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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
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
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

6. Don Giovanni [2018]

288 p. ill. 20 cm
Music Library
126 Seiten Illustrationen, Notenbeispiele
Music Library
xviii, 246 pages : illustrations, maps ; 24 cm.
  • Foreword Lord Trevor Smith Introduction Colin Holmes and Anne J Kershen 1. From East End 1888 to East End 2008: A Journey in the Life of an Inner London Borough Anne J Kershen Part 1: Politics 2. Anarchism, Jews, Relief - and Photography? Behind the Lens and behind the Scenes, 1892-1946 Michael Berkowitz 3. The Jewish Health Organisation of Great Britain in the East End, 1923-1946 Todd Endelman 4. The East End and the Moral Foundations of Bill Fishman's Libertarian Socialism Wayne Parsons Part 2: Anti-Alienism/Anti-Semitism and War 5. The Reubens Brothers: Jews, Crime and the East London Connection, 1887-1911 Colin Holmes 6. Jews and Bombs: The Making of a Metropolitan Myth, 1916-1945 Jerry White 7. Winning the Battle, But What About the War? Cable Street in Context Daniel Tilles Part 3: Culture and Society 8. Whitechapel's Yiddish Opera House: The Rise and Fall of the Feinman Yiddish People's Threatre David Mazower 9. The Metropolitan Rhythm of Street Life: A Socio-spatial Analysis of Synagogues and Churches in Nineteenth Century Whitechapel Laura Vaughan and Kerstin Sailer 10. Doing the East End Walk, Oi! Heritage, Ownership and Belonging Tony Kushner Afterword Colin Holmes and Anne J Kershen.
  • (source: Nielsen Book Data)9781138186040 20171017
An East End Legacy is a memorial volume for William J Fishman, whose seminal works on the East End of London in the late nineteenth century have served as a vital starting point for much of the later work on the various complex web of relations in that quarter of the capital. A variety of leading scholars utilise the insight of Fishman's work to present a wide range of insights into the historical characters and events of the East End. The book's themes include local politics; anti-alienism, anti-Semitism and war; and culture and society. In pursuing these topics, the volume examines in great depth the social, political, religious and cultural changes that have taken place in the area over the past 120 years, many of which remain both significant and relevant. In addition, it illustrates East London's links with other parts of the world including Europe and America and those territories "beyond the oceans." This book will prove valuable reading for researchers and readers interested in Victorian and twentieth century British history, politics and culture.
(source: Nielsen Book Data)9781138186040 20171017
Green Library

9. Francis Poulenc [2018]

176 pages : illustrations, music ; 20 cm.
  • L'enchantement des premières années -- Un terreau parisien fertile -- Les biches et Noisay -- De Rocamadour aux Mamelles de Tirésias -- Surprises et étrangetés de l'après-guerre -- Les dernières années.
"Issu d'une famille parisienne aisée, Francis Poulenc (1899-1963) découvre le piano dans son enfance grâce à sa mère. Ce n'est pourtant qu'à vingt-deux ans qu'il étudie la composition avec Koechlin, après avoir écrit une Rhapsodie nègre et des oeuvres pour piano encouragées par Satie. L'influence de ce dernier et le goût marqué pour l'indépendance de Poulenc le fait alors rejoindre le Goupe des Six avec Honnegger, Milhaud, Auric, Durey et Tailleferre. Il y développe son sens de l'ironie, un mélange d'humour et de gravité, de sacré et de profane, et contribue par son style à réinventer le classissime musical. Outre Les Biches commandées par Diaghilev pour les Ballets russes, Poulenc est surtout connu pour sa musique vocale qui lui a souvent valu l'étiquette de "Schubert français du Xème siècle". Parmi ses 185 opus, on retient de lui aussi La Voix humaine sur un livret de Cocteau, ainsi que son Gloria, ses Litanies à la Vierge noire en souvenir de son pélerinage à Rocamadour ou encore son opéra Dialogues des Carmélites. Ce nouveau volume de la collection horizons vous propose de partir à la rencontre d'une figure majeure de la musique française du Xème siècle dans cette étude inédite aux nombreuses illustrations et annexes."--Page 4 of cover.
