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  Seven for the Slab

  Seven for the Slab ab 21.49 € als Taschenbuch: A Horror Portmanteau. Aus dem Bereich: Bücher, Taschenbücher, Romane & Erzählungen,

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  • Price: 21.49 EUR excl. shipping
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  Cosplay Costume Planner

  Cosplay Costume Planner ab 21.49 € als Taschenbuch: Performance Art | Character Play | Portmanteau | Fashion Props. Aus dem Bereich: Bücher, English, International, Englische Taschenbücher,

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  • Price: 21.49 EUR excl. shipping
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  Cosplay Costume Organizer

  Cosplay Costume Organizer ab 20.49 € als Taschenbuch: Performance Art | Character Play | Portmanteau | Fashion Props. Aus dem Bereich: Bücher, English, International, Englische Taschenbücher,

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  • Price: 20.49 EUR excl. shipping
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  In the Boojum Forest

  In the Boojum Forest ab 21.49 € als Taschenbuch: A Portmanteau Inspired by Lewis Carroll's the Hunting of the Snark. Aus dem Bereich: Bücher, English, International, Englische Taschenbücher,

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  The Haunting of the Snarkasbord

  The Haunting of the Snarkasbord ab 21.99 € als Taschenbuch: A Portmanteau Inspired by Lewis Carroll's the Hunting of the Snark. Aus dem Bereich: Bücher, English, International, Englische Taschenbücher,

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  Close Encounters of the Snarkian Kind

  Close Encounters of the Snarkian Kind ab 22.99 € als Taschenbuch: A Portmanteau inspired by Lewis Carroll's The Hunting of the Snark. Aus dem Bereich: Bücher, Belletristik, Science Fiction & Fantasy,

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  The Hunting of the Snark , Hörbuch, Digital, ungekürzt, 31min

  The Hunting of the Snark (An Agony in 8 Fits) is a poem written by English writer Lewis Carroll. It is typically categorized as a nonsense poem. Written from 1874 to 1876, the poem borrows the setting, some creatures, and eight portmanteau words from Carroll's earlier poem "Jabberwocky" in his children's novel Through the Looking Glass (1871). As for the word "Snark", Carroll did not give it any meaning. The word "snarking" had been used in 1866 to describe a sound.  Henry Holiday, the illustrator of the poem, thought of it as a "tragedy". The plot follows a crew of 10 trying to hunt the Snark, an animal which may turn out to be a highly dangerous Boojum. The only one of the crew to find the Snark quickly vanishes, leading the narrator to explain that it was a Boojum after all.  The poem is dedicated to young Gertrude Chataway, whom Carroll met at the English seaside town Sandown in the Isle of Wight in 1875. Included with many copies of the first edition of the poem was Carroll's religious tract, "An Easter Greeting to Every Child Who Loves 'Alice'". "The Hunting of the Snark" was published by Macmillan in the United Kingdom in late March 1876, with illustrations by Henry Holiday. It had mixed reviews from reviewers who found it strange. The first printing of "The Hunting of the Snark" consisted of 10,000 copies. There were two reprintings by the conclusion of the year; in total, the poem was reprinted 17 times between 1876 and 1908.  Carroll often denied knowing the meaning behind the poem; however, in an 1896 reply to one letter, he agreed with one interpretation of the poem as an allegory for the search for happiness. Scholars have found various meanings in the poem, among them existential angst, an allegory for tuberculosis, and a mockery of the Tichborne case. "The Hunting of the Snark" has been alluded to in various works and has been adapted for musicals, opera, plays, and music. ungekürzt. Language: English. Narrator: Pierre Moreau. Audio sample: https://samples.audible.de/bk/arpb/000532/bk_arpb_000532_sample.mp3. Digital audiobook in aax.

