners handschriftliches Gesangbuch von 1554 als Quelle deutscher Volksliedweisen des 16. Jahrhunderts -- Die Brautwerbungs-, Meererin- und Südeli-Volksballaden und das Kudrun-Epos von 1233 -- Weltliches im Wienhäuser Liederbuch1 -- Volksballade, Sage und Exempel Zur Stoff- und Überlieferungsgeschichte der Volkserzählung vom „beleidigten Totenschädel -- Philologie et Folklore Musical. Les Chants de Pâtres avant leur Émergence Folklorique -- Ach Gott, wem soll ich's klagen -- II. BERICHTE -- Die Erforschung der ungarischen Volksballaden in Rumänien -- Die seit 1945 erschienene deutschsprachige Literatur zum Jazz -- III. BESPRECHUNGEN -- SUPPAN, W.: Volkslied, Stuttgart 1966 -- SEEMANN, H.: Volkslied und Urheberrecht, Freiburg 1965 -- LIPPHARDT, W.: Der Karolingische Tonar von Metz, Münster i. W. 1965 -- KLÜSEN, E.: Das Bonner Gesangbuch von 1550 -- SPERONTES: Die Singende Muse an der Pleiße, Leipzig 1964 -- LEFFTZ, J.: Das Volkslied im Elsaß Bd. 1, Colmar 1966 -- Kärntens Volksliedschatz II/l: Balladen — Romanzen — Erzählende Lieder, Klagenfurt 1966 -- KLÜSEN, E.: Das Mühlrad, Kempen 1966 -- MARTIN, B.: Alte Lieder aus dem Hinterland, Biedenkopf 1964 -- HEIMAT GALIZIEN. Ein Gedenkbuch, Stuttgart-Bad Cannstatt 1965 -- GÄRTNER, J.: Heiligenbluter Sternsinger-Lieder, Klagenfurt 1965 -- KAMPMULLER, O.: Oberösterreichische Kinderspiele, Linz 1965 -- ELBERS, W.: Das Soldatenlied als publizistische Erscheinung, Münster i. W. 1963 -- HOERBURGER, F.: Musica vulgaris, Erlangen 1966 -- DANCKERT, W.: Das Volkslied im Abendland, Bern und München 1966 -- JAHRBUCH FÜR MUSIKALISCHE VOLKS- UND VÖLKERKUNDE Bd. 2, Berlin 1966 -- SONG. Zeitschrift für Chanson, Folklore, Bänkelsang Nr. 1, Erlangen 1966 -- NETTL, B.: Folk and Traditional Music of the Western Continents, Englewood Cliffs 1965 -- HET LIEDBOEKJE VAN MARIGEN REMEN, Utrecht 1966 -- THE FABER BOOKS OF BALLADS, London 1965 -- MUIR, W.: Living With Ballads, London 1965 -- LEACH, M.: Folk Ballads and Songs of the Lower Labrador Coast, Ottawa 1965 -- LEHMANN, Th.: Negro Spirituals, Witten und Berlin 1965 -- DANMARKS GAMLE FOLKEVISER. Prevesider af Optrykket, Kobenhavn 1966—67 -- PROFETA, G.: Canti nuziali nel folklore italiano, Firenze 1965 -- CIRESE, A.M.: Struttura e origine morfologica dei mutos e dei mutettus sardi, Cagliari 1964 -- BRONZINI, G.: Il mito della poesia popolare, Roma 1966 -- VOLKSMUSIK SÜDOSTEUROPAS. Beiträge zur Volkskunde und Musikwissenschaft, München 1966 -- BARTÓK, B.: Slovenské l'udove piesne, Bratislava 1959 -- HUDEC, K. — POLOCZEK, F.: Slovenské l'udove piesne Bd. I—IV, Bratislava 1952—1964 -- ERDELY, St.: Methods and Principles of Hungarian Ethnomusicology, Bloomington 1965 -- FOCHI, A.: Miorita. Tipologie, circulatie, genezä, texte, Bucurefti 1964 -- ALEXICI, G.: Texte din literatura poporanä romàna Bd. II, Bucurejti 1966 -- VRABIE, Gh.: Baiada popularä romana, Bucure§ti 1966 -- HORÄK, J. und PLICKA, K. : Zbojnicke piesne slovenského l'udu, Bratislava 1965 -- MUZYKA HUCULSZCZYZNY, Krakow 1965 -- GRAFENAUER, I.: Spokorjeni gresnik, Ljubljana 1965 -- GRAFENAUER, I.: Slovensko-hrvaska ljudska pesem Marija in brodnik, Ljubljana 1966 -- MERŠI?, M.: Jackar. Hrvatske narodne jacke iz Gradisca, Cakovec 1964 -- DOBROVICH, J.: Druga pjesmarica. Narodne jacke gradiscanskih Hrvatov, Stikapron 1964 -- PEŠI?, R.: Novije crnogorske narodne pjesme, Titograd 1964 -- VASILJEVIC, M. A.: Narodne melodije Crne gore, Beograd 1965 -- WERNER, W.: Die männlichen Personennamen in den bulgarischen Volksliedern, Berlin 1965 -- STOCKMANN, D., FIEDLER, W., STOCKMANN, E.: Albanische Volksmusik, Berlin 1965 -- CHI ANIS, S.: Folk Songs of Mantineia, Greece, Berkeley und Los Angeles 1965 -- VERZEICHNIS DER MITARBEITER -- Backmatter