Music Library
xxii, 320 pages : illustrations ; 23 cm
  • Prologue: French Prosody Chapter One: French Poetry and the Development of Vocal Forms (12th-16th centuries) Chapter Two: The Turbulent Century and the Air de cour (1576-1661) Chapter Three: The Grand Siecle: Louis XIV and the birth of French opera (1661-1715) Chapter Four: Life after Lully (1697-1750) Entr'acte: Enlightenment, Revolution and Empire (1750-1815) Chapter Five: Romance to Melodie: The Advent of Romanticism in France (1815-1848) Chapter Six: Middle Class Melodie (1848-1870) Chapter Seven: The Melodie as Chamber Music (1850-75) Chapter Eight : Wagnerites and Acolytes (1880s and 1890s) Chapter Nine: The Belle Epoque I (1885-1894) Chapter Ten: Harmonic and Prosodic Rebels: The "Impressionists" (Belle Epoque II:1894-1906) Chapter Eleven: "True France" and the March to War (Belle Epoque III: 1906-1914) Chapter Twelve : Les Annees folles: Cocteau, Satie and Les Six (1918-1930) Chapter 13: Mystical Melodie: Romanticism extended (1914-1945) Chapter Fourteen: Into the Twenty-First Century: Connecting the Irreconcilable (1945-present).
  • (source: Nielsen Book Data)9781442258440 20180213
French Vocal Literature: Repertoire in Context introduces singers to the history and performance concerns of a vast body of French songs from the twelfth century to the present, focusing on works for solo voice or small vocal ensembles with piano or organ accompaniment, suitable for recitals, concerts, and church performances. Georgine Resick presents vocal repertoire within the context of trends and movements of other artistic disciplines, such as poetry, literature, dance, painting, and decorative arts, as well as political and social currents pertinent to musical evolution. Developments in French style and genre--and comparisons among individual composers and national styles--are traced through a network of musical influence. French Vocal Literature is ideally suited for voice teachers and coaches as well as student and professional performers. The companion website, frenchvocalliterature.com, provides publication information, a discography, links to online recordings and scores, a chronology of events pertinent to music, a genealogy of royal dynasties, and a list of governmental regimes.
(source: Nielsen Book Data)9781442258440 20180213
Music Library
xiv, 236 pages : illustrations, music ; 24 cm.
  • Introduction Jens Hesselager Part 1 - Places 1. Parisian Grand Opera at the Basel Theater auf dem Bloemlein: Traces of Transnational Circulation, Translation and Reception Laura Moeckli 2. Grand Opera in Nineteenth-Century Stockholm: Court Celebrations and Bourgeois Entertainment Karin Hallgren Part 2 - Works 3. Cockneys in a Fever: 'Gustave' in London, 1833 Sarah Hibberd 4. Masking the Masked Ball: Auber's 'Gustav III' as 'Die Ballnacht' at the Weimar Court Theatre, 1836 Carolin Bahr 5. Halevy's La Juive in Stockholm, 1866 Owe Ander Part 3 - Characters 6. Sympathy for the Devil? Bertram (Robert le diable) in Copenhagen, 1833 Jens Hesselager 7. Fenella ('La Muette de Portici') and Valentine ('Les Huguenots') as Symbols of National Identity in Helsinki, 1877 Ulla-Britta Broman-Kananen 8. Staging Anti-Semitic Stereotypes: Wainoe Sola's Eleazar at the Finnish Opera, 1925 Anne Kauppala Part 4 - Responses 9 In Search of the National: Nineteenth-Century Portuguese Composers and their First Approaches to Grand Opera Luisa Cymbron 10. Conflicting Ethnicities on the Russian Imperial Stage: The Case of Otto Dutsch's 'The Croatian Girl' Emanuele Bonomi 11. Meyerbeer on the 'Zarzuela' Stage: El duo de `La Africana' by Manuel Fernandez Caballero Carlos Maria Solare.
  • (source: Nielsen Book Data)9781138202016 20180213
Nineteenth-century French grand opera was a musical and cultural phenomenon with an important and widespread transnational presence in Europe. Primary attention in the major studies of the genre has so far been on the Parisian context for which the majority of the works were originally written. In contrast, this volume takes account of a larger geographical and historical context, bringing the Europe-wide impact of the genre into focus. The book presents case studies including analyses of grand opera in small-town Germany and Switzerland; grand operas adapted for Scandinavian capitals, a cockney audience in London, and a court audience in Weimar; and Portuguese and Russian grand operas after the French model. Its overarching aim is to reveal how grand operas were used - performed, transformed, enjoyed and criticised, emulated and parodied - and how they became part of musical, cultural and political life in various European settings. The picture that emerges is complex and diversified, yet it also testifies to the interrelated processes of cultural and political change as bourgeois audiences, at varying paces and with local variations, increased their influence, and as discourses on language, nation and nationalism influenced public debates in powerful ways.
