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Music score
1 set of 2 scores (2x10 p.) ; 32 cm.
Music Library
xiv, 325 pages : illustrations ; 24 cm.
  • List of Contributors List of Illustrations Introduction Rosario Rovira Guardiola, The British Museum, UK The Mediterranean as a Geographical Space 1. Roman Adriatic ports and the antiquarian tradition Federico Ugolini 2. Chronotopes of Hellenic antiquity: The Strait of Reggio and Messina in documents from the Grand Tour era Marco Benoit Carbone 3. The Eternal Words of the Latin Sea: Fedra by Mur Oti Francisco Salvador Ventura, Universidad de Granada, Spain Living and Dying in Troubled Waters 4. Quod mare non novit, quae nescit Ariona tellus? (Ov. Fast. II, 83) Dorit Engster, University of Goettingen, Germany 5. Ulysses in the cinema: the example of Nostos, il ritorno (Franco Piavoli, Italy 1990) Oscar Lapena Marchena, Universidad de Cadiz, Spain 6. A sea of metal plates: images of the Mediterranean from the XVIIIth century until post-modern theatre Sotera Fornaro, Universita di Sassari, Italy 7. Sailors on Board, Heroes en Route. From the Aegean World to Modern Stage Erika Notti and Martina Treu, Universita IULM - Milano, Italy A Personal Sea. The Artist and the Sea 8. Ancient Seas in Modern Opera: Sea Images and Mediterranean Myths in Rihm's Dionysos Jesus Carruesco, Universitat Rovira I Virgili, Tarragona, Spain and Montserrat Reig, Catalan Institute of Classical Archaeology, Tarragona, Spain 9. A mirror to see your soul. The exile of Ovid in Eugene Delacroix's painting Rosario Rovira Guardiola, The British Museum, UK 10. Cinematic Romans and the Mediterrranean Sea Cecilia Ricci, Universita degli Studi del Molise, Italy Sea Politics 11. Changing their sky, not their soul. Lawrence Alma-Tadema's vision of the ancient Mediterranean Quentin Broughall, Independent scholar 12. The image of Phoenicians and Carthaginians in Modern Spanish History and Culture Antonio Dupla Ansuategui, Univ. Pais Vasco/Euskal Herriko Unibertsitatea, Spain 13. Screening the Battle of Actium. Naval Victory, Erotic Tragedy, and the Birth of an Empire Monica Silveira Cyrino, University of New Mexico, USA Contemporary Uses of the Classical Mediterranean 14. Troubled Waters: Performative imaginary in the Project PI - Pequena Infancia Sofia de Carvalho, Elisabete Cacao and Ana Seica Carvalho, University of Coimbra - CECH, Portugal Annex 15. Nem Gregos nem Troianos Jose Bandeira Bibliography Index.
  • (source: Nielsen Book Data)9781474298599 20180219
When thinking about the Mediterranean, Fernand Braudel's haunting words resound like an echo of the sea and its millenary history. From Prehistory until today, the Mediterranean has been setting, witness and protagonist of mythical adventures, of encounters with the Other, of battles and the rise and fall of cultures and empires, of the destinies of humans. Braudel's appeal for a long duree history of the Mediterranean challenged traditional views that often present it as a sea fragmented and divided through periods. This volume proposes a journey into the bright and dark sides of the ancient Mediterranean through the kaleidoscopic gaze of artists who from the Renaissance to the 21st century have been inspired by its myths and history. The view of those who imagined and recreated the past of the sea has largely contributed to the shaping of modern cultures which are inexorably rooted and embedded in Mediterranean traditions. The contributions look at modern visual reinterpretations of ancient myths, fiction and history and pay particular attention to the theme of sea travel and travellers, which since Homer's Odyssey has become the epitome of the discovery of new worlds, of cultural exchanges and a metaphor of personal developments and metamorphoses.
(source: Nielsen Book Data)9781474298599 20180219
SAL3 (off-campus storage)
xi, 118 pages : illustrations ; 25 cm.
  • Introduction: What's (Identity) Politics Got to Do With It? Theri A. Pickens Part I: Literary Aesthetics 1. The Poetics of Torture in Philip Metres's Sand Opera, Carol N. Fadda 2. An Aesthetics of Haunting: Negotiating Borders and Loss in Arab American Poetry, Sirene Harb 3. Unfixing the Autobiographical Subject: Fragmentation as Aesthetics and Identity in Rabih Alameddine's I, the Divine, Leila Moayeri Pazargadi Part II: Material Culture 4. "Serving Arabness": Imagery and Imagination of Arab-themed Restaurants, Matthew Jaber Stiffler Part III: Film and Theatre 5. Beyond First Responders: Politics, Racism, and the Aesthetics of Arab American Theatre, Jamil Khoury 6. Acting Arab/Arab Acting: Reclaiming the Arab American Identity Through Aesthetic Choices, Michael Malek Najjar.