"Consent" is a Molotov cocktail, flung at the face of the French establishment, a work of dazzling, highly controlled fury...By every conceivable metric, her book is a triumph." -- The New York Times Already an international literary sensation, an intimate and powerful memoir of a young French teenage girl's relationship with a famous, much older male writer-a universal #MeToo story of power, manipulation, trauma, recovery, and resiliency that exposes the hypocrisy of a culture that has allowed the sexual abuse of minors to occur unchecked. Sometimes, all it takes is a single voice to shatter the silence of complicity. Thirty years ago, Vanessa Springora was the teenage muse of one of the country's most celebrated writers, a footnote in the narrative of a very influential man in the French literary world. At the end of 2019, as women around the world began to speak out, Vanessa, now in her forties and the director of one of France's leading publishing houses, decided to reclaim her own story, offering her perspective of those events sharply known. Consent is the story of one precocious young girl's stolen adolescence. Devastating in its honesty, Vanessa's painstakingly memoir lays bare the cultural attitudes and circumstances that made it possible for a thirteen-year-old girl to become involved with a fifty-year-old man who happened to be a notable writer. As she recalls the events of her childhood and her seduction by one of her country's most notable writers, Vanessa reflects on the ways in which this disturbing relationship changed and affected her as she grew older. Drawing parallels between children's fairy tales and French history and her personal life, Vanessa offers an intimate and absorbing look at the meaning of love and consent and the toll of trauma and the power of healing in women's lives. Ultimately, she offers a forceful indictment of a chauvinistic literary world that has for too long accepted and helped perpetuate gender inequality and the exploitation and sexual abuse of children. Translated from the French by Natasha Lehrer "...One of the belated truths that emerges from [Consent] is that Springora is a writer. [...]Her sentences gleam like metal; each chapter snaps shut with the clean brutality of a latch." -- The New Yorker "Consent [is] rapier-sharp, written with restraint, elegance and brevity." -- The Times (London) "[Consent] has something steely in its heart, and it departs from the typical American memoir of childhood abuse in exhilarating ways." -- Slate "Lucid and nuanced...[Consent] will speak to trauma survivors everywhere." -- Los Angeles Review of Books "A piercing memoir about the sexually abusive relationship she endured at age 14 with a 50-year-old writer...This chilling account will linger with readers long after the last page is turned." -- Publishers Weekly "Springora's lucid account is a commanding discussion of sexual abuse and victimization, and a powerful act of reclamation." -- Booklist "A chilling story of child abuse and the sophisticated Parisians who looked the other way...[Springora] is an elegant and