(source: Nielsen Book Data)9781138202016 20180213
Music Library
xvi, 287 pages : illustrations, maps ; 24 cm
  • (source: Nielsen Book Data)9781412865432 20171023
Published in 1790, Maurice Benyovszky's posthumous memoir was an instant sensation. A tale of exploration and adventure beginning with his daring escape from a Siberian prison and ending with his coronation as King of Madagascar, it was translated into several languages and adapted for the theatre and opera. This book explores the veracity of this memoir and, more broadly, the challenges faced by the explorers of the age and the brutality of colonisation. The self-styled Hungarian Baron Maurice Auguste Aladar Benyovszky, Counsellor to the Duke of Saxony and Colonel in the service of the Queen of Hungary, was in fact only confirmed to have been an officer in a regiment of the Polish Confederation of Bar. While he did escape from Russian captors and subsequently travel to Japan, Formosa, China and Madagascar, many of his exploits were wildly exaggerated or simply invented. Andrew Drummond reveals an alternative picture of events by looking at statements from Benyovszky's travelling companions and sceptical officials as well as contemporary documents from the places he claimed to have visited, untangling the truth behind his stories and examining what these stories can nonetheless tell us about the era in which Benyovszky lived. Witty and engagingly written, this book is fascinating reading for anyone interested in eighteenth-century colonial history and the story of early European and Russian explorers.
(source: Nielsen Book Data)9781412865432 20171023
Green Library
xiii, 324 pages : illustrations ; 23 cm
  • Introduction / Eric Ziolkowski
  • Literature
  • The bonfire of the genres : Kierkegaard's literary kaleidoscope / George Pattison
  • Kierkegaard's disruptions of literature and philosophy : freedom, anxiety, and existential contributions / Edward F. Mooney
  • Kierkegaard's existential play : storytelling and the development of the religious imagination in the authorship / Marcia C. Robinson
  • Kierkegaard's Christian Bildungsroman / Joakim Garff
  • Performing arts
  • Beyond the mask : Kierkegaard's postscript as antitheatrical, anti-Hegelian drama / Howard Pickett
  • A theater of ideas : performance and performativity in Kierkegaard's Repetition / Martijn Boven
  • Kierkegaard's notions of drama and opera : Moliere's Don Juan, Mozart's Don Giovanni, and the question of music and sensuousness / Nils Holger Petersen
  • "Let no one invite me, for I do not dance" : Kierkegaard's attitudes toward dance / Anne Margrete Fiskvik
  • Visual arts and film
  • Painting with words : Kierkegaard and the aesthetics of the icon / Christopher B. Barnett
  • Kierkegaard's approach to pictorial art, and to specimens of contemporary visual culture / Ragni Linnet
  • Kierkegaard's concept of inherited sin : a cinematic illustration / Ronald M. Green
  • Comparisons
  • The Moravian origins of Kierkegaard's and Blake's Socratic literature / James Rovira
  • Don Giovanni and Moses and Aaron : the possibility of a Kierkegaardian affirmation of music / Peder Jothen
  • Kierkegaard, Dylan, and masked and anonymous neighbor-love / Jamie A. Lorentzen.
Green Library

14. Luigi Cherubini [2018]

176 pages : illustrations, music ; 20 cm.
  • Une formation italienne - Londres -- Paris - Jusqu'à la chute de la royauté -- En République -- L'ombre de Napoléon -- Salvum fac regem -- Le patriarche de Juillet.
