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Book
xvii, 150 pages ; 22 cm
  • 1. Entrance: The Spies of Jericho 2. Discipline and Listen Before the Wiretap Overhearing and Diaphony, A Small History of Big Ears (Toward the Panacousticon) Mastery and Metrics in Figaro The Ages of Fear Telelistening and Telesurveillance A Secret Conversation 3. Underground Passage: The Mole in Its Burrow 4. In the Footsteps of Orpheus The Trackers, with Hidden Noise The Mortal Ear, or Orpheus Turns Around On the Phone: Papageno at Mabuse's The Phantom of the Opera Wozzeck at the Moment of His Death Adorno, the Informer 5. Exit: J.D.'s Dream Notes.
  • (source: Nielsen Book Data)9780823273966 20170213
The world of international politics has recently been rocked by a seemingly endless series of scandals involving auditory surveillance: the NSA's warrantless wiretapping is merely the most sensational example of what appears to be a universal practice today. What is the source of this generalized principle of eavesdropping? All Ears: The Aesthetics of Espionage traces the long history of moles from the Bible, through Jeremy Bentham's "panacoustic" project, all the way to the intelligence-gathering network called "Echelon." Together with this archeology of auditory surveillance, Szendy offers an engaging account of spycraft's representations in literature (Sophocles, Shakespeare, Joyce, Kafka, Borges), opera (Monteverdi, Mozart, Berg), and film (Lang, Hitchcock, Coppola, De Palma). Following in the footsteps of Orpheus, the book proposes a new concept of "overhearing" that connects the act of spying to an excessive intensification of listening. At the heart of listening Szendy locates the ear of the Other that manifests itself as the originary division of a "split-hearing" that turns the drive for mastery and surveillance into the death drive.
(source: Nielsen Book Data)9780823273966 20170213
Green Library

2. Armida [2015]

Video
2 DVD-Videos (162 min) + 1 Begleitheft.
Music Library
Book
xii, 308 pages : illustrations ; 24 cm
  • I: Art, politics, and economics
  • Maoist aesthetics
  • Production and circulation of literature under the revolutionary cultural economy
  • II: A culture of models and copies
  • Art and the culture of models and copies
  • Barefoot doctors and femininity
  • Opera and transplantation between cultures
  • Ballet across genres and forms
  • Mao as doxa
  • Intellectuals as ghosts
  • Chinese Glossary.
In the 1950s, a French journalist joked that the Chinese were 'blue ants under the red flag, ' dressing identically and even marching in an identical fashion. When the Cultural Revolution officially began, this uniformity seemed to extend to the mind. From the outside, this was a monotonous world, full of repetitions and imitation, but a closer look reveals a range of cultural experiences, which also provided individuals with an obscure sense of freedom. In The Art of Cloning, Pang Laikwan examines this period in Chinese history when ordinary citizens read widely, travelled extensively through the country, and engaged in a range of cultural and artistic activities. The freedom they experienced, argues Pang, differs from the freedom, under Western capitalism, to express individuality through a range of consumer products. However, it was far from boring, and filled with its own kind of diversity.
(source: Nielsen Book Data)9781784785208 20170213
SAL3 (off-campus storage)
Book
502 pages : illustrations, charts ; 23 cm
  • Introduction -- Des traditions maintenues -- De nouveaux statuts individuels et collectifs -- Au service de la régénération -- Politiques du répertoire -- Trois voies pour une même pédagogie ? -- Du théâtre historique au théâtre politique (1748-179o) -- La vraisemblance historique -- Rendre sensible la violence des temps -- Naissance de la "tragédie patriotique": le Charles IX de Chénier -- Le comique est-il au rendez-vous de l'Histoire -- Violence du rire, rire de la violence -- Rire par-dessus les temps -- Le théâtre sous la Terreur, nouvelle École du peuple ? -- Les attentes du pouvoir -- Un monde professionnel déstabilisé -- Le répertoire patriotique -- Trois thèmes de propagande -- Les apothéoses théâtrales des héros de la Révolution (1791-1794) -- L'Olympe de Mirabeau -- L'élévation républicaine de Beaurepaire -- Le Paradis des sans-culottes -- Adultérins et orphelins : les joies de l'adoption selon le théâtre de la Révolution -- Le temps de l'émancipation et de la mixité sociale -- La nation, mère de tous les orphelins -- Le Directoire ou la confusion des moeurs et des passions -- Le brigand, de Schiller à Hoffman -- Les Brigands de Schiller ou la matrice de toute oeuvre -- L'argument du drame premier -- Désobéissance et autocensure -- Robert, chef de brigands ou la captation d'héritage -- Une adaptation d succès -- Une intrigue retravaillée et appauvrie -- La diffusion, des professionnels aux amateurs -- L'entrée dans la postérité -- Les brigands contrefaits -- À la recherche d'une improbable suite -- Les "brigands" royalistes -- Les "brigands" jacobins -- Trois auteurs patriotes -- La carrière révolutionnaire de Louis-Benoît Picard -- Philippe Antoine Dorfeuille, propagandiste patriote -- Les feux d'une carrière -- Les héros de l'histoire immédiate -- La sainte omelette du père Polycarpe -- Le chien aristocrate -- Madame Liberté et Mademoiselle Constitution -- Annexe 1: Miracle de la Sainte Omelette -- Annexe 2 : Lettre d'un chien aristocrate à son maître, aristocrate aussi, et fugitif de Toulouse -- Annexe 3 : La lanterne magique patriotique ou le coup de grâce de l'aristocratie -- Briois, ou les infortunes de la vertu politique -- Trois manières de servir l'art scénique -- La part des amateurs -- Les émotions -- Le spectateur éclairé -- Le comédien amateur -- Annexe : Règlement de la Société des amateurs du théâtre de Riom -- Les directeurs de troupes -- L'Opéra du Directoire -- L'ombre des vedettes -- Le délabrement de l'institution -- La rareté des nouveautés -- L'interventionnisme de l'État -- La Grèce au répertoire -- Un public averti -- Critiques et mise au pas du théâtre patriotique -- Fabien Pilet et la critique du goût bourgeois -- Seul le vent tourne -- Le contempteur des arts révolutionnaires -- Des costumes et de la mise en scène -- La réorganisation des théâtres, du Directoire à l'Empire -- Le contrôle des salles -- Les genres et le "bon goût" -- Les déclinaisons provinciales du modèle national -- Les limites d'un impérialisme culturel: le théâtre français dans l'Europe de Napoléon -- Le poids des héritages
  • Pérégrinations françaises dans l'Europe impériale -- Langue dissonante, oreilles dissidentes -- La soumission française à l'opéra italien -- Hybridation et acculturation.