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  • Price: 9.95 EUR excl. shipping
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  A Grammar of Yélî Dnye

  This is a comprehensive description of a language spoken some 450 km offshore from the mainland of Papua New Guinea. The language is remarkable for its phonological, morphological and syntactic complexity. As the sole surviving member of its language family, and with little historical contact with surrounding languages, the language provides evidence of the kind of languages spoken in this part of the world before the Austronesian expansion. The grammar provides detailed information on the phoneme inventory, morphology, syntax and select semantic fields. Remarkable features include a 90 phoneme inventory including unique sounds, a morphology with thousands of non-compositional portmanteau elements, complex rules for negation, and extensive ergative syntax. Unusual patterns are also found in the organization of semantic fields, for example in partonymies of the body, taxonomies of the natural world, verbal semantics and kinship terms. The combination of linguistic 'rara' suggest that linguistic evolution under low contact can yield baroque and unusual patterns. The volume should be of special interest to linguists, typologists, sociolinguists, anthropologists and researchers in Oceania and Melanesia. Endorsement: "This long-awaited grammar is a major contribution to Papuan and general linguistics, providing as it does by far the most comprehensive and accurate grammatical description of a language that has already assumed a position as one of the world's most complicated. Hitherto, the most extensive grammatical description of the language has been the survey-like Henderson (1995), and while Levinson explicitly acknowledges his debt to this earlier grammar and to unpublished work by Henderson, his own detailed grammar clearly takes the level of description and analysis of the language to a completely new level. In particular, Levinson's grammar makes clear precisely to what extent and in what ways the language's morphology is complex beyond even what most studies on morphologically complex languages envisage. In addition, it provides a much more detailed account of the language's syntax, based on a judicious combination of corpus attestation and careful elicitation (incl. using the kits developed by Levinson's group at the MPI for Psycholinguistics). The grammar thus not only fills a major lacuna in our knowledge of the non-Austronesian languages of the New Guinea area, but also provides grist for future studies on the implications of the language's complexities."Bernard Comrie, University of California, Santa Barbara

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  Fringe Percussion

  Dance Music for Elfrid Ide was written in 1940, while Cage was on the Dance Faculty at Mills College, to accompany the thesis of graduate dance student Elfrid Ide. In three highly contrasting movements, this whimsical piece seems to have been a playground of compositional experimentation for Cage. Although written in the same time period as his better known percussion ensemble works, this piece was not written for or played by Cage's own percussion ensemble. After it's likely only performance for Elfrid Ide's Dance Thesis Concert in 1941, the piece was filed away in the Mills College archives and remained unknown until it's discovery in 2005. Originally unearthed in the form of two incomplete manuscripts, a new score and parts for Dance Music for Elfrid Ide were created by editor Don Gillespie. Fringe Percussion's relationship with this work came about thanks to a chance occurrence at Vancouver New Music's John Cage Festival in October 2006. Jonathan had arrived late to a concert and began chatting with Gene Caprioglio from Edition Peters, who had a booth in the lobby. Hearing about this newly discovered work, Jonathan asked if Fringe Percussion could premiere the piece. As a result, Dance Music for Elfrid Ide was given it's modern North American premiere by Fringe Percussion, joined by guests Marguerite Witvoet and Vern Griffiths, at the Vancouver Art Gallery's first dusk-to-dawn FUSE event on June 23, 2007. Darwin's Walken Fish Quartet (yes that's true, a fish with legs...) Aside from the obvious reference to evolution (but really, all music evolves/devolves in some way or another, whether becoming more/less complex or simply progressing through time) the other reason for naming the quartet after a Darwin fish was that the very idea of a fish with legs, and the type of locomotion that it would be capable of, completely fascinates me. I mean, can you imagine the way that a fish with legs would move??? The combination of walking/swimming/wiggling would be excellent. I think sometimes it would be more of a torsion-inflected style of side-to-side motion, and at other times perhaps it would hop. (These ruminations may well be reflected in the different sections of music found in this quartet.) -Jocelyn Morlock Marubatoo was originally written as a duet for marimba and tuba entitled Maruba. It was conceived as a conversation between Wyre, a percussionist, and his late father, a tubist. While corresponding with Tones in the fall of 2005, Wyre revealed a preference for an alternate version of Maruba-one that included a part for vibraphone. This trio version was never published or recorded. Marubatoo, in it's original version, is a percussion quintet version of Maruba, arranged for the ensemble Nexus. To the original trio parts (with bass marimba in place of the tuba) Marubatoo adds another marimba part as well as a part for crotales. The arrangement contained on this recording is a hybrid of these two versions. Fringe Percussion's interpretation of Marubatoo is based upon the work's unrecorded trio version, and is complemented by textural and colouristic elements provided by the crotales. Enginuity is a portmanteau on the words engine and ingenuity, and the piece itself is a synthesis of musical ideas from around the world. When Fringe Percussion commissioned me to write for them I immediately thought of the interlocking drum patterns of Balinese gamelan music, which I have been studying for a number of years. Skin and wood barrel drums are the heart of the gamelan, and they serve a truly melodic, as well as rhythmic, function. In Enginuity I gave the starring melodic role to the drums, which are tuned to create a four-note melody that gets split, in an interlocking fashion, between two drummers. There is also an oblique reference to Indian classical drumming in the use of a 23-beat rhythmic cycle, or tala, as a phrase structure throughout the piece. I call it an oblique reference, since I don't claim a great knowledge of Indian drumming, but I love the idea of these long, asymmetric counting patterns that feel regular and yet unpredictable at the same time. The more traditional Western percussion instruments of vibraphone and marimba, which usually take a prominent melodic role, are cast in a more supporting light for most of the piece, giving metric and harmonic reinforcement without taking too much focus away from the drums. The mallets do get their chance to stand out on their own and in duos with the drums, and by the end of the piece all of the instruments join forces in a joyful, unified texture. -Colin MacDonald Los Forwards began in the early 80s as a project to help me learn the operation of my first multitrack recorder. The original orchestration was for two marimbas and one percussion (it was a 4 track recorder and one track was click). Around the same time I was playing in an ensemble featuring percussion organized by Sal Ferreras. I brought the still unnamed Los Forwards to a rehearsal and with the addition of vibes, drums, more percussion, bass and guitar (to fit the group's instrumentation) it became a regular part of the ensemble's repertoire. When Sal asked me for the title of the piece all I could come up with at the time was Los Forwards (a small joke on lost for words, sorry!). Since that time (almost 30 years) Los Forwards has been used by many of Vancouver's percussionists, including myself, with many orchestrations for recitals, concerts and various percussion ensemble presentations. This is, I believe, the first time it has been recorded (other than my own home demos) and I'm delighted that Fringe Percussion has included it on their debut CD release. Thank you Jonathan, Martin, Danny and Brian. -Graham Boyle Fringe Percussion is a Vancouver-based ensemble dedicated to presenting works from the contemporary Western art music and non-Western repertories. It strives to strengthen the voice of local composers and global musical traditions through innovative programming, artistic collaboration, and dedication to musical excellence. The ensemble's repertoire connects to the expressive cultural traditions of Bali, China, Cuba, Japan, Ghana, and India. Fringe Percussion recognizes the vitality, beauty, and artistry inherent to world musics, and wishes to bring them to wider audiences. In so doing, Fringe Percussion's perspective is especially important. It communicates with many generations and many cultures, connecting well to the multifaceted, multicultural nature of the contemporary music scene. The members of Fringe Percussion are Jonathan Bernard, Martin Fisk, Brian Nesselroad and Daniel Tones.