"Né à Florence, Luigi Cherubini (1760-1842) connaît le succès dans le nord de l'Italie et à Londres avant de conquérir Paris et le Théâtre Feydeau sous la direction de Viotti. Il y voit se succéder l'Ancien Régime, puis la Révolution, le Consulat et l'Empire, années d'agitation et d'illusions perdues, et enfin la Restauration et la Monarchie de Juillet, entretenant avec ces formes de gouvernement des rapports impliquant tant sa personne que sa musique. Ses vingt dernières années sont marquées par la direction du Conservatoire de Paris et la composition de 6 quatuors à cordes. Mais c'est surtout à travers ses opéras qu'il a construit sa renommée, notamment avec Demophoon, Lodoïska, Eliza, Médée, Les deux journées, Anacréon, Les Abencérages ou Ali Baba. Il s'est aussi distingué dans la musique religieuse avec une multitude de pièces, plusieurs messes (dont celle du sacre de Charles X) et deux Requiem, dont le premier à la mémoire de Louis XVI. Son succès s'étendit rapidement en Europe, avec une place de choix à Vienne et en Allemagne. Il repose au cimetière du Père-Lachaise à Paris. Ce nouveau volume de la collection horizons vous propose de partir à la rencontre d'une figure majeure de la musique française de la première moitié du XIXème siècle dans cette étude inédite illustrée et complétée de nombreuses annexes."--Page 4 of cover.
Music Library
xxxiii, 600 pages : color illustrations, music ; 29 cm
  • PrefacePart I Elements1. Sound: Pitch, Dynamics, and Tone Color2. Performing Media: Voices and Instruments3. Rhythm4. Music Notation5. Melody6. Harmony7. Key8. Musical Texture9. Musical Form10. Performance 11. Musical StylePart II The Middle Ages1. Music In The Middle Ages (450-1450)2. Gregorian Chant3. Secular Music in the Midde Ages4. The Development of Polyphony: Organum5. Fourteenth -Century Music: The "New Art" in Italy and FrancePart III The Renaissance 1. Music in the Renaissance (1450 - 1600) 2. Sacred Music in the Renaissance 3. Secular Music in the Renaissance 4. The Venetian School: From Renaissance to BaroquePart IV The Baroque Period1. Baroque Music (1600-1750)2. Music In Baroque Society3. The Concerto Grosso And Ritornello Form4. The Fugue5. The Elements Of Opera6. Opera In The Baroque Era7. Claudio Monteverdi8. Henry Purcell9. The Baroque Sonata10. Arcangelo Corelli11. Antonio Vivaldi12. Johann Sebastian Bach13. The Baroque Suite14. The Chorale And Church Cantata15. The Oratorio16. George Frideric HandelPart V The Classical Period1. The Classical Style (1750-1820)2. Composer, Patron, And Public In The Classical Period3. Sonata Form4. Theme And Variations5. Minuet And Trio6. Rondo7. The Classical Symphony8. The Classical Concerto9. Classical Chamber Music10. Joseph Hadyn11. Wolfgang Amadeus Mozart12. Ludwig Van BeethovenPart VI The Romantic Period1. Romanticism In Music (1820-1900)2. Romantic Composers And Their Public3. The Art Song4. Franz Schubert5. Robert Schumann 6. Clara Wieck Schumann7. Frederic Chopin8. Franz Liszt9. Felix Mendelssohn10. Program Music11. Hector Berlioz12. Nationalism In Nineteenth-Century Music13. Peter Ilyich Tchaikovsky14. Bed rich Smetana15. Antonin Dvorak16. Johannes Brahms 17. Georges Bizet18. Giuseppe Verdi19. Giacomo Puccini20. Richard Wagner 21. Gustav MahlerPart VII The Twentieth Century1. Musical Styles: 1900-19452. Music and Musicians in Society since 19003. Impressionism and Symbolism4. Claude Debussy5. Maurice Ravel6. Neoclassicism7. Igor Stravinsky8. Expressionism9. Arnold Schoenberg10. Alban Berg11. Anton Webern12. Bela Bartok13. Dmitri Shostakovich14. Music in America15. Charles Ives16. George Gershwin17. William Grant Still18. Aaron Copland19. Albert Ginestera20. Musical Styles Since 194521. Music Since 1945: Five Representative PiecesPart VIII Jazz1. Jazz Styles 2. Ragtime 3. Blue 4. New Orleans Style 5. Swing 6. Bebop 7. Jazz Styles since 1950Part IX Music for Stage and Screen1. Musical Theater 2. Leonard Bernstein 3. Music in Film Part X Rock1. Rock Styles 2. Rock in American Society 3. The BeatlesPart XI Nonwestern Music1. Music in Nonwestern Cultures2. Music In Sub-Saharan Africa3. Classical Music Of India 4. Koto Music of Japan AppendixesGlossaryAcknowledgmentsPhoto CreditsIndex.