"L'union des arts, leur ouverture au plus grand nombre sont au coeur du projet de régénération porté par les révolutionnaires français. Le théâtre connaît alors un véritable âge d'or, comme en témoignent la multiplication des salles et l'émergence de quantité de nouveaux talents, chez les auteurs comme chez les comédiens, chez les professionnels comme chez les amateurs. Au nom du projet émancipateur de la République, les conventionnels élèvent le théâtre au rang d'"école primaire pour adultes". Des débats sur son utilité pédagogique animent les Assemblées, le Comité de salut public, les clubs, les sociétés, les journaux, au risque d'une censure qui échappe aux seuls critiques, et dont sont volontiers partie prenante les spectateurs C'est ce foisonnement sans précédent que fait revivre Philippe Bourdin dans cette fresque captivante consacrée aux arts de la scène sous la Révolution. Un rayonnement notamment associé aux noms d'André Chénier, Chamfort, Fabre d'Églantine, Olympe de Gouges. L'incarnation des gloires républicaines se fait certes par le geste mais tout autant par le verbe. Minoritaire mais conquérant, le théâtre patriotique met en scène des personnages-orateurs: représentants du peuple, maires, officiers, instituteurs, curés patriotes ou, plus simplement, pères et mères de famille anonymes. Ils usent d'un discours de justification, de l'éloge, de la célébration, pour construire sur le vif de l'événement une légende nationale immédiate, un héroïsme à partager."--Page 4 of cover.
Green Library
Book
220 pages : illustrations, music ; 22 cm.
  • Baldassare Galuppi, personaggio di chiave ed aspetti poco studiati -- Les manuscrits opératiques de Baldassare Galuppi dans les bibliothèques belges et une étude de cas, l'opéra londonien Enrico -- "Les extravagances que l'on appelle des règles dans le drame musical". Gustavo I, re di Svezia ou le début de la collaboration entre Galuppi et Goldoni -- Le rappresentazioni delle opere bulle di Galuppi a Vienna -- La lingua dei libretti d'opera nell'età di Galuppi -- Galuppi, Bertati e L'inimico delle donne -- Rousseau e Galuppi. L'aria Voi che languite (Venezia, 1743) e la Lettre sur la musique française (Parigi, 1753) -- Le cantate di Galuppi per la famiglia Pisani. Musica, poesia, letteratura e politica -- Nello specchio della China. Bertati, Goldoni, Gozzi -- Baldassare Galuppi, i Concerti a Quattro.
"Compositeur d'un grand nombre d'opere serie, d'oratorios et d'oeuvres de musique sacrée, Balsassare Galuppi est peu à peu tombé dans l'oubli. Si son nom est néanmoins connu aujourd'hui encore, c'est principalement grâce à son oeuvre pour clavier. La réédition récente de la partition d'un opera buffa L'Inimico delle donne ainsi que la première mondiale de cette production par l'Opéra royal de Wallonie, ont suscité l'organisation d'un colloque international dont cet ouvrage est le fruit. Il s'articule autour de trois thèmes principaux : Galuppi le "Buranello" (du nom de son île natale, Burano, au nord de la lagune de Venise), Galuppi et l'opéra, et Galuppi et la musique instrumentale et religieuse."--Page 4 of cover.
Music Library
Book
xxii, 232 pages : illustrations ; 23 cm
Simon Callow plunges headlong into Wagner's world to discover what it was like to be Wagner, and to be around one of music's most influential figures. The perfect introduction to the Master. A hundred and thirty-five years after his death, Richard Wagner's music dramas stand at the centre of the culture of classical music. They have never been more popular, nor so violently controversial and divisive. His music is still banned in Israel - the only classical composer whose music is banned in the western world. His ten great mature masterpieces constitute an unmatched body of work, created against a backdrop of poverty, revolution, violent controversy, critical contempt and hysterical hero-worship. As a man, he was a walking contradiction, aggressive, flirtatious, disciplined, capricious, heroic, visionary and poisonously anti-Semitic. At one point, he had four lengthy operas written with no hope of being performed when, as if in a fairy-tale, he was rescued by a beautiful young king with limitless wealth which he bestowed on the composer. When one of those works, Tristan and Isolde, was at last performed, it revolutionised classical music at a stroke. Finally he fulfilled his lifelong dream of creating a vast epic to rival the work of the great Greek playwrights, a music drama in four massive segments, ushering gods and dwarves, heroes and thugs, dragons and rainbows onto the stage, the apotheosis of German art as he saw it, so extreme in its demands that he had to train a generation of singers and players to perform it, and erect a custom-built theatre to house it. Wagner died, exhausted, after creating one final piece - Parsifal - that seems to point to an even more radical new future for music. Simon Callow recalls the intellectual and artistic climate in which Wagner worked, recording the almost superhuman effort required to create his work, and evoking the extraordinary effect he had on people - this composer like no other who ever lived, extreme in everything, creator of the most sublime and most troubling body of work ever known.
(source: Nielsen Book Data)9780008105693 20170321
Music Library
Book
xvi, 529 pages : illustrations ; 24 cm
  • Preface Prologue: Beyond Autonomy The Uncanny Grace: A Gloss on Kleist's Marionettes Reason Beyond Reason History Nation Will Religion, the Enlightenment, the Counter-Enlightenment: The New Configuration part one 1. The Secret of Music-Dramatic Form: Music Drama as Opera 2. Der Ring des Nibelungen: The Anarchist Utopia Das Rheingold: The Fall Die Walkure: How One Becomes Human Act 1: Becoming Wagner Act 2: Becoming Brunnhilde Act 3: Waiting for the Hero Siegfried: How One Becomes a Hero Act 1: Getting the Sword Act 2: Using It Act 3: The Awakening Gotterdammerung: The Apocalypse Prologue: The Past and the Future Act 1: The Entrapment 1 Act 2: The Entrapment 2 Act 3: Death and Transfiguration The Myth of Revolution part two 3. Tristan und Isolde: The Erotic Utopia The Lyrical Axis The Narrative Axis The Orchestral Strand The Music-Dramatic Form The Myth of Will Postscript 4. Die Meistersinger von Nurnberg: Politics after Tristan Act 1: The Knight's Failure Act 2: The Clerk's Failure Act 3, Part 1: A Lesson in Poetics Act 3, Part 2: The Shoemaker's Triumph The Myth of Nation 5. Parsifal: Ethics after Tristan The Communion Sequences of Acts 1 and 3 The Monologues of Acts 1 and 3 Act 2: The Kiss of Self-Knowledge The Music-Dramatic Form Eros and Agape The Myth of Redemption Epilogue: Wagner contra Nietzsche Wagner and Nietzsche: A History of the Relationship Becoming Nietzsche Nietzsche contra Wagner, Wagner contra Nietzsche Appendix 1. Das Rheingold: The Music-Dramatic Plan Appendix 2. Die Walkure: The Music-Dramatic Plan Appendix 3. Siegfried: The Music-Dramatic Plan Appendix 4. Gotterdammerung: The Music-Dramatic Plan Appendix 5. Tristan und Isolde: The Music-Dramatic Plan Appendix 6. Die Meistersinger: The Music-Dramatic Plan Appendix 7. Parsifal: The Music-Dramatic Plan Acknowledgments Abbreviations Used in Notes Notes Works Consulted Index.
