DOCSLIB.ORG

And a Florentine Tragedy (1894)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
And a Florentine Tragedy (1894) Department of English Rediscovering Beatrice and Bianca: A Study of Oscar Wilde’s Tragedies The Duchess of Padua (1883) and A Florentine Tragedy (1894) Minon Alexandra Weber Master’s Thesis Literature Spring, 2020 Supervisor: Giles Whiteley Abstract Towards the end of the 19th century Oscar Wilde wrote the four society plays that would become his most famous dramatical works: Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895). The plays combined characteristic Wildean witticisms with cunning social criticism of Victorian society, using stereotypical characters such as the dandy, the fallen woman and the “ideal” woman to mock the double moral and strict social expectations of Victorian society. These plays, and to an extent also Wilde’s symbolist drama Salomé (1891), have been the object of a great deal of scholarly interest, with countless studies conducted on them from various angles and theoretical perspectives. Widely under-discussed, however, are Wilde’s two Elizabethan-Jacobean tragedies, The Duchess of Padua (1883) and A Florentine Tragedy (1894). This thesis therefore sets out to explore The Duchess of Padua and A Florentine Tragedy in order to gain a broader understanding of Wilde’s forgotten dramatical works, while also rediscovering two of Wilde’s most transgressive female characters— Beatrice and Bianca. Challenging traditional ideas of gender and female sexuality, Beatrice and Bianca can be read as proto-feminist figures who continually act transgressively, using their voice and agency to stand up against patriarchy and asserting their rights to experience their lives on their own terms. Through an in-depth study of these plays, this thesis will demonstrate that Wilde’s Elizabethan-Jacobean tragedies, with their strong, modern female characters Beatrice and Bianca deserve greater critical attention on a par with the extensive scholarship on Wilde’s well-known dramatical works. Keywords: Oscar Wilde; Victorian Literature; Drama; 19th Century Literature; A Florentine Tragedy; The Duchess of Padua; Elizabethan Drama; Jacobean Drama; Renaissance Drama; Theatre List of Abbreviations Collins Collected Works of Oscar Wilde, intro. by Merlin Holland, Glasgow: Harper Collins, 1994. CW V The Complete Works of Oscar Wilde: Volume V: Plays: 1: The Duchess Of Padua, Salome: Drame en un Acte, Salome: Tragedy in One Act, ed. by Joseph Donohue, Oxford: Oxford University Press, 2013. CW VII The Complete Works of Oscar Wilde: Volume VII: Journalism II, ed. by John Stokes and Mark Turner, Oxford: Oxford University Press, 2013. CW IX The Complete Works of Oscar Wilde: Volume IX: Plays: 2: Lady Lancing (The Importance of Being Earnest), ed. by Joseph Donohue, Oxford: Oxford University Press, 2013. DG The Picture of Dorian Gray, in Oscar Wilde: The Major Works, ed. by Isobel Murray, Oxford: Oxford University Press, 2008. HD The Letters of Oscar Wilde, ed. by Rupert Hart-Davis, New York: Harcourt, Brace & World, Inc, 1962. Murray Oscar Wilde: The Major Works, ed. by Isobel Murray, Oxford: Oxford University Press, 2008. Raby The Importance of Being Earnest and Other Plays, ed. by Peter Raby, Oxford: Oxford University Press, 2008. I quote The Duchess of Padua and Salomé from Donohue’s edition, A Florentine Tragedy from the Collins edition, The Picture of Dorian Gray from Murray’s edition and Wilde’s other plays from Raby’s edition as appropriate, by act, scene and line number. Poetry by Oscar Wilde is cited by line number to Murray’s edition. TaBle of Contents Introduction……………………………………………………………………..……1 Historical Context Wilde and Women……………………………………………………….….….4 The Society Plays and Salomé……………………………………...…………12 Genre…………………………………………………………………………17 The Plays The Duchess of Padua—Beatrice…………………………….………………21 A Florentine Tragedy—Bianca………………………………….……………38 Conclusion…………………………………………………………………………...49 Works Cited…………………………………………………………………………52 Weber 1 Introduction Born in 1854 in Dublin, Ireland, Oscar Wilde grew up to become one of the most famous writers and playwrights of his century. Today, 120 years after his death, he still continues to fascinate readers and scholars all over the world. But if Wilde has never really gone out of fashion, recent work after the neo-historical turn has sought to situate Wilde firmly as a product of his time. The late 19th century was, after all, a time of incredible change. The repressive moral strictures that had previously separated men and women, confining women to the domesticity of the home while men ruled the public world, were challenged by modern, radical ideas about gender equality. For instance, during the period, the New Woman ideal emerged, inspiring women to be independent and to pursue careers, even if traditional patriarchal ideas were still in majority. While Wilde was an established writer and poet by the turn of the century, publishing his first novel, The Picture of Dorian Gray in 1890, and famous for his clever