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Downloaded from Brill.Com09/27/2021 06:38:52AM Via Free Access 480 Bibliography Abbate, Carolyn. Unsung Voices: Opera and Musical Discourse in the Nineteenth Century. Princeton: Princeton University Press, 1991. -. "The Dangerous Diva" (Review of Leslie C. Dunn and Nancy A. Jones, eds. Embodied Voices: Representing Female Vocality in Western Culture). Times Literary Supplement, June 30, 1995: 15. -. In Search ofOpera. Princeton: Princeton University Press, 2001. Abbott, H. Porter. The Cambridge Introduction to Narrative. Cam­ bridge: Cambridge University Press, 2002. Addison, Anthony. "Owen Wingrave: Television Opera on Stage". Opera Journal 14, 1981: 17-22. Adorno, Theodor. "Bourgeois Opera". Trans. David J. Levin. Levin, ed. 1994.25-43. Albers, Christine E. A Reader's Guide to the Short Stories ofHenry James. New York: G. K. Hall, 1997. Alderson, Richard. "Philip Hagemann's The Aspern Papers". The Opera Journal 12/1, 1989: 29-33. Allen, Jeanne Thomas. 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Princeton: Princeton University Press, 1979. Chandler, Karen Michele. "Her Ancient Faculty of Silence: Catherine Sloper's Ways ofBeing in James's Washington Square and Two Film Adaptations". Griffin, ed. 2002. 170-190. Chatman, Seymour. Story and Discourse. Ithaca: Cornell University Press, 1978. Chothia, Jean. English Drama of the Early Modern Period, 1890­ 1940. London: Longman, 1996. Clement, Catherine. Opera, or the Undoing of Women. Trans. Betsy Wing. London: Virago Press, 1989. -. "Through Voices: History". Smart, ed. 2000. 17-28. Cone, Edward T. The Composer's Voice. Berkeley: University of California Press, 1974. -. "The World of Opera and Its Inhabitants". Robert P. Morgan, ed. Music: A Viewfrom Delft. Selected Essays. Chicago: University of Chicago Press, 1989. 125-138. -. "Poet's Love or Composer's Love?". Steven Paul Scher, ed. Music and Text: Critical Inquires. Cambridge : Cambridge University Press, 1992. 177-192. Conrad, Peter. Romantic Opera and Literary Form. Berkeley: Univer­ sity ofCalifornia Press, 1977. Michael Halliwell and Walter Bernhart - 9789004485228 Downloaded from Brill.com09/27/2021 06:38:52AM via free access 482 -. A Song ofLove and Death: The Meaning of Opera. New York: Poseidon Press, 1987. Cooke, Mervyn, ed. The Cambridge Companion to Benjamin Britten. Cambridge: Cambridge University Press, 1999. Cooper, Martin. "Review of The Voice ofAriadne". Daily Telegraph, June 13, 1974: 28. Corazzol, Adriana Guarnieri. "Opera and Verismo: Regressive Points ofView and the Artifice ofAlienation". Cambridge Opera Journal 511, 1993: 39-53. Corse, Sandra. Opera and the Uses ofLanguage. Cranbury : Associ­ ated University Presses, 1987. -. Operatic Subjects: The Evolution ofSelfin Modern Opera. Madi­ son: Fairleigh Dickinson University Press, 2000. Costello, Donald. "The Structure of 'The Tum of the Screw"'. Mod­ ern Language Notes 85,1964: 312-321. Cowdery, L. The Nouvelle of Henry James in Theory and Practice . Ann Arbor: U. M. I. Research Press, 1986. Dahlhaus, Carl. "What is a Musical Drama?" . Trans. Mary Whittall. Cambridge Opera Journal I, 1989: 95-111. Dallenbach, Lucien. The Mirror in the Text. Trans. J. Whitely and E. Hughes. Cambridge: Polity Press, 1989. Da Sousa Correa, Delia. George Eliot, Music and Victorian Culture. Basingstoke: Palgrave Macmillan, 2003. DeKoven, Marianne. "Gender, History and Modernism in The Turn of the Screw". James. The Turn ofthe Screw 1995. 142-163. De Reuck, Jenny. "'Ways of Worldmaking': A Study of Novelistic Transmission in Henry James's 'The Aspern Papers"'. Journal of Literary Studies 9/3-4, 1993: 355-370. Deutsch, Michelle. "Ceremonies of Innocence: Men, Boys and Women in The Turn ofthe Screw". Bradley, ed. 2000. 72-83. Dolar, Mladen. "The Object Voice" . Saled/Zizek, eds. 1996.7-31. Donnington, Robert. Opera and Its Symbols: The Unity of Words, Music, and Staging. New Haven: Yale University Press, 1990. Eaton, John. "Stories that Break into Song: Choosing Plots for Op­ era". The Kenyon Review 4/3, 1982: 71-77. Edel, Leon. Henry James: The Treacherous Years: 1895-1901. Lon­ don: Rupert Hart-Davis, 1969. -. The Life ofHenry James. Harmondsworth: Penguin, 1977. -. Henry James: A Life. New York: Harper and Row, 1985. Michael Halliwell and Walter Bernhart - 9789004485228 Downloaded from Brill.com09/27/2021 06:38:52AM via free access 483 Egan, Michael. Henry James: The Ibsen Years. London: Vision Press, 1972. Elguera, Amalia. Program Note for Performance of The Voice of Ariadne: Sadler's Wells Theatre, London, October 7, 1974. [n.p.]. Emslie, Barry. "Billy Budd and the Fear of Words". Cambridge Op­ era Journal 4/1, 1992: 23-59. -. "The Domestication of Opera". Cambridge Opera Journal 5/2, 1993: 167-177. Evans, John. "Owen Wingrave: A Case for Pacificism". Palmer, ed. 1984.227-237. Evans, Peter. "Britten's Television Opera". Musical Times 112, 1971: 425-428. -. The Music ofBenjamin Britten. Minneapolis : University of Min­ nesota Press, 1979. Felman, Shoshana, ed. Literature and Psychoanalysis. Baltimore: The Johns Hopkins University Press, 1985. Fergusson, Francis. "James's Idea of Dramatic Form". (From The Kenyon Review, 5/1, Autumn 1943.) Bloom, ed. 1987. 15-26. Fingleton, David. "The Knot Garden and Owen Wingrave: Operatic Development or Experiment?". Contemporary Review 219, 1971: 246-251. Flint, Kate. "Reading The Awakening Conscience Rightly". Marcia Pointon, ed. Pre-Raphaelites Reviewed. Manchester: Manchester University Press, 1989.45-65. Freedman, Jonathan, ed. The Cambridge Companion to Henry James. Cambridge: Cambridge University Press, 1998. Gishford, Anthony, ed. Tribute to Benjamin Britten on His Fiftieth Birthday. London: Faber and Faber, 1963. Goddard, H. C. "A Pre-Freudian Reading of 'The Tum of the Screw"'. Kimbrough, ed. 1966. 181-208. Goetz,
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