  • (source: Nielsen Book Data)9781138099814 20180326
Arab American Aesthetics enlists a wide range of voices to explore, if not tentatively define, what could constitute Arab American aesthetics in literature, material culture, film, and theatre. This book seeks to unsettle current conversations within Arab American Studies that neglect aesthetics as a set of choices and constraints. Rather than divorce aesthetics from politics, the book sutures the two more closely together by challenging the causal relationship so often attributed to them. The conversations include formal choices, but also extend to the broad idea of what makes a work distinctly Arab American. That is, what about its beauty, ugliness, sublimity, or humor is explicitly tied to it as part of a tradition of Arab American arts? The book opens up the ways that we discuss Arab American literary and fine arts, so that we understand how Arab American identity and experience begets Arab American artistic enterprise. Split into three sections, the first offers a set of theoretical propositions for understanding aesthetics that traverse Arab American cultural production. The second section focuses on material culture as a way to think through the creation of objects as an aesthetic enterprise. The final section looks at narratives in theatre and how the impact of such a medium has the potential to recreate in both senses of the word: play and invention. By shifting the conversation from identity politics to the relationship between politics and aesthetics, this book provides an important contribution to Arab American studies. It will also appeal to students and scholars of ethnic studies, museum studies, and cultural studies.
(source: Nielsen Book Data)9781138099814 20180326
Green Library

4. Arias [2017]

Music recording
1 audio disc : CD audio, stereo ; 4 3/4 in. Sound: digital; optical; stereo. Digital: audio file. CD audio.
  • Oreste. Agitato da fiere tempeste (4:24)
  • Serse. Frondi tenere e belle (:47) ; Ombra mai fu (3:24) ; Crude furie degl'orridi abissi (3:55)
  • Rinaldo. Cara sposa, amante cara (8:48) ; Venti, turbini, prestate (4:06)
  • Imeneo. Se potessero i sospir miei (6:47)
  • Il Pastor Fido. Sento brillar nel sen (6:45)
  • Rodelinda, Regina de' Longobardi. Pompe vane di morte (2:53) ; Dove sei, amato bene? (6:19)
  • Giulio Cesare in Egitto. Se in fiorito, ameno prato (8:40)
  • Ariodante. Scherza, infida, in grembo al drudo (11:13) ; Dopo notte atra e funesta (7:28)
  • Partenope. Ch'io parta? (4:14).
Music Library
86 pages : illustrations ; 18 cm.
  • 1. Grimes on the Beach 2. Opera as Theatre: Why Peter Grimes is a Play 3. The Suffolk Renaissance: Why Peter Grimes is a Great Play.
  • (source: Nielsen Book Data)9781138678668 20180319
ã `Who can turn skies back and begin again?' -Peter ã This book contends that Peter Grimes, widely regarded as one of the greatest and most influential operas of the 20th century, is also one of the British theatre's finest `lost' plays. Seeking to liberate Britten and Slater's work from the blinkered traditions of theatre and opera criticism, Sam Kinchin-Smith poses two questions: If an opera was created like a play, and can be staged as a play, is it a play? If a portion of its success and influence is the product of this newly identified theatrical engine, is it then a great play? The answers involve Wagner and W.G. Sebald, George Crabbe and Complicite, Akenfield and Twin Peaks. Challenging long-established narratives of post-war theatre history, this book makes a compelling case for why practitioners and scholars of performance ought to pay more attention to Britten and Slater's achievement - a milestone of unconventional English modernism - and perhaps to other operatic masterpieces too.
(source: Nielsen Book Data)9781138678668 20180319
Music Library
online resource
Marvin Carlson, the Sidney E. Cohn Distinguished Professor of Theatre and Comparative Literature at CUNY, provides an introduction to American theatre and opera director Anne Bogart. Carlson explores Bogart¿́¿s role in co-founding one of the best-known experimental theatre companies in the US, SITI, and examines her popular approach to actor training, known as Viewpoints.
xix, 634 pages : illustrations ; 25 cm.