wit and flamboyant style, it was during this same period towards the end of the century, that he wrote the four society plays that would become his most famous dramatical works: Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895). However, he had already written two earlier plays: Vera; or, The Nihilists (1880) and The Duchess of Padua (1883), both of which were largely unsuccessful. Furthermore, Wilde published his biblical symbolist drama Salomé in 1891, and had started writing on a La Sainte Courtisane in 1894, a play similar in style and setting to Salomé of which only a fragment has survived. Additionally, Wilde worked on three other unfinished plays: Weber 2 A Florentine Tragedy (1894), A Wife’s Tragedy, and Love Is Law. Of these less well- known plays, two in particular, his Elizabethan-Jacobean tragedies, present interesting figures of strong transgressive women which compare with Wilde’s more famous female characters, who have been widely analysed, while these other women have been left under-discussed. This essay will begin to rectify that gap in the critical heritage. After more than a century of studying Wilde and his works from various angles and theoretical perspectives, the scholarly interest remains immense. Numerous studies have been conducted on The Picture of Dorian Gray, and on Wilde’s poetry and essays. Furthermore, his society plays, and to an extent Salomé, have been the objects of several extensive research projects and books. Sos Eltis (1996) has written extensively on the society plays, as has Kerry Powell (1990). Also of significance, are the Oxford University editions of Wilde’s plays in The Complete Works of Oscar Wilde, edited by Joseph Donohue, the only fully annotated, complete collection of Wilde’s works, including exhaustive introductions and commentary to each work. Another valuable study is Eleanor Fitzsimons’s Wilde’s Women (2016), which examines the relationships Wilde had with women during his lifetime, illustrating their profound influence on his life and works. However, despite the plethora of research, Wilde’s two tragedies The Duchess of Padua and A Florentine Tragedy have remained largely unexplored. A number of scholars have described them briefly, an even smaller number have treated them in detail, this in spite of the fact that Donohue’s 2013 volume in the Complete Works includes the first ever scholarly edition of The Duchess of Padua. Regenia Gagnier explored A Florentine Tragedy in an appendix to her book Idylls of the Marketplace: Oscar Wilde and the Victorian Public (1986), in which she analyses the play from an economic perspective, an angle she returns to in her article “Aesthetics and Economics in A Florentine Tragedy” from 1994. Sherry D Lee indirectly explores A Florentine Tragedy in her article “A Florentine Tragedy, or woman as mirror” from 2006, in which she studies the homoerotic subtext of Zemlinsky’s opera Eine florentinische Tragödie, based on Wilde’s play. Katharine Worth includes The Duchess of Padua in her book Oscar Wilde (1983), and while Worth acknowledges and describes the Duchess’s actions, she does not in detail analyse the rebellious transgressiveness of her character. Instead, Worth emphasises the play’s “filmic quality” (48) and visual sense, which she discusses in an intriguing analysis of the play’s colour schemes, archaeological inspirations and musical sounds. Also interested in the theatrical archaeology of the Weber 3 play is Gregory Mackie, who treats The Duchess of Padua in his article “The Modern Idea under an Antique Form: Aestheticism and Theatrical Archaeology in Oscar Wilde’s Duchess of Padua” (2012), which focuses on the play’s historical costume and stage design. However, none of these studies focuses exclusively on the female characters in these two plays. Throughout the oeuvre of Oscar Wilde, we find several strong-minded, radical women who challenge traditional gender norms, and many of them, particularly in the society plays, have been analysed in various studies throughout the years (for instance Powell 1990, pp.14-32; Eltis 1996, pp.130-169).Yet, Beatrice and Bianca, the two transgressive women in The Duchess of Padua and A Florentine Tragedy, have not been given a great deal of scholarly attention. I argue that Beatrice and Bianca deserve to be considered alongside Wilde’s other transgressive characters, such as Salomé, for example. Both The Duchess of Padua and A Florentine Tragedy are very modern plays, despite their Renaissance setting, and their female characters, Beatrice and Bianca, both demonstrate radical ideas regarding womanhood and sexuality, and are explicit in their reactions against patriarchy. Exploring these two plays allows us to broaden our understanding of Wilde’s largely forgotten dramatical works, while also shedding light on two of Wilde’s broadly overlooked female characters. This thesis consists of two parts. The first part, divided into three subsections, will establish the historical context in which The Duchess of Padua and A Florentine Tragedy were written.