  • (source: Nielsen Book Data)9780520292758 20170123
Beyond Reason relates Wagner's works to the philosophical and cultural ideas of his time, centering on the four music dramas he created in the second half of his career: Der Ring des Nibelungen, Tristan und Isolde, Die Meistersinger von Nurnberg, and Parsifal. Karol Berger seeks to penetrate the "secret" of large-scale form in Wagner's music dramas and to answer those critics, most prominently Nietzsche, who condemned Wagner for his putative inability to weld small expressive gestures into larger wholes. Organized by individual opera, this is essential reading for both musicologists and Wagner experts.
(source: Nielsen Book Data)9780520292758 20170123
Music Library
Book
xviii, 220 pages : illustrations ; 23 cm
  • Dedication Acknowledgments Preface Section A. - Getting Started Write a Brilliant Script! ***Poem: On Strike Umm, What to Write? Adapt or Die You're No Genius You're in Good Company Playing Around with George Clooney's Happy Ending Books are Just Screenplays with Adjectives. Develop Relationship with Original Author Use Their Experience to Your Benefit Connect with the Material Don't Call it "Opening Up" Location, Location, Location. Editing-- Macro and Micro. Putting the "Move" in "Movies" Use Your Source Material's Pedigree Don't Apologize for Your Source Material Try This On For Size: Improvise! Buying a Script on the Open Market Choose a Castable Script Lawyer Up! Chain of Title Isn't Just an R&B Song Mining for Gold: Discovering the Lost Jules Feiffer Script ***NameDropper Sidebar: Robert Altman There's No Business Like a Show Business Plan Project Summary Project History Key Production Team Synopsis Director's Statement Casting Why Support Independent Film? Product Integration & Branded Sponsorship Financing Options Budget Considerations/Options Distribution Potential Distribution Scenarios Contact Info Disclaimer Remember, It's a Visual Medium Storyboard Lookbook Pitch Cinema Subtitles *** Sidebar: Famous Director Kickstarter Campaigns Takin' Care of Business Rin-TIN-TIN Putting the Love in LLC! Wonderful Waterfalls Making Sure You're Not a Flimmaker Registering with the State The New Pizza King of Omaha EDGAR, EDGAR, Give Me Your Answer Do Boiler Rooms and Shriners Casting Your Banker Hey Buddy, Can You Paradigm? ***Poem: Crowdfund This Staff Up: Your First Round of Collaborators Producing a Producer Interns and a Clean Garage Terrorist Filmmaking The One-Armed Executioner Section B. - Shooting the Movie Casting Your Movie With A-List Actors Assemble a Team Aim High Go to New York Be Bi-Coastally Curious Don't Have a List! Develop Relationships with Agents Yourself Play the Agency Game Bait and Switch Set a Start Date Make it Real Magnetic Balls of Iron Take Advantage of Others' Misfortune Oh, and What if You Don't Have Famous Actors? ***Poem: Call Backs Directing Famous Actors in a Microbudget Film Cast Well Rehearse ***Namedropper sidebar: Harold Ramis Use Rehearsal Wisely Overlapping Dialogue ***Sidebar: The Sound of Music *** What's My Motivation? Trust Your Scripty Encourage "Chemistry" Among Your Cast Behave Like a Big Budget Production Block Scenes On Set Use Multiple Takes as Your Coverage Have Faith in Editing Say Something to the Actors Methods to their Madness Lights, Camera, Cinematographer! Good vs. Nice ***NameDroppers Sidebar - Rian Johnson They're Like Actors with Cameras It's Who They Know Putting the "DP" in iDentity Politics Are They Still Called Films if They're Digital? Film's Zombie Resurgence ***NameDroppers Sidebar - Christopher Nolan & Emma Thomas Deconstructing the Cult of Galileo Frankenlens and Mir (vishscopes) Walt Disney's Secret Optics Bunker Time to Shoot! Does It Take a Video Village to Raise a Film? Bump Up the Credits Finding a Crew with Donut Group Therapy Dress the Part Group Hug, Safety and Prayer to the Film Gods Your First-Day Disasters Hello, My Name is Josh Find the Goat Ready, Aim, Fire! Be Prepared Two Takes Ahead ***NameDropper Sidebar - Alexander Payne Arrive Early, Bring Donuts, Wear Tape Making Your 12-Hour Day Feeding the Beast Making an Epic EPK ***NameDropper Sidebar - John Carpenter Devious Use of the EPKorner Still the One Getting Your Kill Shots Point and Shoot To Infinity and Behind-the-Scenes Making Product Placement Work for You Cash and Carry Break Down, Go Ahead and Give it To Me A Clear and Present Necessity Selling Out, Even if You Don't Get Paid for It Killing Two Birds with One Stone ***Poem: The Locavore Filmmaker Livin' La Vida Locavore Keep Your Homebase at Home Cast Locally (sort of) Find Locations Close to Home Drag Your Actors out of Bed No, Seriously, Keep it Really Close to Home If You Travel, Hire Locally Editing, One Pant Leg at a Time Screw the Environment, Do It for Yourself ***Poem - Hack Attack Section C. - Post-Production Editing Like an ACE Editors Are Like Bass Players Finding Fresh Eyes Cut Yourself ***Poem: The Artisanal Filmmaker Start Strong-- Stick Your Landing Don't Let Your Post Supervisor Escape To Madagascar Teasing Out Your Assistants ***NameDropper Sidebar - Jon Bokenkamp Getting a Little Testy It's Not Easy Being Green Screened Sound and Fury The Breakfast (Nook) Club Temp Decomposing Song Sung Blue Section D. - Festivals Toronto, Toschmonto: Time for a Festival Plan "B" It's Just as Well. Your Film Wasn't Finished! It's All About Sundance Anyway! To Get Distribution! ***SideBar: Producer's Reps vs. Foreign Sales Agents Don't Buy Into the Premiere Arms Race Play Them Off Against Each Other Volume, Volume, Volume Get Reviews Meet Your Audience See the World! They're "Romantic" Meet New Money Get DVD Extras Meet Other Filmmakers ***Poem: Putting the Festiv Back Into Festival How to Avoid Going Broke Applying to Film Festivals Be Selective Make a Personal Connection to the Festival Programmer Offer Your Premiere Status Offer Up Talent Ask for a Waiver Don't Ask for a Waiver Aim Foreign Mail Smart Submit Vimeo Links Hand-Deliver Your DVD Meet Festival Directors at Other Festivals Bribes and Blackmail ***SideBar: Top 24 Sundance/Slamdance Rejection Rationalizations ***Poem: We Are Slamdance How to Start Your Own Film Festival: The Birth of Slamdance Sundance or Bust Anarchy in Utah Prospecting for Screening Rooms The Birth of IndieWood ***NameDropper Sidebar: Steven Soderbergh Our Napolean Complex ***NameDropper Sidebar: Marc Forster Billions and Billions ***Poem: Slamdance at 15 Section E. - Distribution Sexy Things You Get to Do When You Think Your Film is Finished Deliverables E&O Insurance Repair Relationships Promote Your Friggin' Movie DVD Extras Crowd-Funding Perks Taxes Accounting K-1s Write Checks Residuals Archiving Escaping Your Distributor Dissolving Your Entity Rinse, Repeat ***Poem: Don't Get Distribution Aarghh! How to Beat Film Pirates at their Own Game The Whack-a-Mole Takedowns! Make Money From the Pirates The Fakeout! Using the Pirates to Screw Your Distributor! Embracing the Pirates! Slut-Shaming the Advertisers Make Piracy an Essential Element of your Release Strategy Use the Pirates to Pimp Your Merch Use Piracy to Charge for Product Placement What Operas and Sharknado Can Teach Indie Films ***Poem: Analytic Black Hole When In Doubt, Create Your Own Oscar Go Team America! Big in Germany A Tree in the Forest Race to the Academy! We Wuz Robbed ***Poem: Transmedia Verse How to Make Money From an Oscar Nomination The Accountant How to Become a TV Director and Make it in Hollywood Recut Your Reel. Redo Website Update Your IMDb and Wikipedia Pages Make a List Whom to Meet With? How to Get the Meetings ***NameDroppers Sidebar: Joe and Anthony Russo Research Their Shows Research The People Go Early The Pre-Meeting Meeting Check for Breaking News Do You Take The Water? Choose Wisely Where to Sit Wear or Do Something Memorable Tell Funny Stories About Yourself ***NameDroppers Sidebar - Lynn Shelton Ask Them Personal Questions Get Something Out of Each Meeting The Parking Garage Meeting After the Meeting ***SideBar: The Eight Stages of Success for an Indie Filmmaker Epilogue Index.