  • Acknowledgements List of Figures List of Abbreviations Author Biographies Introduction: The Reception of Aeschylus â Rebecca Futo Kennedy Part 1: Pre-Modern Receptions 1 The Reception of Aeschylus in Sicily â David G. Smith 2 The Comedians' Aeschylus â David Rosenbloom 3 Aristotle's Reception of Aeschylus: Reserved Without Malice â Dana Lacourse Munteanu 4 Aeschylus in the Hellenistic Period â Sebastiana Nervegna 5 Aeschylus in the Roman Empire â George W. M. Harrison 6 Aeschylus in Byzantium â Christos Simelidis Part 2: Modern Receptions 7 Aeschylus and Opera â Michael Ewans 8 Aeschylus in Germany â Theodore Ziolkowski 9 Inglorious Barbarians: Court Intrigue and Military Disaster Strike Xerxes, "The Sick Man of Europe" â Gonda Van Steen 10 Transtextual Transformations of Prometheus Bound in Percy Bysshe Shelley's Prometheus Unbound: Prometheus' Gifts to Humankind â Fabien Desset 11 Aeschylus and Frankenstein, or The Modern Prometheus, by Mary Shelley â Ana Gonzalez-Rivas Fernandez 12 An Aeschylean Waterloo: Responding to War from the Oresteia to Vanity Fair â Barbara Witucki 13 Form and Money in Wagner's Ring and Aeschylean Tragedy â Richard Seaford 14 Eumenides and Newmenides: Academic Furies in Edwardian Cambridge â Patrick J. Murphy and Fredrick Porcheddu 15 The Broadhead Hypothesis: Did Aeschylus Perform Word Repetition in Persians? â Stratos E. Constantinidis 16 Persians On French Television: An Opera-Oratorio Echoing the Algerian War â Gabriel Sevilla 17 Aeschylus' Oresteia on British Television â Amanda Wrigley 18 Orestes On Trial in Africa: Pasolini's Appunti Per un'Orestiade Africana and Sissako's Bamako â Tom Hawkins 19 Reception of the Plays of Aeschylus in Africa â Kevin J. Wetmore, Jr. 20 In Search of Prometheus: Aeschylean Wanderings in Latin America â Jacques A. Bromberg 21 Avatars of Aeschylus: O'Neill to Herzog/Golder â Marianne McDonald 22 The Overlooked οἰκονομία of Aeschylus' Agamemnon and Stanley Kubrick's The Shining â Geoffrey Bakewell 23 "Now Harkonnen Shall Kill Harkonnen": Aeschylus, Dynastic Violence, and Twofold Tragedies in Frank Herbert's Dune â Brett M. Rogers 24 "Save Our City": The Curious Absence of Aeschylus in Modern Political Thought â Arlene W. Saxonhouse 25 Political Theory in Aeschylean Drama: Ancient Themes and their Contemporary Reception â Larissa Atkison and Ryan K. Balot Index.
  • (source: Nielsen Book Data)9789004249325 20171218
Brill's Companion to the Reception of Aeschylus explores the various ways Aeschylus' tragedies have been discussed, parodied, translated, revisioned, adapted, and integrated into other works over the course of the last 2500 years. Immensely popular while alive, Aeschylus' reception begins in his own lifetime. And, while he has not been the most reproduced of the three Attic tragedians on the stage since then, his receptions have transcended genre and crossed to nearly every continent. While still engaging with Aeschylus' theatrical reception, the volume also explores Aeschylus off the stage--in radio, the classroom, television, political theory, philosophy, science fiction and beyond.
(source: Nielsen Book Data)9789004249325 20171218
Green Library
xi, 229 pages : chiefly color illustrations, plans (some color) ; 26 cm
  • Introduction: Building From Tradition, Part I: Material Fundamentals, 1. Geologic Materials, 1.1 Earth, 1.2 Stone, 2. Plant Materials, 2.1 Reed and Grass, 2.2 Wood, 2.3 Bamboo, Part II: Material Strategies 3. Bespoke to Standardized, 3.1 Onjuku Beach House, 3.2 Hostal Ritoque, 3.3 Niamey 2000, 3.4 Affordable Urban Housing, 3.5 ModCell Straw Technology, 3.6 Ricola Krauterzentrum, 4. Local Engagement , 4.1 Opera Village and the Center for Health Care and Social Promotion, 4.2 Dungga Daycare, 4.3 Common Ground Neighborhood, 4.4 Women's Opportunity Center, 4.5 Esperanza Series, 4.6 Ma'anqiao Village Reconstruction.5. Materials and Place , 5.1 Takern Visitor Center, 5.2 Al Jahili Fort , 5.3 Jianamani Visitor Center, 5.4 Bry-sur-Marne Social Housing, 5.5 Wind and Water Bar, 5.6 Haus am Moor, 6. Primitive to Performative, 6.1 Kargyak Learning Center, 6.2 Pani Community Center, 6.3 House Rauch, 6.4 Aknaibich Preschool, 6.5 Blooming Bamboo Home. 6.6 Thread Artist Residency and Cultural Center, 7. Reflections and Looking Ahead.