Load more

Recommended publications
  • University of Birmingham Oscar Wilde, Photography, and Cultures Of
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Portal University of Birmingham Oscar Wilde, photography, and cultures of spiritualism Dobson, Eleanor License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): Dobson, E 2020, 'Oscar Wilde, photography, and cultures of spiritualism: ''The most magical of mirrors''', English Literature in Transition 1880-1920, vol. 63, no. 2, pp. 139-161. Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility 12/02/2019 Published in English Literature in Transition 1880-1920 http://www.eltpress.org/index.html General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document.
    [Show full text]
  • The Cambridge Companion to Modern Irish Culture Edited by Joe Cleary, Claire Connolly Index More Information
    Cambridge University Press 978-0-521-52629-6 — The Cambridge Companion to Modern Irish Culture Edited by Joe Cleary, Claire Connolly Index More Information Index Aalto, Alvar, 286, 295–6 Daniel O’Connell’s strategy, 30 Abbey Theatre, 326–31 Politics and Society in Ireland, 1832–1885, see also Deevey, Teresa; Dublin Trilogy by 29–30 Sean O’Casey; Yeats, W. B. flexibility of Gladstone’s politics, 32–3 Casadh an tSug´ ain´ , 327, 328 implications of Home Rule, and colonial administration, 329 32–3 Lionel Pilkington’s observations on, W. E. Vaughan on advanced reforms 329 and, 31–2 The Shewing Up of Blanco Posnet, 329 relation to Belfast Agreement, 39–40 Gabriel Fallon’s comments on tradition Act of Union between Great Britain and Ireland, of, 332–3 The, 310 George Russell on creation of medieval administration, colonial. See colonial theatre, 327–8 administration and theatre new building for by Michael Scott, 333 Adorno, Theodor, 168 Playboy of the Western World, 328–9 affiliation, religious, see power and religious as state theatre, 329–31 affiliation Thompson in Tir-na-nOg´ ,328 Agreement, Belfast. See Belfast Agreement Abhrain´ Gradh´ Chuige´ Chonnacht. See Love-Songs Agreement, Good Friday, 199–200 of Connacht All Souls’ Day,221 abortion alternative enlightenment, 5–6 Hush-a-Bye-Baby,217–18 America, United States of. See race, ethnicity, The Kerry Babies’ case, 218 nationalism and assimilation About Adam,221–2 Amhran´ na Leabhar,272 Absentee, The,255 Amongst Women,263 assimilation, cultural, 49 An Beal´ Bocht, 250 Academy, Royal Hibernian,
    [Show full text]
  • William Shakespeare's the TAMING of the SHREW a STUDY GUIDE
    The Classic Theatre of San Antonio Presents William Shakespeare’s THE TAMING OF THE SHREW Directed by Diane Malone A STUDY GUIDE Prepared by The Classic Theatre of San Antonio November 2013 TABLE OF CONTENTS Forward by Diane Malone, Director/Designer .............................................................................1 The Dramaturgical Research Process by Timothy Retzloff, Dramaturg ...................................................................................2 About William Shakespeare, Playwright (1564-1616) .......................................................4 Principal Characters .............................................................................................................5 Synopsis of the Play ...............................................................................................................6 Map of Renaissance Italy .....................................................................................................8 Cast, Production Staff, and Theatre Staff ..........................................................................9 Interviews with Some of the Cast ......................................................................................10 Reflections on the Play and Performance .........................................................................15 Rehearsal Photographs .......................................................................................................16 Works Cited ........................................................................................................................18