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  • Price: 23.75 EUR excl. shipping
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  Shogun's Joy of Torture

  From the outrageous imagination of cult director Teruo Ishii (Orgies of Edo, Horrors of Malformed Men) comes this infamous omnibus of three shocking tales of crime and punishment based on true-life documented cases set during the reign of the Tokugawa shogunate. The first tale sees the beautiful Mitsu (Masumi Tachibana) going to horrifying lengths to tend to her older brother Shinzo (Teruo Yoshida), a carpenter injured in a work accident, but the law catches up on them and metes out a terrifying retribution after they violate the ultimate taboo. In the second, unfettered passions in a Buddhist nunnery are not allowed to go unpunished after abbess Reiho (Yukie Kagawa) and her attendant Rintoku (Naomi Shiraishi) encounter a virile young monk from a neighboring temple. In the closing segment, a sadistic torturer (Fumio Watanabe) attempts to show a tattoo artist (Asao Koike) how to depict convincing expressions of faces of pain in his work by allowing him to sketch a selection of Europeans as they are tortured for entering Japan with the aim of spreading Christianity. Ishii's notorious portmanteau of Edo-era excess signaled a change in direction for a director until then regarded for his crime and yakuza films, setting the ball rolling on the run of grotesque historical anthologies for which he is now best remembered. Vehemently denounced by the critics of the day, Shogun's Joy of Torture set a new benchmark for the depiction of sex, sadism and depravity in Japanese exploitation, with Ishii staging his elaborate torture methods with an unmatched verve and inventiveness.

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  • Price: 51.58 EUR excl. shipping

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