  • (source: Nielsen Book Data)9781138909922 20180326
Building from Tradition examines the recent resurgence of interest in the handmade building and the use of local and renewable materials in contemporary construction. In the past, raw materials were shaped to provide shelter and to accommodate the cultural, social, and economic needs of individuals and communities. This is still true today as architects, engineers, and builders turn once again to local resources and methods, not simply for constructing buildings, but also as a strategy for supporting social engagement, sustainable development, and cultural continuity. Building from Tradition features global case studies that allow readers to understand how building practices-developed and refined by previous generations-continue to be adapted to suit a broad range of cultural and environmental contexts. The book provides: * a survey of historical and technical information about geologic and plant-based materials such as: stone, earth, reed and grass, wood, and bamboo; * 24 detailed case studies examining the disadvantages and benefits to using traditional materials and methods and how they are currently being integrated with contemporary construction practices.
(source: Nielsen Book Data)9781138909922 20180326
Art & Architecture Library (Bowes)
222 pages ; 20 cm.
  • Prologue. Tragiques faits divers -- Introduction. Même pas morte -- Variation I. Sauver Carmen ? (selon don José) -- C'est écrit (comme Fa et pas autrement) -- Tu me demandes l'impossible -- La liberté ou la mort ? -- Variation II. Quand on aime varier, il faut suivre Carmen (selon Carmen) -- Agente de pluralisation -- Et la fatalité ? -- Pour moi c'est Carmen à présent que je crois -- Variation III. Prends garde à toi (selon Carmen, encore) -- Carmen y a déjà pensé -- La Carmen d'Ille -- Lady Carmen -- Variation IV. Carmen post-mortem (selon Teresa Berganza) -- Carmen, pas vraiment morte -- Un paradis pour Carmen ? -- Variation V. Tâchez de ne pas la faire mourir! (selon le directeur de l'Opéra-Comique) -- A l'école d'Adolphe -- Carmen se marie -- Mérimée, librettiste de Carmen -- Variation VI. Carmen queer (selon Clara Gazul y elpresor Gubern) -- Carmen écrit sa vie -- Carmen "Queer" Gazul -- Carmen is the devil today -- Ce dont meurt Carmen queer -- Variation VII. SCarmen (selon moi) -- Ce qui fait rire Carmen -- Carmen à Naxos 2 -- SCarmen: variations pour une cinquantaine de mezzo-sopranos, quelques ténors, deux ou trois barytons, comédiens, musiciens, vidéastes et tout ce qu'il faudra -- Variation VIII. La surprise de Carmen (selon Colomba) -- Épilogue. Variation sur un fait divers -- Carmen en éclats (Table des citations extraites de Carmen).
"Carmen, pour changer est un roman qui raconte l'histoire de Sophie Rabau s'appliquant à introduire des variations dans la nouvelle de Prosper Mérimée de façon à ce que Carmen ne meure pas. C'est un essai de critique littéraire créative qui dynamite façon puzzle le mythe tragique de la femme fatale. C'est un texte politique, joyeux et féministe. C'est une invitation à lire les livres activement. Pour changer."--Page 4 of cover.
Green Library
542 pages : illustrations ; 27 cm
An enlightening and overdue re-evaluation of the masterwork of a complex and under-appreciated artist Charlotte Salomon (1917-1943) is renowned for a single, monumental, modernist artwork, Life? or Theatre? (Leben? oder Theater?), comprising 784 paintings and created between 1941 and 1942. This major art-historical study sheds new light on the remarkable combination of image, text and music, revealing Salomon's wealth of references to cinema, opera, Berlin cabaret, and the painter's self-consciously deployed modernist engagements with artists such as Van Gogh, Munch and Kollwitz. Additionally, Pollock draws attention to affinities in Salomon's work with that of others who shared her experience of statelessness and menaced exile in Nazi-dominated Europe, including Hannah Arendt, Sigmund Freud, and Walter Benjamin. In a reading informed by a rich range of insights originating in feminist theories of subjectivity, story-telling, memory, and trauma, Pollock confronts shocking new evidence of the extremity of the young artist's last few months, and discovers in Leben? oder Theater? profound testimony to the everyday crime of familial sexual abuse of women. Through her comprehensive research and many years of observation of the paintings, Griselda Pollock's account claims for this impressive and important work its rightful place in the art of the 20th century.
(source: Nielsen Book Data)9780300100723 20180423
Art & Architecture Library (Bowes)
142 pages
Music Library

12. Christophe Colomb [2018]

Music score
1 score (2 volumes) ; 32 cm.
Music Library
xxix, 242 pages ; 24 cm.