  • (source: Nielsen Book Data)9781259892707 20170410
McGraw-Hill is revolutionizing the Music Appreciation course by introducing its first personalized digital learning experience with Roger Kamien's Music: An Appreciation. Using this market-leading instrument that brings great music to the course in more ways than ever before, students are now transformed into active participants in the Music Appreciation space. The result is active listening, active reading, and active learning. Connect is the only integrated learning system that empowers students by continuously adapting to deliver precisely what they need, when they need it, so that your class time is more engaging and effective. It provides tools that make assessment easier, learning more engaging, and studying more efficient.
(source: Nielsen Book Data)9781259892707 20170410
Music Library
xvii, 270 pages : illustrations, music ; 24 cm
  • Introduction. Nicholas Attfield and Ben Winters Section 1: Personal Tributes 1. Susan McClary, `Peter Franklin's Guilty Pleasures' 2. Kate Daubney, `From Opera House to Cinema: Forging a New Discipline in 1988' Section 2: Modernism and Modernity 3. Sherry Lee and Thomas Peattie, `Extraordinary Listening (Mahler - and Franklin)' 4. Ben Winters, `Korngold's Violanta: Venice, Carnival, and the Masking of Identities' 5. Jonathan Hicks, `Erik Satie and the Subject(s) of Mobility' Section 3: Reconsidering Interwar Germany 6. Nicholas Attfield, `Ein Menschenherz geopfert - oder viele!': Hans Pfitzner and the Idea of a Volksoper' 7. Matthew Werley, `The Architecture of Trauma: Richard Strauss, Salzburg, and the Great War' 8. Alexander Binns, `Cozarinsky's La Guerre d'un seul homme and Musical Categories: (Re)-Framing Pfitzner, Strauss, Schreker, and Schoenberg Cinematically' Section 4: Musicology and its Values 9. Christopher Chowrimootoo, `"Britten Minor": Constructing the Modernist Canon' 10. Aidan J. Thomson, `Elgar's Part-Song Cycle, Op. 53: Idealism and Education' 11. David Cooper, `"It must be done fresh and new"-Bernard Herrmann's Score for North by Northwest' 12. Christopher Morris, `Back from the Dead: Kubrick, Music and the Auteur'.
  • (source: Nielsen Book Data)9781472476869 20180122
In his 1985 book The Idea of Music: Schoenberg and Others, Peter Franklin set out a challenge for musicology: namely, how best to talk and write about the music of modern European culture that fell outside of the modernist mainstream typified by Schoenberg, Berg, and Webern? Thirty years on, this collected volume of essays by Franklin's students and colleagues returns to that challenge and the vibrant intellectual field that has since developed. Moving freely between insights into opera, Volksoper, film, festival, and choral movement, and from the very earliest years of the twentieth century up to the 1980s, its authors listen with a `critical ear': they site these musical phenomena within a wider web of modern cultural practices - a perspective, in turn, that enables them to exercise a disciplinary self-awareness after Franklin's manner.
(source: Nielsen Book Data)9781472476869 20180122
Music Library
xvii, 295 pages : illustrations ; 24 cm.
  • Acknowledgements List of Musical Works Introduction List of Musical Figures Chapter 1: The Voices of Eve (Gen. chapters 2-3) Chapter 2: Noah and the Flood (Gen. chaps. 6-9) Chapter 3: The Abraham-Sarah Narratives (Gen. chaps. 12-22) Chapter 4: Rebecca at the Well (Gen. chap. 24) Chapter 5: Joseph and his Brothers (Gen. chaps. 37-47) Appendix of Additional Works Bibliography Index.