  • (source: Nielsen Book Data)9781138185135 20161018
In The Cheerful Subversive's Guide to Independent Filmmaking, celebrated Slamdance Film Festival co-founder Dan Mirvish offers a rich exploration of the process and culture of making low-budget, independent films. Once labelled a "cheerful subversive" by The New York Times, Mirvish shares his unfiltered pragmatic approach to scriptwriting, casting, directing, producing, managing a crew, post-production, navigating the film festival circuit, distributing your film, dealing with piracy and building a career. Readers will learn how to game the Hollywood system to their advantage, get their films accepted by respected festivals without going broke, and utilize a broad range of media and tactics to promote and distribute their work. A companion website features behind-the-scenes interviews and footage from Dan's films, and much more. * Learn everything you need to know to make, promote, and distribute your independent films, with time-tested lessons and practical advice on scriptwriting, casting and directing A-list actors, financing, producing, managing a crew, editing in post, creating visual effects on a budget, and successuflly navigating the film festival circuit * Find out what it takes to become a true "cheerful subversive" and adopt new and innovative approaches to producing your films, discover hidden loopholes in the Hollywood system and festival scene, take advantage of a broad range of media formats to promote and distribute your indie films, and generally make bold moves in service of your creative work, all while staying flexible enough to pivot at a moment's notice * An extensive companion website features in-depth interviews with filmmakers, more than an hour of behind-the-scenes footage from Dan Mirvish's films, festival resources, and much more.
(source: Nielsen Book Data)9781138185135 20161018
Green Library
Book
xiv, 415 pages : illustrations ; 23 cm.
The Chinatown opera house provided Chinese immigrants with an essential source of entertainment during the pre "World War II era. But its stories of loyalty, obligation, passion, and duty also attracted diverse patrons into Chinese American communities Drawing on a wealth of new Chinese- and English-language research, Nancy Yunhwa Rao tells the story of iconic theater companies and the networks and migrations that made Chinese opera a part of North American cultures. Rao unmasks a backstage world of performers, performance, and repertoire and sets readers in the spellbound audiences beyond the footlights. But she also braids a captivating and complex history from elements outside the opera house walls: the impact of government immigration policy; how a theater influenced a Chinatown's sense of cultural self; the dissemination of Chinese opera music via recording and print materials; and the role of Chinese American business in sustaining theatrical institutions. The result is a work that strips the veneer of exoticism from Chinese opera, placing it firmly within the bounds of American music and a profoundly American experience.
(source: Nielsen Book Data)9780252082030 20170321
Music Library
Book
xiii, 340 pages ; 24 cm.
  • Preface Acknowledgements I. General Music Reference Dictionaries and Encyclopedias / Bibliographies of Music Literature: General Works - Music Literature and Periodical Indexes - Dissertations and Master's Theses / Discographies / Chronologies II. Church Music Reference Dictionaries and Encyclopedias: General Works - Biographical Dictionaries and Collective Biographies / Bibliographies of Music Literature: General Works - Church Music - United States Music / Music Literature and Periodical Indexes / Dissertations and Master's Theses / Special and Subject Bibliographies: African American Music - Baptist and Southern Baptist - Choral Music - Episcopal/Anglican - Folk Music - Hymnody - Masses - Mennonite - Psalmody - Spirituals / Bibliographies of Music and Music Indexes: General Works - Special and Subject Bibliographies and Music Indexes - Anthems - Cantatas - Chant - Choral Music - Contemporary Music - Episcopal/Anglican - Fuging Tunes - Gospel Music - Hymns and Hymnals - Instrumental Music - Masses - Moravian - Oratorios - Organ Music - Piano Music - Spiritual - Tunebooks - Vocal Music / Discographies / Texts and Translations III. Church and Sacred Music in Periodicals IV. Historical Studies V. Regional Studies Mid-Atlantic States (Delaware, Maryland, New Jersey, New York, Pennsylvania, Washington, D.C.): General Works - Maryland - New Jersey - New York - Pennsylvania / Midwestern States (Illinois, Indiana, Iowa, Kansas, Michigan, Minnesota, Missouri, Nebraska, North Dakota, Ohio, South Dakota, Wisconsin): Illinois - Michigan - Ohio / New England (Connecticut, Maine, Massachusetts, New Hampshire, Rhode Island, Vermont): General Works - Maine - Massachusetts - New Hampshire - Rhode Island / Southern States (Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Virginia, West Virginia): General Works - Alabama - Georgia - Kentucky - Mississippi - North Carolina - South Carolina - Virginia / Southwestern States (Arizona, New Mexico, Oklahoma, Texas): General Works - Oklahoma - Texas / Western States (Alaska, California, Colorado, Hawaii, Idaho, Montana, Nevada, Oregon, Utah, Washington, Wyoming): Alaska - California - Colorado - Hawaii VI. Religious and Ethnic Groups General Works / African American / African Methodist Episcopal / African Methodist Episcopal Zion / Assemblies of God / Baptist and Southern Baptist / Brethren / Catholic / Christian Methodist Episcopal / Christian Reformed / Church of Christ / Church of Christ, Scientist / Church of God / Church of God and Saints in Christ / Church of the Brethren / Episcopal/Anglican / Evangelical Lutheran Church in America / Harmonists / Hispanic American / Holiness / Independent Christian / Jewish / Korean American / Lutheran / Mennonite and Mennonite Brethren / Methodist and United Methodist / Methodist Episcopal / Moravian and Moravian Brethren / Mormon / Native American / Pentecostal / Presbyterian / Primitive Baptist / Puritan / Reformed Church in America / Reformed German / Reformed Presbyterian Church of North America / Seventh-Day Adventist / Shakers / Southern Fundamentalist / Swedish American / United Missionary Church VII. Church and Sacred Music Genres Anthems / Camp Meeting Songs / Canatas / Choral Music / Contemporary Worship Music / Folk Music / Fuging Tunes / Gospel Music / Hymns and Hymnody: General - Missionary Hymnody - Revivalism - Sacred Harp - Tunebooks / Instrumental Music / Masses / Motets / Operas / Oratorios / Organ Music / Psalms and Psalmody / Spirituals / Vocal Music VIII. Music Ministry General Works / Religious and Ethnic Groups: African American - Apostolic Faith Churches of God - Baptist - Catholic - Church of Christ - Episcopal/Anglican - Lutheran - Mennonite - United Methodist - Quakers - Reorganized Church of Jesus Christ of Latter-Day Saints / Choirs and Choral Music / Contemporary Worship Music / Hymns and Hymnody / Instrumental Music: General Works - Handbell Music - Keyboard Music - Orchestra Music / Song Leading and Congregational Singing IX. Tradition, Change, and Conflict General Works / Religious and Ethnic Groups: African American - Church of Christ / A Cappella / Contemporary Music and Worship / Instrumental Music X. Church and Worship Music Web Sites General Works / Religious and Ethnic Groups: African American - Armenian - Baptist - Catholic - Christian Reformed - Church of God - Episcopal/Anglican - Evangelical Lutheran - Greek Orthodox Archdiocese - Lutheran - Moravian - Orthodox - Presbyterian - Seventh-Day Adventist - United Church of Christ - United Methodists / Choral Music / Contemporary Christian Music / Discographies / Gospel Music / Handbell Music / Hymns and Hymnody / Organ Music / Publishers / Scores Subject Index Author Index Title Index.