  • Preface Acknowledgements Introduction: Monteverdi in His World and Ours Abbreviations Monteverdi: A Chronology 1. Reference General Reference Monteverdi Reference Catalogs of Monteverdi's Music Monteverdi's Letters, Documents, and Writings 2. Collections of Essays and Conference Proceedings 3. Studies of Monteverdi's Life and Works Specialized Studies Studies of Documents and Sources Iconography 4. Claudio's Brother: Giulio Cesare Monteverdi 5. Theory and Aesthetics Theoretical Contexts Aesthetics and Debates on the seconda pratica 6. Canzonetta and Madrigal Books Secular Song around 1600 Monteverdi as Madrigalist Monteverdi in Relation to His Contemporaries Monteverdi's Poetic Choices Madrigali, Libri I-III Madrigali, Libro IV-V Scherzi musicali (1607) Madrigali, Libro VI Madrigali, Libro VII Scherzi musicali (1632) Madrigali guerrieri et amorosi, Libro VIII Madrigali, Libro IX Spiritual Madrigals and Contrafacta 7. Dramatic Works General Studies of Early Opera Venetian Opera and Opera in Venice Studies of Monteverdi's Dramatic Works L'Orfeo (1607) Arianna (1608) and the Lament Tradition Il ritorno d'Ulisse in patria (1639-40) Le nozze d'Enea (1640-1) L'incoronazione di Poppea (1642-3) Other Dramatic Works Le nozze de Tetide (1616-7) Andromeda (1620) Il combattimento di Tancredi e Clorinda (1624) Musical Festivities for Parma (1628) Proserpina rapita (1630) Ballet Music 8. Sacred Music Monteverdi's Sacred Music in Context Sacred Music for Mantua and the 1610 Vespers Later Sacred Works 9. Issues of Performance General Studies Monteverdi: Specialized Studies Instruments and Instrumentation Ornamentation and Singing Techniques 10. Monteverdi's Historical Position and Status Reception up to 1900 The Twentieth Century and Beyond Appendices Monteverdi's Works Guide to Editions of Monteverdi's Complete Works Selected Discography Index of Monteverdi's Works Index of Authors Index of Names and Places.
  • (source: Nielsen Book Data)9780415837330 20180403
Claudio Monteverdi: A Research and Information Guide is an annotated bibliography that navigates the vast scholarly resources on the composer with the most updated compilation since 1989. Claudio Monteverdi transformed and mastered the principal genres of his day and his works influenced generations of musicians and other artists. He initiated one of the most important aesthetic debates of the era by proposing a new relationship between poetry and harmony. In addition to scholarship by musicologists and music theorists, Monteverdi's music has attracted attention from literary scholars, cultural historians, and critical theorists. Research into Monteverdi and Renaissance and early baroque studies has expanded greatly, with the field becoming more complex as scholars address such issues as gender theory, feminist criticism, cultural theory, new criticism, new historicism, and artistic and popular cultures. The guide serves both as a foundational starting point and as a gateway for future inquiry in such fields as court culture, opera, patronage, and Italian poetry.
(source: Nielsen Book Data)9780415837330 20180403
Music Library

14. Così fan tutte [2016]

1 videodisc : sound, color ; 4 3/4 in.
Music Library
x, 136 pages : illustrations ; 26 cm
  • 1. Creating inclusive knowledges: exploring the transformative potential of arts and cultural practice Christopher Sonn and Alison Baker 2. Exploring links between empowerment and community-based arts and cultural practices: perspectives from Barcelona practitioners Ruben David Fernandez Carrasco, Moises Carmona Monferrer and Andres Di Masso Tarditi 3. Using cotton, needles and threads to break the women's silence: embroideries as a decolonising framework Puleng Segalo 4. Community arts as public pedagogy: disruptions into public memory through Aboriginal counter-storytelling Amy Quayle, Christopher Sonn and Pilar Kasat 5. A raison d'etre for making a reggae opera as a pedagogical tool for psychic emancipation in (post)colonial Jamaica Deanne M. Bell 6. Building social inclusion through critical arts-based pedagogies in university classroom communities Sharon Verner Chappell and Drew Chappell 7. The process and product: crafting community portraits with young people in flexible learning settings Alison M. Baker 8. Participation in community arts: lessons from the inner-city Ornette D. Clennon, Carolyn Kagan, Rebecca Lawthom and Rachel Swindells.
  • (source: Nielsen Book Data)9781138563780 20180306
There has been a growing interest in the role of arts and cultural practice in tackling perennial forms of social exclusion, marginalization, and oppression. Researchers and educators from different disciplines have been collaborating with community-based agencies and community groups to forge new ways to challenge these forms of exclusion. This volume discusses how various social actors, work in interdisciplinary and cross-institutional ways to push an agenda that privileges those individuals and groups, who experience and live at the front line of social inequality, discrimination, racism and oppression. For instance, what new understandings are generated through creative, interdisciplinary, action oriented work, and the implications for social action and transformation? How are community pedagogies constructed and communicated through arts-based research, contemporary and innovative mediums such as creative performances, arts, technologies, mixed-cultural practices and social media and networking? This collection of articles, blurs the lines between cultural practice and knowledge production, with the process and products coming in the forms of theories, creative methodologies, and a range of arts. Together these act as powerful pedagogical tools for engaging in social justice and transformative work. The contributions further highlight the multifaceted and diverse ways of creating and disseminating knowledge, and the attempts to decenter text-based ways of communicating in hopes of sharing collaborative knowledge beyond the academy and engaging the `public'. This volume was originally published as a special issue of the International Journal of Inclusive Education.