  • (source: Nielsen Book Data)9780567673732 20180122
This volume examines the stories of Genesis in music, showing how musical settings can illuminate many of the Bible's most noted tales. Helen Leneman studies oratorios, operas and songs (as well as their librettos) to shed light on how Genesis has been understood and experienced over time. Examining an extensive range of musical settings of stories from the book of Genesis, Leneman offers an overview of chiefly 19th and 20th century musical engagements with this biblical text. Leneman first discusses how Eve's inner thoughts are explored by noted French composers Jules Massenet and Gabriel Faure. The text then enters the deep waters of Noah's flood in examination of several compositions, including two unusual settings by Igor Stravinsky and Benjamin Britten, as well as more conventional settings by Saint-Saens and Donizetti. Two major 19th century oratorio settings of Abraham's story by lesserknown German composers Martin Blumner and Karl Mangold provide fascinating illuminations of the Abraham narratives, whereas parts of Rebecca's story are found in works by Cesar Franck, Ferdinand Hiller, and most unusually, by a French woman composer, Celanie Carissan. Finally, Leneman shows how Joseph's story was set in numerous oratorios (including by Handel) but that one of the most important works based on his story is an opera by 18th century French composer Etienne Mehul. In addition to discussing these larger 19th century works, Leneman also examines several interesting atonal 20th century works based on the stories of Eve and the Flood, shedding new light on the history of the interpretation of the Book of Genesis.
(source: Nielsen Book Data)9780567673732 20180122
Music Library
xiii, 265 pages : illustrations ; 26 cm.
  • List of Tables List of Figures List of Abbreviations Acknowledgments Introduction PART I 1830-1850: Belgium's `Big Bang' and the Emergence of Its Sculpture School 1 Politics 1.1 Sculpture for a New Country: Art as a Unifier 2 Education 2.1 Defying `Enemies of Our True Nationality': The Academy of Antwerp 2.2 Enemies within the Borders of the Nation: Antwerp vs. Brussels 2.3 Out with the Old, in with the New: The Academy of Brussels 2.4 Outside the Classroom, into the Studio 3 Exhibitions 3.1 The Belgian Salons: An Exclusive Party 4 Public Commissions 4.1 Guillaume Geefs, `le seul sculpteur belge' 4.1.1 General Augustin Belliard, `plus Belge que Francais'? 4.1.2 Geefs' Peter Paul Rubens: `King of the Flemish Painter School' 4.1.3 A Battle of Heroes: Rubens vs. Belliard 4.2 Louis-Eugene Simonis, `pere de la sculpture belge moderne' 4.2.1 Simon Stevin, an Ambiguous Choice 4.2.2 Godfrey of Bouillon, a Belgian Hero Ahorse 4.3 A Battle of Sculptors: Geefs vs. Simonis PART II 1850-1880: A Foreign Prevalence Non-Belgian Sculpture 5 Politics 5.1 Sculpture Midway through the Century: Art as a Sign of Unity 6 Education 6.1 The Academies: Expansion and Consolidation 6.2 Beyond Academies and Borders: The Private Studio 7 Exhibitions 7.1 Sculpture at the Salons: The Road to National and International Fame and Claim 7.2 `National Schools' at the International Exhibitions: Constructed (or) Reality? 7.2.1 Cultural Shards and Patches 7.2.2 The `boulangerie nationale' 7.3 Jean Baptiste Carpeaux in Belgium: Visiting, Exhibiting, Inspiring 8 Public Commissions 8.1 `Une question d'art ou une question de nationalite?' 8.2 French Sculptors in Belgium 8.2.1 A Clash at the Bourse of Brussels 8.2.2 `A Good-for-Nothing [Who] Will Soon Be Disposed Of': Auguste Rodin in Belgium 8.2.3 Carrier-Belleuse in Belgium: The Sequel 8.2.4 Jules Bertin: `enfant adoptif de Tongres', or a Frenchman? 8.3 Sculpture at the Palace of Justice: A Lesson Learned? 8.4 Une Question d'Art et une Question de Nationalite PART III 1880-1895: A Renaissance of Belgian Sculpture 9 Politics 9.1 Artistic Prosperity and Economic Distress 9.2 Building for King and Country 10 Education 10.1 Antwerp: The `Flemish' Academy 10.2 Van der Stappen's Reign at the Academy of Brussels 10.3 Finding Native Heritage Abroad 11 Exhibitions 11.1 The Old Ways: The Salons 11.2 Alternative Stages: L'Essor, Les XX, and La Libre Esthetique 11.3 National Success on an International Stage: The Paris Salons 11.4 Sculpture at the International Exhibitions: Yesterday's `National Schools'? 12 Public Commissions 12.1 `Dans l'esprit des sculptures du grand Opera de Paris': Two Statues for the Royal Museums of Fine Arts 12.2 The Renaissance of Sculpture in Belgium 12.3 Sculpting a(n) (Inter)National and Local Identity PART IV 1895-1916: International Belgian Sculpture 13 Politics 13.1 King Leopold II, Belgian Chryselephantine Sculptures, and a French Garden 13.2 A New Political Movement, a New Sculpture 14 Education 14.1 Ever Looking Back: The Antwerp Academy 14.2 `La nature, c'est moi qui l'enseigne!': Van der Stappen vs. Dillens in Brussels 14.3 A Need for Change: The Education Abroad 15 Exhibitions 15.1 Salons: The Old and the New 15.2 `La France aux Francais!': The Paris Salons 15.3 Contradicting Storylines: Belgians at the International Exhibitions 15.3.1 Paris-1900 15.3.2 Ghent-1913 15.4 Meunier and Minne Exhibiting Abroad 15.5 Sculpture in Exile: Later Exhibitions 16 Public Commissions 16.1 Public Identity: Locality vs. Nationality 16.1.1 Le Debardeur, a Local Hero 16.1.2 Art Criticism Revised: Walloon Sculpture? 16.2 `Qu'importe la nationalite de l'artiste?': Meunier's Zola 16.3 Multiple Identities Bibliography Index.