    [Show full text]
  • Verdi Otello
    VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers;
    [Show full text]
  • Myth and Censorship. Oscar Wilde Re-Writing the French Classics
    Quaderns de Filologia. Estudis Literaris. Vol. X (2005) 271-283 MYTH AND CENSORSHIP. OSCAR WILDE RE-WRITING THE FRENCH CLASSICS Ignacio Ramos Gay Universitat de València ______________________________________________________________ Together with The Importance of Being Earnest, Salomé stands as one of the most original plays in Oscar Wilde’s dramaturgy. In both plays, Wilde tried to rid himself of the dramatic tradition in which he had been formed and sought to unearth a personal theatrical formula, despite using convention so as to create characters, situations and speeches easily recognizable for his audience. According to John Hankin, The Importance of Being Earnest is the nearest approach to absolute originality that he attained, for “in that play, for the first time, he seemed to be tearing himself away from tradition and to be evolving a dramatic form of his own”, and from that moment on, Wilde would have definitely discarded the machine-made construction of the Scribe-Sardou theatre which had held him too long, and begun to use the drama as an artist should, for the expression of his own personality, not the manufacture of clever pastiches (The Fortnightly Review, 1 May 1908). Louis Kronenberg’s interpretation of Salomé follows Hankin’s statement, emphasizing Wilde’s detachment as regards his dramatic context. In Kronenberg’s words (1967: 117), “it [Salomé] stands with The Importance of Being Earnest as something Oscar fully created, not only taking very little out of Flaubert or the Bible, but in refusing to revert theatrical formulas”. Apart from this oscillation between dramatic influence and original creation within the boundaries of convention, a major part of this originality results from the play being primarily written and published for its first performance in French, and from its consequent interpretative opacity.
    [Show full text]
  • Ebook Download De Profundis and Other Prison Writings
    DE PROFUNDIS AND OTHER PRISON WRITINGS PDF, EPUB, EBOOK Oscar Wilde,Colm Toibin | 304 pages | 30 Apr 2013 | Penguin Books Ltd | 9780140439908 | English | London, United Kingdom De Profundis and Other Prison Writings PDF Book View all newsletter. Contact us Contact us Offices Media contacts Catalogues. Merlin Holland concludes that "what Queensberry almost certainly wrote was "posing somdomite [ sic ]", Holland Wilde decided to write a letter to Douglas, and in it discuss the last five years they had spent together, creating an autobiography of sorts. Cookies are used to provide, analyse and improve our services; provide chat tools; and show you relevant content on advertising. Oct 04, Ingrid Elin Stokke added it. Mar 03, Regina rated it it was amazing Shelves: my-cannon. Essential We use cookies to provide our services , for example, to keep track of items stored in your shopping basket, prevent fraudulent activity, improve the security of our services, keep track of your specific preferences e. Oscar Wilde was born in Dublin. An abridged version was set for speaking pianist by composer Frederic Rzewski. Contact had lapsed between Douglas and Wilde and the latter had suffered from his close supervision, physical labour, and emotional isolation. Wilde loses his charm and a portion of his literary brilliance with the passage of brutal time in prison. His love for Bosie Douglas is painted patiently, paragraph by paragraph. Wilde was granted official permission to have writing materials in early , but even then under strict control: he could write to his friends and his solicitor, but only one page at a time.