(source: Nielsen Book Data)9781138563780 20180306
Education Library (Cubberley)
xii, 170 pages : illustrations ; 24 cm.
  • Abstract Dedication Acknowledgements Chapter 1. Introduction Chapter 2. Cultural Obsession The Making of China's National Icon The Rise of an All-Female Utopia National Identity and the Formation of the Gender Aesthetics Chapter 3. Mao's "Gender Trouble" The Downfall of the Cross-Gender Performance Tradition From Theatre to Reality: Normalization of Female Masculinity The Production of a Social Taboo Chapter 4. The Revival White Faced Gentleman: The Unofficial Return of Nandan "Natural Selection" in the Aesthetic Regime: The Return of Traditional Femininity The Mainstreaming of Drag in Popular Media Chapter 5. The New Generation "Two Spirited" M. Butterfly The Superwoman Within Intersex Occasional Cross-Gender Training "Double Standard" Employment Opportunities Relationships Success Chapter 6. Rebel or Follow When Theatre and Biology Intersect Interplay: Desires, Identities and Transgression Make Believe: Creating a Psychological Truth The Performed and the Innate The Drama of Reality Sexual Artifice in Gender Transgression Chapter 7. Conclusion References Appendix A. Major interview questions Appendix B. List of Interviewees Appendix C. Glossary.
  • (source: Nielsen Book Data)9781138057906 20171201
Cross-Gender China, the outcome of more than twenty years of theatrical and sociological research, deconstructs the cultural implications of cross-gender performance in today's China. The recent revival in male-to-female cross-gender nandan performance in Chinese theatre raises a multitude of questions: it may suggest new gender dynamics, or new readings of old aesthetic traditions in new socio-cultural contexts. Interrogating the positions of the gender being performed and the gender doing the performing, this volume gives a broad cultural account of the contexts in which this unique performance style has found new life.
(source: Nielsen Book Data)9781138057906 20171201
Green Library
263 pages : illustrations ; 24 cm.
Before Fiddler on the Roof, before The Jazz Singer, there was Deborah, a tear-jerking melodrama about a Jewish woman forsaken by her non-Jewish lover. Within a few years of its 1849 debut in Hamburg, the play was seen on stages across Germany and Austria, as well as throughout Europe, the British Empire, and North America. The German-Jewish elite complained that the playwright, Jewish writer S. H. Mosenthal, had written a drama bearing little authentic Jewish content, while literary critics protested that the play lacked the formal coherence of great tragedy. Yet despite its lackluster critical reception, Deborah became a blockbuster, giving millions of theatergoers the pleasures of sympathizing with an exotic Jewish woman. It spawned adaptations with titles from Leah, the Forsaken to Naomi, the Deserted, burlesques, poems, operas in Italian and Czech, musical selections for voice and piano, a British novel fraudulently marketed in the United States as the original basis for the play, three American silent films, and thousands of souvenir photographs of leading actresses from Adelaide Ristori to Sarah Bernhardt in character as Mosenthal's forsaken Jewess. For a sixty-year period, Deborah and its many offshoots provided audiences with the ultimate feel-good experience of tearful sympathy and liberal universalism. With Deborah and Her Sisters, Jonathan M. Hess offers the first comprehensive history of this transnational phenomenon, focusing on its unique ability to bring Jews and non-Jews together during a period of increasing antisemitism. Paying careful attention to local performances and the dynamics of transnational exchange, Hess asks that we take seriously the feelings this commercially successful drama provoked as it drove its diverse audiences to tears. Following a vast paper trail in theater archives and in the press, Deborah and Her Sisters reconstructs the allure that Jewishness held in nineteenth-century popular culture and explores how the Deborah sensation generated a liberal culture of compassion with Jewish suffering that extended beyond the theater walls.