Frontmatter -- INHALT -- I. AUFSÄTZE -- Das Verhältnis von Volkslied und Modelied im deutschen Volksgesang -- Das Gruppenlied als Gegenstand -- Adam Reißners handschriftliches Gesangbuch von 1554 als Quelle deutscher Volksliedweisen des 16. Jahrhunderts -- Die Brautwerbungs-, Meererin- und Südeli-Volksballaden und das Kudrun-Epos von 1233 -- Weltliches im Wienhäuser Liederbuch1 -- Volksballade, Sage und Exempel Zur Stoff- und Überlieferungsgeschichte der Volkserzählung vom „beleidigten Totenschädel -- Philologie et Folklore Musical. Les Chants de Pâtres avant leur Émergence Folklorique -- Ach Gott, wem soll ich's klagen -- II. BERICHTE -- Die Erforschung der ungarischen Volksballaden in Rumänien -- Die seit 1945 erschienene deutschsprachige Literatur zum Jazz -- III. BESPRECHUNGEN -- SUPPAN, W.: Volkslied, Stuttgart 1966 -- SEEMANN, H.: Volkslied und Urheberrecht, Freiburg 1965 -- LIPPHARDT, W.: Der Karolingische Tonar von Metz, Münster i. W. 1965 -- KLÜSEN, E.: Das Bonner Gesangbuch von 1550 -- SPERONTES: Die Singende Muse an der Pleiße, Leipzig 1964 -- LEFFTZ, J.: Das Volkslied im Elsaß Bd. 1, Colmar 1966 -- Kärntens Volksliedschatz II/l: Balladen — Romanzen — Erzählende Lieder, Klagenfurt 1966 -- KLÜSEN, E.: Das Mühlrad, Kempen 1966 -- MARTIN, B.: Alte Lieder aus dem Hinterland, Biedenkopf 1964 -- HEIMAT GALIZIEN. Ein Gedenkbuch, Stuttgart-Bad Cannstatt 1965 -- GÄRTNER, J.: Heiligenbluter Sternsinger-Lieder, Klagenfurt 1965 -- KAMPMULLER, O.: Oberösterreichische Kinderspiele, Linz 1965 -- ELBERS, W.: Das Soldatenlied als publizistische Erscheinung, Münster i. W. 1963 -- HOERBURGER, F.: Musica vulgaris, Erlangen 1966 -- DANCKERT, W.: Das Volkslied im Abendland, Bern und München 1966 -- JAHRBUCH FÜR MUSIKALISCHE VOLKS- UND VÖLKERKUNDE Bd. 2, Berlin 1966 -- SONG. Zeitschrift für Chanson, Folklore, Bänkelsang Nr. 1, Erlangen 1966 -- NETTL, B.: Folk and Traditional Music of the Western Continents, Englewood Cliffs 1965 -- HET LIEDBOEKJE VAN MARIGEN REMEN, Utrecht 1966 -- THE FABER BOOKS OF BALLADS, London 1965 -- MUIR, W.: Living With Ballads, London 1965 -- LEACH, M.: Folk Ballads and Songs of the Lower Labrador Coast, Ottawa 1965 -- LEHMANN, Th.: Negro Spirituals, Witten und Berlin 1965 -- DANMARKS GAMLE FOLKEVISER. Prevesider af Optrykket, Kobenhavn 1966—67 -- PROFETA, G.: Canti nuziali nel folklore italiano, Firenze 1965 -- CIRESE, A.M.: Struttura e origine morfologica dei mutos e dei mutettus sardi, Cagliari 1964 -- BRONZINI, G.: Il mito della poesia popolare, Roma 1966 -- VOLKSMUSIK SÜDOSTEUROPAS. Beiträge zur Volkskunde und Musikwissenschaft, München 1966 -- BARTÓK, B.: Slovenské l'udove piesne, Bratislava 1959 -- HUDEC, K. — POLOCZEK, F.: Slovenské l'udove piesne Bd. I—IV, Bratislava 1952—1964 -- ERDELY, St.: Methods and Principles of Hungarian Ethnomusicology, Bloomington 1965 -- FOCHI, A.: Miorita. Tipologie, circulatie, genezä, texte, Bucurefti 1964 -- ALEXICI, G.: Texte din literatura poporanä romàna Bd. II, Bucurejti 1966 -- VRABIE, Gh.: Baiada popularä romana, Bucure§ti 1966 -- HORÄK, J. und PLICKA, K. : Zbojnicke piesne slovenského l'udu, Bratislava 1965 -- MUZYKA HUCULSZCZYZNY, Krakow 1965 -- GRAFENAUER, I.: Spokorjeni gresnik, Ljubljana 1965 -- GRAFENAUER, I.: Slovensko-hrvaska ljudska pesem Marija in brodnik, Ljubljana 1966 -- MERŠI?, M.: Jackar. Hrvatske narodne jacke iz Gradisca, Cakovec 1964 -- DOBROVICH, J.: Druga pjesmarica. Narodne jacke gradiscanskih Hrvatov, Stikapron 1964 -- PEŠI?, R.: Novije crnogorske narodne pjesme, Titograd 1964 -- VASILJEVIC, M. A.: Narodne melodije Crne gore, Beograd 1965 -- WERNER, W.: Die männlichen Personennamen in den bulgarischen Volksliedern, Berlin 1965 -- STOCKMANN, D., FIEDLER, W., STOCKMANN, E.: Albanische Volksmusik, Berlin 1965 -- CHI ANIS, S.: Folk Songs of Mantineia, Greece, Berkeley und Los Angeles 1965 -- VERZEICHNIS DER MITARBEITER -- Backmatter