  • (source: Nielsen Book Data)9781138195806 20161031
This fully updated second edition is a selective annotated bibliography of all relevant published resources relating to church and worship music in the United States. Over the past decade, there has been a growth of literature covering everything from traditional subject matter such as the organ works of J.S. Bach to newer areas of inquiry including folk hymnology, women and African-American composers, music as a spiritual healer, to the music of Mormon, Shaker, Moravian, and other smaller sects. With multiple indices, this book will serve as an excellent tool for librarians, researchers, and scholars sorting through the massive amount of material in the field.
(source: Nielsen Book Data)9781138195806 20161031
Music Library
Book
xiii, 540 pages : illustrations ; 25 cm.
  • List of Figures Acknowledgements Introduction: Adrian Rifkin, or from Art History in Ruins to a Lost Object Steve Edwards Re-reading by Torchlight Adrian Rifkin SECTION 1. NEW ART HISTORIES 1.1 Art's Histories (1986) 1.2. Can Gramsci Save Art History? (1981) 1.3 Marx' Clarkism (1985) 1.4 Carmenology (1988) 1.5 History, Time and the Morphology of Critical Language or Publicola's Choice (1994) 1.6 Bi-Centennial Literature on Art and the French Revolution (1990) 1.7 The Words 'Art', the Artist's Status: Technique and Affectivity in France (1789-98) (1991) 1.8 From Structure to Enigma, and Back, Perhaps (2005) SECTION 2. SOCIETY, IMAGE, SOCIAL DIFFERENCE: BETWEEN THE PARIS COMMUNE, THE SALON AND THE PEOPLE 2.1 Cultural Movement and the Paris Commune (1979) 2.2 The Sex of French Politics (1983) 2.3 No Particular Thing to Mean (1983) 2.4 Well Formed Phrases (1986) 2.5 Ingres and the Academic Dictionary (1983) 2.6 Success Disavowed: The Schools of Design in Mid-Nineteenth-Century Britain. (An Allegory) (1988) 2.7 Murals of the Buvette de La Commune - A Pictorial Dossier SECTION 3. PARIS AND MORE ON THE PEOPLE 3.1 Musical Moments (1987) 3.2 Parvenu Or Palimpsest: Some Tracings Of The Jew In Modern France (1995) 3.3 Il y a des mots qu'on souhaiterait plus lire (2005) 3.4 Gay Paris, Trace And Ruin (2002) 3.5 americans go home, which is more american, Paris-Texas or Paris-France? (2004) SECTION 4 ALTERNATIVES TO THE GRANDER SCHEMAS, OR RESISTANCE TO THE CRITIQUE OF GRAND NARRATIVE AS A FORM OF GRAND NARRATIVE 4.1 A Down On The Upbeat: Adorno, Benjamin And The Jazz Question (1989) 4.2 Total Ellipsis: Zola, Benjamin And The Dialectics Of Kitsch (1996) 4.3 The Long Run Of Modernity, Or An Essay On Post-Dating (1992) 4.4 Benjamin's Paris, Freud's Rome, Whose London? ( 1999) 4.5 Bayreuth, World City? Or: The Provincial Village As Global Denkmal... (2011) POSTSCRIPTS: DIFFERENT BEGINNINGS 5.1 The Paris Commune Of 1871 and the Political Print (1979) 5.2 For An Artist... (2008) 5.3 Object Lessons (2001) Bibliography of Writings by Adrian Rifkin. Bibliography Index.
  • (source: Nielsen Book Data)9789004231887 20170130
This collection of some 32 articles and essays by Adrian Rifkin were written over a period of forty years. It contains innovative and influential studies of the archives of art, urbanism, music and popular life in France and Britain during the nineteenth and twentieth centuries. Arranged around a number of studies of the representation of the Paris Commune, the book also contains chapters on Edith Piaf's role in French culture, histories of art education, opera and queer life in the city as well as analytical accounts of the commodity and cultural theory in Adorno and Benjamin. An extended introduction by Steve Edwards works over the questions of uneven time in Marxist cultural theory and the disciplinary formations that underpin many of Rifkin's essays.
(source: Nielsen Book Data)9789004231887 20170130
Art & Architecture Library (Bowes)
Book
xii, 279 pages : illustrations, maps ; 24 cm
  • General Introduction Ian Biddle and Kirsten Gibson Part 1: Historicizing Aurality Introduction Ian Biddle and Kirsten Gibson 1.'Sowndys and melodiis': Perceptions of Sound and Music in Late Medieval England Lisa Colton 2. The Physiologist at the Opera - Claude Perrault's Du bruit (1680) and the Politics of Pleasure in the Ancien Regime Veit Erlmann 3. Georges Kastner's Les Voix de Paris (1857): A Study in Musical Flanerie Emily Laurance 4. Refashioning Rhythm: Hearing, Acting and Reacting to Metronomic Sound in Experimental Psychology and Beyond, c.1875-1920 Alexander Bonus Part 2: Sound Politics Introduction Ian Biddle and Kirsten Gibson 5. Orphee at the Forains: Silencing and Silences in Old Regime France Hedy Law 6. Sound as Promise and Threat: Drumming, Collective Violence and Colonial Law in British Ceylon Jim Sykes 7. Cannons, Church Bells and Colonial Policies: The Soundscape in Habsburg Bosnia-Herzegovina Risto Pekka Pennanen Part 3: Urban Soundscapes of Europe Introduction Ian Biddle and Kirsten Gibson 8. City Life and Music for Secular Entertainment in the Empire of Maximilian I Helen Coffey 9. Sonic Afterworld: Mapping the Soundscape of Heaven and Hell in Early Modern Cities Daniele V. Filippi 10. The Sounds of the City, 1598: Everard Guilpin's London in Skialetheia Adam Hansen 11. The Soundscape of the City in the Nineteenth Century Olivier Balay 12. Porosity and Modernity: Lisbon's Soundscape from 1864-1908 Joao Silva. Bibliography Index.