(source: Nielsen Book Data)9780812249583 20180115
Art & Architecture Library (Bowes)
607 pages, 16 unnumbered pages of plates : illustrations (chiefly color) ; 24 cm
  • Introduction. C'est donc une révolte ? -- Prologue. La révolution royale -- Calonne et son plan -- Loménie de Brienne et la Cour plénière -- Necker et l'appel aux états généraux -- Le choix de Versailles -- Jeudi er janvier, la cérémonie de l'ordre du Saint-Esprit -- Fastes versaillais et cérémonies royales -- La vie quotidienne à la cour de Versailles -- La France vue de Versailles -- Louis XVI et 29 millions de Français -- Un vent de liberté -- Versailles en 1789 -- À la cour -- La préparation des états généraux -- La révolution du 24 janvier -- Doléances et élections -- L'accueil des députés -- L'hôtel des Menus-Plaisirs -- Lundi 4 mai, la procession d'ouverture des états généraux -- Des ordres, des costumes -- Samedi 2 mai, la présentation au roi -- De Notre-Dame... -- ... à Saint-Louis -- Mardi 5 mai, la première séance des états généraux -- L'installation des députés -- Le discours du roi -- L'exposé de Necker -- Les états généraux en marche vers l'Assemblée nationale -- La vérification des pouvoirs -- Vendredi 8 mai, les funérailles d'Héliand -- Mercredi 13 mai, la déclaration du duc de Praslin -- Samedi 23 mai, la première conférence de conciliation -- "Au nom du Dieu de paix" -- Naissance du débat parlementaire -- Les états généraux et l'opinion publique -- Les députés et la cour -- Fastes printaniers -- Le roi et les députés -- Mercredi 17 juin, la fin de la monarchie absolue -- La lettre du roi et l'arrêté de la noblesse -- La reprise des conférences -- Demander une audience au roi -- Mercredi 3 juin, la deuxième conférence de conciliation -- La mort du dauphin -- Jeudi 4 juin, la troisième conférence et le plan de conciliation -- L'audience du 6 juin -- Comment soulager la misère des peuples -- Nouvel échec des conférences de conciliation -- La motion de l'abbé Sieyès -- Le jeudi de la Fête-Dieu -- L'appel du 12 juin -- L'audience du 13 juin et le départ pour Marly -- Les débats des 15 et 16 juin -- Le décret de naissance de l'Assemblée nationale -- Samedi 20 juin, le serment du Jeu de paume -- Un clergé en effervescence -- Le Conseil du 19 juin -- L'Assemblée constituante -- La révolution des 17-20 juin -- Mardi 23 juin, la séance royale -- Le Conseil du 20 juin et le retour du roi à Versailles -- Le Conseil du 21 juin -- Le ralliement du clergé à l'Assemblée nationale -- Le Conseil du 22 juin -- Le testament politique de Louis XVI -- "Nous sommes ici par le voeu de la Nation" -- Le triomphe de Necker -- Nouveau ralliement du clergé -- L'attentat -- Le ralliement des 47 -- Paris entre en scène -- Sous l'empire de la peur -- Le dénouement de la crise -- Échec au roi ? -- Débuts tumultueux -- La question des mandats -- De nouveaux députés -- Bureaux et comités -- Prémices de la constitution -- Mardi 14 juillet, la prise de la Bastille -- Le renforcement des troupes -- Impressionner ou dissoudre? -- L'affaire des gardes françaises -- Inquiétudes de l'opinion publique et de l'Assemblée -- Samedi 11 juillet, la disgrâce de Necker -- Dimanche 12 juillet, le soulèvement de Paris
  • Lundi 13 juillet, le duc d'Orléans au lever du roi -- La prise de la Bastille vue de Versailles -- Mercredi 15 juillet, le roi à l'Assemblée -- Metz : "Que ferons-nous quand nous y serons?" -- Le sauve-qui-peut du 16 juillet -- Vendredi 17 juillet, le roi se rend à Paris -- "On y attend tout du hasard" -- La milice bourgeoise de Versailles -- Quand l'Assemblée se substitue au pouvoir administratif : le comité des rapports -- Dans l'attente du retour de Necker -- Les limites d'un triomphe -- Députés ministres -- Vers une police politique : le comité d'information -- La naissance de l'hémicycle -- Mardi 4 août, l'abolition des privilèges -- Les étapes de la délibération -- Enthousiasme et critiques -- Les dix-neuf articles -- L'été indien de la monarchie -- Le temps de la tendresse -- La cour et ses fastes -- La dernière fête de Saint Louis -- Mercredi 26 août, la Déclaration des droits de l'homme et du citoyen -- Le préambule de la constitution -- Nouvelle Création -- Les grands débats de septembre -- Le spectacle de l'Assemblée -- Emprunts et dons -- Nouvel impôt -- Le comité de division -- Le débat sur le veto -- Le vote du 11 septembre -- Louis XVI et l'abolition des privilèges -- Les premiers articles de la constitution -- Jeudi let octobre, le banquet de l'opéra -- Insécurité -- Versailles impopulaire -- Attaques contre la reine -- Quitter Versailles? -- L'armée de retour -- Le dernier banquet -- Louis XVI et la constitution -- Lundi 5 octobre, Versailles assiégé -- La marche des femmes -- La dernière chasse -- Vent de panique -- Le roi tient Conseil -- Les femmes à l'Assemblée -- Place d'Armes -- L'ultime présentation de Versailles -- Coups de fusil et coup de théâtre -- Le roi prisonnier de Versailles -- La débandade -- À l'Assemblée -- L'acceptation pure et simple -- La Fayette entre en scène -- Dernière audience royale -- Le général Morphée -- Mardi 6 octobre, le dernier jour de Versailles -- Versailles envahi -- La reine échappe au massacre -- Le capitaine Gondran -- La famille royale au complet -- Le réveil du château -- Le balcon de la cour de Marbre -- La dignité de l'Assemblée -- Le départ de la cour -- L'Assemblée sans le roi -- Panique à bord -- Coups de grâce -- Dette et impôt -- Les biens du clergé -- Le transfert à Paris -- Sujets de débats -- "Tâchez de me sauver mon pauvre Versailles" -- Versailles après la révolution d'octobre -- Du château -- ... au musée -- Épilogue. L'année sans pareille.
