Books published by Indiana University Press

RememberingA Phenomenological StudySecond EditionEdward S. CaseyA pioneering investigation of the multiple ways of remembering and the difference that memory makes in our daily lives.A Choice Outstanding Academic BookAn excellent book that provides an in-depth phenomenological and philosophical study of memory."e; -Choice... a stunning revelation of the pervasiveness of memory in our lives."e; -Contemporary Psychology[Remembering] presents a study of remembering that is fondly attentive to its rich diversity, its intricacy of structure and detail, and its wide-ranging efficacy in our everyday, life-world experience.... genuinely pioneering, it ranges far beyond what established traditions in philosophy and psychology have generally taken the functions and especially the limits of memory to be."e; -The Humanistic PsychologistEdward S. Casey provides a thorough description of the varieties of human memory, including recognizing and reminding, reminiscing and commemorating, body memory and place memory. The preface to the new edition extends the scope of the original text to include issues of collective memory, forgetting, and traumatic memory, and aligns this book with Casey's newest work on place and space. This ambitious study demonstrates that nothing in our lives is unaffected by remembering.Studies in Continental Thought-John Sallis, general editorContentsPreface to the Second EditionIntroduction Remembering Forgotten: The Amnesia of AnamnesisPart One: Keeping Memory in MindFirst ForaysEidetic FeaturesRemembering as Intentional: Act PhaseRemembering as Intentional: Object PhasePart Two: Mnemonic ModesPrologueRemindingReminiscingRecognizingCodaPart Three: Pursuing Memory beyond MindPrologueBody MemoryPlace MemoryCommemorationCodaPart Four: Remembering Re-memberedThe Thick Autonomy of MemoryFreedom in Remembering</

Guide to the Pianist's Repertoire continues to be the go-to source for piano performers, teachers, and students. Newly updated and expanded with more than 250 new composers, this incomparable resource expertly guides readers to solo piano literature and provides answers to common questions: What did a given composer write? What interesting work have I never heard of? How difficult is it? What are its special musical features? How can I reach the publisher? New to the fourth edition are enhanced indexes identifying black composers, women composers, and compositions for piano with live or recorded electronics; a thorough listing of anthologies and collections organized by time period and nationality, now including collections from Africa and Slovakia; and expanded entries to account for new material, works, and resources that have become available since the third edition, including websites and electronic resources. The "e;newest Hinson"e; will be an indispensible guide for many years to come.

Focuses on cultural developments among second- and third-generation adherents in regions with large Pentecostal communities, considering the impact of these developments on political participation, citizenship, gender relations, and economic morality.

Originally released as a videographic experiment in film history, Jean-Luc Godard's Histoire(s) du cinema has pioneered how we think about and narrate cinema history, and in how history is taught through cinema. In this stunningly illustrated volume, Michael Witt explores Godard's landmark work as both a specimen of an artist's vision and a philosophical statement on the history of film. Witt contextualizes Godard's theories and approaches to historiography and provides a guide to the wide-ranging cinematic, aesthetic, and cultural forces that shaped Godard's groundbreaking ideas on the history of cinema.

Written by a leading authority and artist of the historical transverse flute, The Notation Is Not the Music offers invaluable insight into the issues of historically informed performance and the parameters-and limitations-of notation-dependent performance. As Barthold Kuijken illustrates, performers of historical music should consider what is written on the page as a mere steppingstone for performance. Only by continual examination and reexamination of the sources to discover original intent can an early music practitioner come close to authentic performance.