  • (source: Nielsen Book Data)9781409444398 20170213
Cultural Histories of Noise, Sound and Listening in Europe, 1300-1918 presents a range of historical case studies on the sounding worlds of the European past. The chapters in this volume explore ways of thinking about sound historically, and seek to understand how people have understood and negotiated their relationships with the sounding world in Europe from the Middle Ages through to the early twentieth century. They consider, in particular: sound and music in the later Middle Ages; the politics of sound in the early modern period; the history of the body and perception during the Ancien Regime; and the sounds of the city in the nineteenth century and sound and colonial rule at the fin de siecle. The case studies also range in geographical orientation to include considerations not only of Britain and France, the countries most considered in European historical sound studies in English-language scholarship to date, but also Bosnia-Herzegovina, British Colonial India, Germany, Italy and Portugal. Out of this diverse group of case studies emerge significant themes that recur time and again, varying according to time and place: sound, power and identity; sound as a marker of power or violence; and sound, physiology and sensory perception and technologies of sound, consumption and meaning.
(source: Nielsen Book Data)9781409444398 20170213
Music Library
Video
1 streaming video file (79 min.) : digital, sound, color
The dancers of the Ballet de l'Opera company of Paris learn to perform choreographer Trisha Brown's seminal 1979 dance "Glacial Decoy."
Book
xiii, 313 pages : illustrations ; 25 cm.
  • Acknowledgments Contributor biographies Introduction 1. Sven Thorsten Kilian, 'Opening Spaces for the Reading Audience: Fernando de Rojas's Celestina (1499/1502) and Niccolo Machiavelli's Mandragola (1518)' 2. Katja Gvozdeva, 'Why Do Men Go Blind in the Theatre? Gender Riddles and Fools' Play in the Italian Renaissance Comedy Gl'Ingannati (1532)' 3. Deborah Blocker, 'The Accademia degli Alterati and the Invention of a New Form of Dramatic Experience: Myth, Allegory, and Theory in Jacopo Peri's and Ottavio Rinuccini's Euridice (1600)' 4. Wendy Heller, 'Il favore degli dei (1690): Meta-Opera and Metamorphoses at the Farnese Court' 5. Tatiana Korneeva, 'Entertainment for Melancholics: The Public and the Public Stage in Carlo Gozzi's L'Amore delle tre melarance' 6. Logan J. Connors, 'Pierre Nicole, Jean-Baptiste Dubos, and the Psychological Experience of Theatrical Performance in Early Modern France' 7. Kirill Ospovat, 'The Catharsis of Prosecution: Royal Violence, Poetic Justice, and Public Emotion in the Russian Hamlet (1748)' 8. Nigel Smith, 'The Politics of Tragedy in the Dutch Republic: Joachim Oudaen's Martyr Drama in Context' 9. Hans Rudolf Velten, 'Devils On and Off Stage: Shifting Effects of Fear and Laughter in Late Medieval and Early Modern German Urban Theatre' 10. Toni Bernhart, 'Imagining the Audience in Eighteenth-Century Folk Theatre in Tyrol' 11. Stanca Scholz-Cionca, 'No within Walls and Beyond: Theatre as Cultural Capital in Edo Japan (1603-1868)' List of illustrations List of tables Index.
  • (source: Nielsen Book Data)9789004329751 20161124
In Dramatic Experience: The Poetics of Drama and the Early Modern Public Sphere(s) Katja Gvozdeva, Tatiana Korneeva, and Kirill Ospovat (eds.) focus on a fundamental question that transcends the disciplinary boundaries of theatre studies: how and to what extent did the convergence of dramatic theory, theatrical practice, and various modes of audience experience - among both theatregoers and readers of drama - contribute, during the sixteenth to eighteenth centuries, to the emergence of symbolic, social, and cultural space(s) we call 'public sphere(s)'? Developing a post-Habermasian understanding of the public sphere, the articles in this collection demonstrate that related, if diverging, conceptions of the 'public' existed in a variety of forms, locations, and cultures across early modern Europe - and in Asia.
(source: Nielsen Book Data)9789004329751 20161124
SAL3 (off-campus storage)

15. Ernani, Verdi [2017]

Book
95 pages : illustrations, facsimiles, music ; 25 cm.
  • Hernani ou Le Cid des romantiques / Louis Bilodeau
  • La genèse d'Ernani et la censure vénitienne / Gabriele Moroni
  • Francesco Marie Piave, le scribe de Verdi / Emanuele d'Angelo
  • Charles Quint, de l'histoire à la scène / Jean-Pierre Jardin.
Music Library
Book
1 online resource (310 pages) : digital, PDF file(s).
  • Foreword: reminiscences of my grandfather Ernest Bloch, II-- Chronology-- Alphabetical list of Bloch's published and unpublished works Alexander Knapp-- Bloch resources: recordings in the age of the Internet Stanley Henig-- Introduction Norman Solomon-- 1. From Geneva to New York: radical changes in Ernest Bloch's view of himself as a 'Jewish composer' during his twenties and thirties Alexander Knapp-- 2. The 'suffering and greatness' of Ernest Bloch: concepts of the composer as genius Klara Moricz-- 3. Bloch, Wagner and creativity: refutation and vindication Malcolm Miller-- 4. Sacred service: the mass Bloch never wrote, the two that Leonard Bernstein did write, and Shulamit Ran's Credo/Ani Ma'Amin David Schiller-- 5. Oregon years: the man and his music David Z. Kushner-- 6. 'The future alone will be the judge': Ernest Bloch's epic journeys between Utopia and Dystopia Philip V. Bohlman-- 7. The reception of Bloch's music in Palestine/Israel to 1948 Jehoash Hirshberg-- 8. Bloch's reception and his standing in Israel since 1954 Zecharia Plavin-- 9. A performance history of Bloch's opera Macbeth: Paris 1910-Manhattan 2014 Stanley Henig-- 10. King Solomon and the Baal Shem Tov: traditional elements in Bloch's musical representation of two iconic personalities from Jewish history Alexander Knapp-- 11. Postscript: the legacy Norman Solomon.
  • (source: Nielsen Book Data)9781107039094 20170306
Ernest Bloch left his native Switzerland to settle in the United States in 1916. One of the great twentieth-century composers, he was influenced by a range of genres and styles - Jewish, American and Swiss - and his works reflect his lifelong struggle with his identity. Drawing on firsthand recollections of relatives and others who knew and worked with the composer, this collection is the most comprehensive study to date of Bloch's life, musical achievement and reception. Contributors present the latest research on Bloch's works and compositional practice, including studies of his Avodath Hakodesh (Sacred Service), violin pieces such as Nigun, the symphonic Schelomo, and the opera Macbeth. Setting the quality and significance of Bloch's output in its historical and cultural contexts, this book provides scholarly analyses as well as a full chronology, list of online resources, catalogue of published and unpublished works, and selected further reading.