Green Library
184 pages ; 19 cm.
  • En guise de prélude -- "Les anges n'ont pas de sexe" -- La Traviata. Signes, ellipses, allusions -- Aida. Le dernier grand opéra -- La Gioconda. Opéra vériste ? -- Elehtra. La renaissance de la tragédie -- La Fanciulla del West. Invention et réinvention musicales -- Zemlinsky. Une tragédie florentine et Le Nain -- Les Sortilèges de l'Enfance -- Kurt Weill et la question de la voix -- Trajectoires croisées. Liszt et Wagner -- Trajectoires croisées. Mahler et Ligeti -- Trajectoires croisées. Gdrecki et Penderecki -- Massenet. Source d'inspiration pour les compositeurs d'aujourd'hui ?
"D'abord la musique, ensuite les paroles ? Plutôt que de rouvrir la dispute, largement résolue par les grands maîtres, Karol Beffa déplace le problème, apprenant de ses prédécesseurs l'art de ruser avec la norme. Il revisite l'opéra en tant qu'auditeur et spectateur mais aussi avec ses interrogations de compositeur. En sa compagnie, on découvre autrement Verdi (La Traviata, Aida), Ravel (L'Enfant et les Sortilèges), Strauss (Elektra), Puccini (La Fanciulla del West), Zemlinsky (Une tragédie florentine, Le Nain), Ponchielli (La Gioconda) ou l'injustement oublié Massenet (Le Cid, Cendrillon). Karol Beffa compare également les trajectoires de Wagner et Liszt, Ligeti et Mahler, Gôrecki et Penderecki pour apprendre d'eux leurs secrets de fabrique dans le traitement de la voix."--Page 4 of cover.
Music Library

20. Don Giovanni [2018]

287 pages : illustrations (some color) ; 20 cm.
  • The 'Comic' Element in Don Giovanni, Michael F. RobinsonMusic and Action in Don Giovanni, David Wyn JonesLorenzo Da Ponte, Christopher RaeburnCharacterization in Don Giovanni, E.J. Dent, Brigid Brophy, Julian Rushton, Lawrence Lipking, Andrew Steptoe, George HallDon Giovanni: Libretto by Lorenzo da PonteDon Giovanni: English translation by Visiontext.
  • (source: Nielsen Book Data)9781847497062 20180403
Don Giovanni is one of Mozart's most popular and enduringly fascinating works. E.T.A. Hoffmann described it as the "opera of all operas". This edition begins with a discussion of its comic elements by Michael F. Robinson. An overall view of the score is given by David Wyn Jones, showing how Mozart maintained dramatic momentum over its two acts and giving an overview of the dramatic pacing and orchestration in some of the most important scenes. Christopher Raeburn concludes the commentary with an engaging portrait of Lorenzo Da Ponte, Mozart's "libertine librettist", and his relationship with the composer. This guide contains more than thirty photographs covering performances of Don Giovanni to the present day, a detailed thematic analysis, the libretto in Italian with a facing literal translation, an up-to-date bibliography and a discography, as well as DVD and website guides. Contains: The `Comic' Element in Don Giovanni, Michael F. Robinson; Music and Action in Don Giovanni, David Wyn Jones; Lorenzo Da Ponte, Christopher Raeburn; Characterization in Don Giovanni, E.J. Dent, Brigid Brophy, Julian Rushton, Lawrence Lipking, Andrew Steptoe, George Hall; Don Giovanni: A Selective Performance History, Hugo Shirley; Don Giovanni: Libretto by Lorenzo da Ponte; Don Giovanni: English translation by Visiontext.
(source: Nielsen Book Data)9781847497062 20180403
Music Library