  • (source: Nielsen Book Data)9781138712515 20180205
This book elaborates on the social and cultural phenomenon of national schools during the nineteenth century, via the less studied field of sculpture and using Belgium as a case study. The role, importance of, and emphasis on certain aspects of national identity evolved throughout the century, while a diverse array of criteria were indicated by commissioners, art critics, or artists that supposedly constituted a "national sculpture." By confronting the role and impact of the four most crucial actors within the artistic field (politics, education, exhibitions, public commissions) with a linear timeframe, this book offers a chronological as well as a thematic approach. Artists covered include Guillaume Geefs, Eugene Simonis, Charles Van der Stappen, Julien Dillens, Paul Devigne, Constantin Meunier, and George Minne.
(source: Nielsen Book Data)9781138712515 20180205
SAL3 (off-campus storage)
xxx, 208 pages : illustrations ; 24 cm.
  • 1. Prologue: Into the Abyss - Batavia 2. Failure: The Establishing of Colonial Myths - Voss 3. The Bush - The Ghost Wife, Whitsunday, Fly away Peter 4. Postwar Disillusion - The Summer of the Seventeenth Doll, Cloudstreet 5. New Beginnings - Bride of Fortune, The Riders 6. Cultural Renaissance - The Eighth Wonder 7. Suburban Dreams and Nightmares - The Children's Bach, Love in the Age of Therapy, Midnight Son 8. Journey to Salvation - Lindy, Bliss 9. Silenced Voices Sing - Black River, Pecan Summer, The Rabbits.
  • (source: Nielsen Book Data)9781472433275 20171218
Opera has been performed in Australia for more than two hundred years, yet none of the operas written before the Second World War have become part of the repertoire, and it is only in the late 1970s and early 1980s that there is evidence of the successful systematic production of indigenous opera. The premiere of Voss by Richard Meale and David Malouf in 1986 was a watershed in the staging and reception of new opera, and there has been a diverse series of new works staged in the last thirty years, not only by the national company, but also by thriving regional institutions. The emergence of a thriving operatic tradition in contemporary Australia is inextricably enmeshed in Australian cultural consciousness and issues of national identity. In this study of 18 representative contemporary operas, Michael Halliwell elucidates the ways in which the operas reflect and engage with the issues facing contemporary Australians. Stylistically these 18 operas vary greatly. The musical idiom is diverse, ranging from works in a modernist idiom such as The Ghost Wife, Whitsunday, Fly away Peter, Black River, Bride of Fortune, with Voss, Batavia, Bliss, Lindy, Midnight Son, The Riders, The Summer of the Seventeenth Doll, The Children's Bach being works which straddle several musical styles, to operas which draw strongly on musical theatre, such as The Eighth Wonder, Pecan Summer, The Rabbits, Cloudstreet, with Love in the Age of Therapy couched in a predominantly jazz idiom. While some of them are overtly political, all, at least tangentially, deal with recent cultural politics in Australia and offer sharply differing perspectives.
(source: Nielsen Book Data)9781472433275 20171218
Music Library

20. Objects in space [2017]

i, 298 pages ; 23 cm
SAL3 (off-campus storage)