(source: Nielsen Book Data)9781107039094 20170306
Music score
1 study score (2 volumes (546 pages)) ; 30 cm.
Music Library
Book
xx, 269 pages ; 24 cm.
  • Series Editor's Foreword Introduction: Why Beethoven? Timeline 1. "The Spirit of Mozart" (1770-1792) 2. "From the Hands of Haydn" (1792-1801) 3. The "Heroic" Style (1802-1806) 4. Fidelio: Beethoven's One and Only Opera (1805-06 and 1814) 5. Symphonic Alternatives to the Heroic Style (1807-1814) 6. Beethoven and Song 7. The Late Piano Music (1816-1824) 8. Daiku: The Big Ninth 9. The String Quartet in C# Minor, Op. 131 Glossary Selected Reading Selected Listening Works Discussed in Experiencing Beethoven About the Author.
  • (source: Nielsen Book Data)9781442245457 20161114
The life and music of Beethoven still fascinate classical music lovers, new and old. His many symphonies, sonatas, concertos, string quartets, and his one opera enchant audiences, challenge performers, engage students, and support scholars in their work. In Experiencing Beethoven, music historian Geoffrey Block explores in layman's terms a highly representative body of about two dozen Beethoven instrumental and vocal works, offering listeners who know him well, or are just discovering him, an opportunity to grasp the breadth and depth of his musical genius. Designed for those unversed in musical terminology or theory, Experiencing Beethoven places the composer's works within the evolving context of his personal and professional life and social and cultural milieu. Block sheds light on the public and private audiences of Beethoven's music, from the concerts for the composer's own financial benefit to the debut of the "Eroica" Symphony at the palace of Prince Lobkowitz to the historic public premiere of his Ninth Symphony. Experiencing Beethoven paints a portrait of the composer's youth in Bonn, his early triumphs and artistic maturation in Vienna, and-despite the challenges his music posed to his contemporaries- the recognition he received during his lifetime as the most acclaimed composer of the era. Block conveys the range and scope of Beethoven's achievement, from his heroic style to his lyricism, grappling throughout with the composer's power to communicate his idealistic musical vision to listeners in both his time and ours. Finally, Experiencing Beethoven explores why Beethoven's music continues to enjoy an unwavering appeal in an age saturated with a range of musical styles.
(source: Nielsen Book Data)9781442245457 20161114
Music Library
Book
265 pages : illustrations ; 19 cm
  • Histoire et genèse -- Une genèse compliquée -- Qui a écrit le livret ? -- Emanuel Schikaneder -- Que vaut le livret ? -- Les sources du livret -- Wieland -- Terrasson -- Ignaz von Born -- Le Theater auf der Wieden -- Réception de l'oeuvre -- Pour une vision plurielle -- Un grand opéra allemand -- Un opéra d'apprentissage -- Parcours d'apprentissage et morale tempérée -- La musique comme force de transformation -- Une histoire d'amour -- L'amour dans sa diversité -- Le désir ardent d'amour de Papageno -- L'amour source de souffrance et de frustration -- L'air du portrait ou la naissance du sentiment amoureux -- L'hymne à l'amour d'une princesse et d'un oiseleur -- Amour et déréliction -- Un opéra féerique -- Un Mârchenoper au merveilleux surnaturel -- Un manichéisme tempéré -- Une gaieté souriante et douce -- Une farce populaire -- Spécificités et noblesse du théâtre populaire -- Papageno, être sensible et emblème de l'oeuvre -- Comique et farce populaire -- Vertus et noblesse du Singspiel-Lied -- Une fable maçonnique -- Rappel historique - -- Les premières analyses maçonniques -- La vision de Jan Assmann : un opéra duplex -- Un serpent maléfique coupé en trois morceaux -- Indices et références maçonniques -- Les épreuves du feu et de l'eau -- Les couleurs maçonniques de l'orchestre -- Un drame sacré -- L'Aufarung, l'art et la religion -- Mozart, esprit religieux -- Trombones et musique d'église -- "O Isis et Osiris" ou le cantique de Sarastro -- Le choral des deux Hommes d'armes -- Une lutte de pouvoir -- Les enjeux -- Origine et nature du conflit -- Les forces en présence -- Une opposition de styles -- Un opéra des Lumières -- Le pouvoir magique de la musique -- Les précédents -- Un humanisme musical -- Un opéra alchimique.
"Opéra merveilleux et multiple, La Flûte enchantée fait partie de ces grandes oeuvres qui nous accompagnent et nous éclairent tout au long de notre vie. Dépassant la simple et belle expérience esthétique car complexe, profonde et mystérieuse, elle nous apprend aussi à penser, à élargir la conscience de soi, des autres et du monde. L'ultime et le plus populaire des opéras de Mozart est une oeuvre au contenu ésotérique que son mélange de gravité et de légèreté, de sacré et de profane, de comique et de tragique a pu rendre difficile à interpréter. S'appuyant sur les dernières recherches musicologiques allemandes, Éric Chaillier se propose ici de nous guider dans les méandres de l'oeuvre ; après avoir retracé sa genèse (du livret à la création dans le théâtre qu'Emanuel Schikaneder, l'auteur du texte, dirigeait dans les faubourgs de Vienne), il en évoque tous les aspects (l'amour, le pouvoir, le rituel initiatique, le sacré, la verve populaire, l'esprit d'enfance, la féerie) qui, combinés en un tout cohérent et fusionnés dans la sublime musique de Mozart, font de ce testament un hymne à la vie et au pouvoir magique de la musique."--Page 4 of cover.
Music Library
Book
327 pages : illustrations ; 24 cm.
