Art and Ideology in European Opera
Essays highlight the interplay between opera, art and ideology across three centuries. Three broad themes are opened up from a variety of approaches: nationalism, cosmopolitanism and national opera; opera, class and the politics of enlightenment; and opera and otherness.
The Arts of the Prima Donna in the Long Nineteenth Century
The Arts of the Prima Donna assembles a star-studded yet well-balanced cast of contributors, whose essays combine theoretical approaches to text and narrative, and current theory on gender, performativity, and the commodification of the female body, with the growing understanding of the lives, careers, and performances of the female opera singer.
Opera Power and Ideology
Opera is able to offer enchanting performance sites, in which people create and experience glamorous or ecstatic imagined worlds, but behind this picture we find a real social organization embraced by reality, which makes opera's world and its history accessible for ethnographic enquiry, historical reflection and cultural analysis. This book therefore presents the author's original anthropological study, which shows complex historical, socio-cultural, political, economic, ideological, academic and ethnographic facets of opera culture in Slovenia, including the field sites of both Slovenian national opera houses, in Ljubljana and Maribor. The study explicates how social representations of opera are produced and enacted by different social agents involved within the Slovenian national operatic habitus, and how opera is used as an idealized vision of nationhood and national identity in a provincial society.
Art and ideology in revolutionary China
This book is the first in a new series - Studies in Contemporary China - edited at the Contemporary Institute at the School of Oriental and African Studies in London. This pioneering study of the origins of the Chinese Communist Party's cultural policy and the development of the Chinese model of cultural modernization traces the development of Marxist literary theory in China and its application to the problems of propagandizing a mass audience of illiterate peasants. This is the first book-length study to investigate these crucial developments in depth. The author marshals an impressive array of contemporary sources and later reminiscences to investigate the link between policy formation and artistic practices. This book will be of particular interest to China specialists, social theorists, political scientists, and anthropologists.
Music and Ideology in Cold War Europe
This book places the radicalization of art music in early post-war France in its broader socio-cultural and political context. It pursues two general and intersecting lines of inquiry. The first details the stances towards musical conservatism and innovation adopted by cultural strategists representing Western and Soviet ideological interests at the onset of the Cold War. The second, which draws upon the commentaries of Theodor Adorno and Jean-Paul Sartre, recognizes that the Cold War generated a heightened political awareness amongst French musicians at the very time when the social relevance of avant-garde music had become the subject of widespread debate. The study considers the implications of the performance at L'Oeuvre du XXe siècle, an international arts festival staged in Paris in 1952 with the intention of discrediting socialist realism by means of two opposing musical types: neo-classicism (represented by Stravinsky's Symphony in C) and serialism (Boulez's Structures 1a).
American landscapes in european opera Guiseppe Verdi s Rigoletto paradigm
Thesis (M.A.) from the year 2008 in the subject Musicology, grade: 7.81, Aristotle University of Thessaloniki (School of English - Department of American Literature and Culture), language: English, abstract: The operatic genre is considered to be locked in a rigid itinerary, which cannot perform detours of any kind. Therefore, it is thought to be genre that is more revered than respected bearing, thus, a resemblance to religion rather than art. What this dissertation seeks to explore is a certain possibility in the form of a hypothesis. We will explore the “what-if” of unlocking this rigidity and attempting a sort of transfiguration. By painting the scenery, or rather the landscape of opera in colors of current American trends and traits. USA has always been a country which has had the privilege of nurturing opera fans by supporting the popularity of opera in a variety of ways. What will be examined are the ways that inspired directors Jonathan Miller and his 1975 “Mafia” production of Rigoletto for the ENO as well as James McDonald’s 2002 “White House” production of the opera for the WNO, to present the opera in an American context. Giuseppe Verdi’s masterpiece Rigoletto along with its manifestations and interpretations by these two directors that design and paint an American landscape for European either by provoking the audience and in particular, opera-buffs and hardcore fans, or by triggering images known and popular to the wider audience bestowing upon opera a most welcome sense and nuance of familiarity and belongingness. Rigoletto offers and carries the powerful potential to function as a canvas for this venture to be formulated. The opera’s characters, as viewed through the landscapes that these two directors have painted, invite the audience to familiarize themselves with figures that are flexible enough to unfold as space-less, deterritorialized images that have the ability to provoke and boast an Americaness which can be either welcome or cause a bit of an uncomfortable spine-tingling wonderment of political and cultural nature.
Musical Constructions of Nationalism
An innovative collection of essays applying a "new musicology" approach to the relationship between nationalist ideologies and the development of European music.
Opera Ideology and Film
Jeremy Tambling A été écrit sous une forme ou une autre pendant la plus grande partie de sa vie. Vous pouvez trouver autant d'inspiration de Opera Ideology and Film Aussi informatif et amusant. Cliquez sur le bouton TÉLÉCHARGER ou Lire en ligne pour obtenir gratuitement le livre de titre $ gratuitement.
The Aesthetics of Anarchy
"In this meticulously-researched, in-depth examination of anarchism and modernism, Gurianova provides a new and compelling interpretation of the early Russian avant-garde. Her study has major implications for our understanding of some of the twentieth century’s most important modernists and is an important contribution to the history and theory of radical political thought."— Allan Antliff, author of Anarchist Modernism: Art, Politics, and the First American Avant-Garde. “Gurianova is the first scholar to study the early Russian avant-garde not as a precursor to the Constructivism of the 1920s, but as a distinctive movement in its own right. In this important book, she identifies an “aesthetics of anarchy” that characterized the movement’s politics and poetics—a concept with provocative implications for our understanding of the relationship between word and image. This is a work of original and compelling scholarship that will profoundly alter our understanding of the Russian avant-garde.”— Nancy Perloff, Getty Research Institute (Los Angeles), curator of the exhibit Tango with Cows: Book Art of the Russian Avant-Garde (1910-1917).
The Politics of Opera
A wide-ranging look at the interplay of opera and political ideas through the centuries The Politics of Opera takes readers on a fascinating journey into the entwined development of opera and politics, from the Renaissance through the turn of the nineteenth century. What political backdrops have shaped opera? How has opera conveyed the political ideas of its times? Delving into European history and thought and an array of music by such greats as Lully, Rameau, and Mozart, Mitchell Cohen reveals how politics—through story lines, symbols, harmonies, and musical motifs—has played an operatic role both robust and sotto voce. Cohen begins with opera's emergence under Medici absolutism in Florence during the late Renaissance—where debates by humanists, including Galileo's father, led to the first operas in the late sixteenth century. Taking readers to Mantua and Venice, where composer Claudio Monteverdi flourished, Cohen examines how early operatic works like Orfeo used mythology to reflect on governance and policy issues of the day, such as state jurisdictions and immigration. Cohen explores France in the ages of Louis XIV and the Enlightenment and Vienna before and during the French Revolution, where the deceptive lightness of Mozart's masterpieces touched on the havoc of misrule and hidden abuses of power. Cohen also looks at smaller works, including a one-act opera written and composed by philosopher Jean-Jacques Rousseau. Essential characters, ancient and modern, make appearances throughout: Nero, Seneca, Machiavelli, Mazarin, Fenelon, Metastasio, Beaumarchais, Da Ponte, and many more. An engrossing book that will interest all who love opera and are intrigued by politics, The Politics of Opera offers a compelling investigation into the intersections of music and the state.