Opera Or The Undoing Of Women
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Author | : Catherine Clement |
Publisher | : U of Minnesota Press |
Total Pages | : 228 |
Release | : 1988 |
Genre | : Music |
ISBN | : 9780816635269 |
This was the first work to have applied a systematised feminist theory to opera. It concentrates on the stories & text of opera, that perhaps have more relevence today in a growing literature than it had when it was the "sacrilegious" pioneering work.
Author | : Catherine Clément |
Publisher | : Tauris Transformations |
Total Pages | : 198 |
Release | : 1997 |
Genre | : Feminism and music |
ISBN | : 9781860641138 |
This work concentrates on the texts and narratives of more than 30 major operas, analyzing their cultural implications in demonstrating how they have contributed to the construction of a popularized feminine identity. It shows, for example, how 19th-century opera perpetuates a social order which requires either the death or the domestication of the female protagonist."
Author | : Catherine Clément |
Publisher | : |
Total Pages | : 201 |
Release | : 1988 |
Genre | : |
ISBN | : |
Author | : Corinne E. Blackmer |
Publisher | : Columbia University Press |
Total Pages | : 394 |
Release | : 1995 |
Genre | : Music |
ISBN | : 0231102690 |
En Travesti addresses the ways in which opera empowers women by challenging conventional gender hierarchies. Terry Castle, Helene Cixous, Lowell Gallagher and Elizabeth Wood are among the contributors. Includes 20 musical examples.
Author | : Lawrence Kramer |
Publisher | : Univ of California Press |
Total Pages | : 264 |
Release | : 2004 |
Genre | : Music |
ISBN | : 0520251601 |
"Outstanding. Kramer's scholarship is as impeccable as his insights are at once original and consistently brilliant. The presentation is thorough, and the argument is well anchored in theory, history and musical detail. Kramer's discourse is crystalline and jargon free. The connections from one chapter to another are seamless. The story is, simply stated, a page-turner."—Richard Leppert, editor of Theodor W. Adorno's Essays on Music "Lawrence Kramer's Opera and Modern Culture is remarkable both for its imaginative exploration of important issues and for the rich array of the author's engagements with other thinkers. In particular, by decentering without dismissing the composer (who could dismiss Wagner?), he makes works of reception—productions of Salome on video, uses of the Lohengrin Prelude by Charlie Chaplin and W.E.B. Du Bois—central texts in the process of understanding the phenomenon of opera, rather than footnotes to an idea that he really does dismiss: 'the work itself.'"—James Parakilas, author of Piano Roles: 300 Years of Life with the Piano and Introduction to Opera (forthcoming)
Author | : Michel Poizat |
Publisher | : Cornell University Press |
Total Pages | : 252 |
Release | : 1992 |
Genre | : Music |
ISBN | : 9780801423888 |
French in 1986, is now available in Arthur Denner's fluid and sensitive English translation. Predictably, Poizat's route is not at all a conventional one. Rather than taking as his point of departure the intentions of composers and librettists, he is primarily concerned with the expectations and desires of the audience. He reports on an informal group interview with overnight standees on the Paris Opera House steps as they compare notes on how opera became an addiction.
Author | : Hélène Cixous |
Publisher | : U of Minnesota Press |
Total Pages | : 196 |
Release | : 1986 |
Genre | : Social Science |
ISBN | : 9780816614660 |
Published in France as La jeune nee in 1975, and now translated for the first time into English, The Newly Born Woman seeks to uncover the veiled structures of language and society that have situated women in the position called 'woman's place.'
Author | : Susan McClary |
Publisher | : U of Minnesota Press |
Total Pages | : 246 |
Release | : 2002 |
Genre | : Social Science |
ISBN | : 9781452906362 |
A groundbreaking collection of essays in feminist music criticism, this book addresses problems of gender and sexuality in repertoires ranging from the early seventeenth century to rock and performance art. ". . . this is a major book . . . [McClary's] achievement borders on the miraculous." The Village Voice"No one will read these essays without thinking about and hearing music in new and interesting ways. Exciting reading for adventurous students and staid professionals." Choice"Feminine Endings, a provocative 'sexual politics' of Western classical or art music, rocks conservative musicology at its core. No review can do justice to the wealth of ideas and possibilities [McClary's] book presents. All music-lovers should read it, and cheer." The Women's Review of Books"McClary writes with a racy, vigorous, and consistently entertaining style. . . . What she has to say specifically about the music and the text is sharp, accurate, and telling; she hears what takes place musically with unusual sensitivity."-The New York Review of Books
Author | : Catherine Clément |
Publisher | : |
Total Pages | : 312 |
Release | : 2001 |
Genre | : Fiction |
ISBN | : |
Author | : Michal Grover-Friedlander |
Publisher | : Princeton University Press |
Total Pages | : 212 |
Release | : 2005-02-27 |
Genre | : Music |
ISBN | : 9780691120089 |
Cinema and opera have become intertwined in a variety of powerful and unusual ways. Vocal Apparitions tells the story of this fascinating intersection, interprets how it occurred, and explores what happens when opera is projected onto the medium of film. Michal Grover-Friedlander finds striking affinities between film and opera--from Lon Chaney's classic silent film, The Phantom of the Opera, to the Marx Brothers' A Night at the Opera to Fellini's E la nave va. One of the guiding questions of this book is what occurs when what is aesthetically essential about one medium is transposed into the aesthetic field of the other. For example, Grover-Friedlander's comparison of an opera by Poulenc and a Rossellini film, both based on Cocteau's play The Human Voice, shows the relation of the vocal and the visual to be surprisingly affected by the choice of the medium. Her analysis of the Marx Brothers' A Night at the Opera demonstrates how, as a response to opera's infatuation with death, cinema comically acts out a correction of opera's fate. Grover-Friedlander argues that filmed operas such as Zeffirelli's Otello and Friedrich's Falstaff show the impossibility of a direct transformation of the operatic into the cinematic. Paradoxically, cinema at times can be more operatic than opera itself, thus capturing something essential that escapes opera's self-understanding. A remarkable look at how cinema has been haunted--and transformed--by opera, Vocal Apparitions reveals something original and important about each medium.