  • Wolfram von Eschenbach -- Le poète -- L'origine sociale du poète -- Les mécènes de Wolfram -- La culture de Wolfram -- La tradition manuscrite -- La datation -- Influence du Parzival -- Le problème des sources -- La construction du Parzival -- Analyse du Parzival -- Wolfram d'Eschenbach et sa source (ou ses sources) -- Essai d'interprétation -- Le sens de la réalité, du concret et de la politique -- Wolfram et la médecine -- Wolfram et l'astronomie / astrologie -- Wolfram et la justice : le viol -- Wolfram et la consommation du mariage -- Wolfram von Eschenbach face aux autres religions -- Les juifs -- Les musulmans -- Les liens de parenté dans le Conte del Graal de Chrétien de Troyes et son adaptation allemande, le Parzival de Wolfram d'Eschenbach -- Le lignage d'Arthur -- La famille du Graal -- Le motif de l'inceste dans le Conte del Graal de Chrétien de Troyes et le Parzival de Wolfram von Eschenbach -- Perceval/Parzival -- Gauvain/Gawan -- Conclusion -- La conception de l'amour -- L'amour non récompensé -- Amour réciproque et amour conjugal -- Le Graal -- Première visite de Parzival au Château du Graal -- Qu'est donc le Graal ? -- Pourquoi Parzival connaît-il l'échec lors de sa première visite au château du Graal ? -- Les propriétés du Graal -- Le monde du Graal : les gardiens du Graal -- Le Château des reines / Schastel Marveil -- Comment Wolfram a-t-il traité cet épisode ? -- Le personnage de la Mauvaise pucelle et ses rapports avec Gawan -- L'Autre Monde -- Conclusion : la structure du Parzival -- Heinrich von dem Türlin, La Couronne (Diu Krone) -- L'auteur -- Datation de la Couronne -- Tradition manuscrite -- Résumé de la Couronne -- Prologue -- A la cour d'Artus (1). Fête courtoise de Noël à Tintagel. Préparatifs, invités, tournoi -- Aventures de Gawein (1) -- A la cour d'Artus (2) -- Aventures de Gawein (2) -- Aventures de Gawein (3) -- A la cour d'Artus (3) -- Aventures de Gawein (4) -- A la cour d'Artus (4) -- Epilogue -- Annexe du copiste -- Qu'est-ce que la Couronne ? -- La Couronne dans la tradition littéraire allemande -- La technique narrative de Heinrich von dem Türlin -- Les lieux de l'action -- Les personnages -- L'action -- Le château de Salie et le Graal -- Salie -- Le Graal -- Comment se déroule la scène du Graal dans la Couronne ? -- Signification de l'épisode -- Conclusion générale -- Le Lancelot allemand en prose (Prosa-Lancelot) -- Datation du Prosa-Lancelot -- Tradition manuscrite -- Résumé de Pceuvre -- Les thèmes principaux du Prosa-Lancelot -- La chevalerie -- L'Amour -- Le Graal -- La fin du monde arthurien -- Le Concours de chant de la Wartburg (Wartburgkrieg) -- Tradition manuscrite -- Le Fiirstenlob -- Le Râtselspiel -- Le titre de l'oeuvre -- Le Concours de chant de la Wartburg, source du Tannhâuser de Richard Wagner -- Lohengrin -- La légende des Enfants Cygnes -- Le roman épique Lohengrin -- Tradition manuscrite -- Le poète -- Les sources historiques et littéraires -- Interprétation -- Répercussions littéraires -- Conclusion --
  • Le Nouveau Titurel d'Albrecht -- Le poète -- Tradition manuscrite -- Structure et contenu -- Essai d'interprétation -- La vision encyclopédique -- Historisation de l'action -- Qu'est-ce que le Graal dans le Nouveau Titurel -- Le caractère didactique de l'oeuvre -- La solution théocratique -- Le Rappoltsteiner Parvfal de Claus Wisse et Philipp Colin -- Technique de l'adaptation et de la composition du Rappoltsteiner Parzifal -- Interprétation -- Qu'est-ce que le Graal ? -- A propos de l'épilogue du Rappoltsteiner Parzifal -- Ulrich Fuetrer -- Présentation de l'auteur et de son oeuvre -- Le Livre des aventures -- La tradition manuscrite -- Structure du premier livre du Buch der Abenteuer -- Méthodes de la narration chez Fuetrer : l'exemple du Graal -- Les chevaliers du Graal -- Première visite de Parzival et procession -- Qu'est-ce que le Graal ? -- Gawein et le Graal -- Le transfert du Graal -- Pourquoi Artus est-il rattaché au Graal ? -- Légitimation du pouvoir d'Albrecht IV -- Le Lantzilet en prose (PF) et le Lanntzilet strophique (VF) -- Généralités sur PF et VF -- Etude de deux épisodes des Lantzilet : but de cette étude -- Les amours de Lantzilet et de Ginover -- Lantzilet et Ginover dans le Prosa-Lancelot -- Lantzelet et Ginover dans le PF et le VF -- Conception traditionnelle de l'amour -- L'amour est-il consommé ? -- Rôle de l'amour dans l'action -- Naufrage de l'amour courtois -- L'amour comme péché. La pénitence nécessaire -- La chapelle et la scène finale ; la mort du héros -- La condamnation du monde -- Le renoncement au monde -- Le personnage de Galaad et la quête du Graal -- Galaad et le Graal -- Arrivée chez Artus -- Transfert du Graal -- Qu'est-ce que le Graal ? -- Les douze chevaliers -- Désacralisation -- Le miracle de l'Eucharistie -- La première messe -- La seconde messe -- Conclusion de l'oeuvre -- Nouvelle interprétation de la chevalerie -- Conclusion générale -- L'amour -- Le Graal -- Iconographie -- Moyen Age -- Le roi Louis II de Bavière et la thématique de Parzival -- Anselrn Kiefer (né en 1945) et le thème de Parzival -- La redécouverte du Parzival de Wolfram von Eschenbach et des romans médiévaux du Graal du XVIIIe siècle à nos jours -- XVIII' siècle -- XIXe siècle -- L'époque romantique -- Réécritures -- Karl Leberecht Immermann (1796-1840) -- Der Schwanenritter (Le Chevalier au cygne) -- Merlin. Eine Mythe (Merlin. Un mythe) -- Recherche scientifique, histoire littéraire, éditions, traductions -- Lohengrin, opéra romantique de Richard Wagner -- Analyse de Lohengrin -- Genèse de Lohengrin -- Lohengrin, transition entre l'"opéra romantique" et le "drame musical" -- Les sources du Lohengrin de Richard Wagner -- De multiples interprétations -- Le Parsifal de Richard Wagner -- Analyse du Parsifal -- La genèse de Parsifal -- Les sources de Parsifal -- Les autres sources de Wagner -- Le Parsifal de Wagner et ses sources -- Les personnages -- Herzeleide -- Amfortas -- Gurnemanz -- Parsifal -- Klings or -- Kundry -- L'action --
  • Epoque wilhehninienne et début du XXe siècle -- Récupération idéologique du thème de Parzival -- Le Parsifal de Richard Wagner : nouvelles mises en scène.
"Le Graal fut l'objet de la plus belle des quêtes. En dépit d'origines inconnues, il se trouve à la racine de toute une matière littéraire aux multiples correspondances symboliques et il continue de renvoyer à des mythes divers. Le Graal entre en littérature à la fin du XIIe siècle avec Chrétien de Troyes dans le Conte del Graal où il désigne un plat large et creux serti de pierres précieuses. Chez Wolfram d'Eschenbach (entre 1200 et 1210), l'adaptateur du romancier champenois, le Graal est une pierre, centre d'une communauté de chevaliers. Vers 1200, Robert de Boron rattache le Graal à la Passion du Christ : il en fait la coupe de la dernière Cène et le saint vaisseau où est recueilli le sang du Christ lors de la Crucifixion. À partir de là vont se développer dans le monde germanique deux traditions, l'une "religieuse et chrétienne", l'autre "laïque" : la seconde sera exploitée au profit de théories du pouvoir qu'il s'agisse, à la fin du XVe siècle, de glorifier un duc .de Bavière et de légitimer son pouvoir ou, à l'époque moderne, d'inscrire le nazisme dans l'héritage germanique. Une rupture s'opère avec Wagner qui confère au mythe un sens personnel, nouveau. À la fin du XXe siècle, on utilise encore le Parzival de Wolfram pour illustrer cette fois une désillusion face à l'époque moderne."--Page 4 of cover.
Green Library