    [Show full text]
  • The Life of Oscar Wilde
    Dixon 1 The late 19 th century was an exceptional time for literature in both Europe and the Americas. Arguably, some of the greatest minds in the history of Western literature actively published during this period. Twain, Melville, Dickens, Verne, Wilde and many others were widely circulated among both literary factions and laypersons. Through their fiction, their collective reach was enormous. For most of these writers, their fictive works have eclipsed their personal lives. Until recently, historians have focused only on these writers’ contributions to literature, rather than their intriguing personal histories as a whole. With the emergence of new types of historical inquiry, the study of literary figures has begun a paradigm shift toward examining the impact of their entire lives, rather than simply their works. In following that trend, this study will shine a unique light on not only the works, but also the life of one of the 19 th century’s most controversial authors: Oscar Wilde. Wilde saw himself as a brilliant Aesthetic artist, proclaiming during his 1882 American book tour, “I have nothing to declare but my genius.” 1 Early in his career the Victorian public viewed Wilde as an eccentric Aesthete whose plays delighted but often left the public feeling somewhat left out. Later, as Wilde’s now infamous trial approached, the public formed new ideas about homosexuality and began to develop tropes out of the mannerisms and dress of the Aesthetic movement to which Wilde belonged. The ways in which Oscar Wilde envisioned himself ran counter to the expectations of Victorian England; the mantle of homosexuality was thrust upon Wilde based on the narrow ideas of the society in which he lived – the public was simply ill- 1 Wilde, Oscar.
    [Show full text]
  • On the Rejection of Oscar Wilde's the Picture of Dorian Gray by W. H. Smith
    humanities Article On the Rejection of Oscar Wilde’s The Picture of Dorian Gray by W. H. Smith Satoru Fukamachi Faculty of Humanities, Doho University, Nagoya 453-8540, Japan; [email protected] Received: 1 September 2020; Accepted: 26 October 2020; Published: 29 October 2020 Abstract: Wilde’s only novel, The Picture of Dorian Gray, is widely said to have been rejected by W. H. Smith, but there is no doubt that this did not happen. The letter sent to Wilde by the publisher strongly indicates that W. H. Smith contemplated removing the July issue of Lippincott’s Magazine, but does not go so far as to say that the bookstore did. This letter is the only evidence, however, that this is not absolute. The refusal to sell is mere speculation. The fact that none of Wilde’s contemporaries mentioned the incident of The Picture of Dorian Gray that supposedly happened, while the boycott of George Moore’s Esther Waters, which was much less topical than this one, was widely reported and discussed, provides further evidence that Wilde’s work was not rejected. Given that the censorship of literary works by private enterprises was still topical in the 1890s, it is unbelievable that the rejection of Wilde’s novel would not have been covered by any newspaper. It makes no sense, except to think that such a thing did not exist at all. It is also clear that this was not the case in the 1895 Wilde trial. Wilde’s lawyer argued that the piece was not a social evil because it was sold uninterruptedly, and the other side, which would have liked to take advantage of it in any way, never once touched on the boycott.
    [Show full text]
  • [Z5EQ]⋙ a Florentine Tragedy and La Sainte Courtisane by Oscar Wilde
    A Florentine Tragedy and La Sainte Courtisane Oscar Wilde Click here if your download doesn"t start automatically A Florentine Tragedy and La Sainte Courtisane Oscar Wilde A Florentine Tragedy and La Sainte Courtisane Oscar Wilde A Florentine Tragedy and La Sainte Courtisane Download A Florentine Tragedy and La Sainte Courtisane ...pdf Read Online A Florentine Tragedy and La Sainte Courtisane ...pdf Download and Read Free Online A Florentine Tragedy and La Sainte Courtisane Oscar Wilde From reader reviews: Georgia Martinez: Hey guys, do you really wants to finds a new book to see? May be the book with the concept A Florentine Tragedy and La Sainte Courtisane suitable to you? The book was written by famous writer in this era. Often the book untitled A Florentine Tragedy and La Sainte Courtisaneis one of several books this everyone read now. This book was inspired many people in the world. When you read this reserve you will enter the new dimension that you ever know ahead of. The author explained their concept in the simple way, so all of people can easily to recognise the core of this book. This book will give you a lots of information about this world now. So you can see the represented of the world with this book. Jodi Saldana: The guide untitled A Florentine Tragedy and La Sainte Courtisane is the e-book that recommended to you to learn. You can see the quality of the e-book content that will be shown to a person. The language that creator use to explained their ideas are easily to understand.
    [Show full text]
  • Read Book # a Florentine Tragedy: La Sainte Courtisane / LLC5SF408Q75
    ZUJWSL7MVDOH < PDF # A Florentine Tragedy: La Sainte Courtisane A Florentine Tragedy: La Sainte Courtisane Filesize: 8.49 MB Reviews This is the very best publication i actually have read until now. It really is packed with knowledge and wisdom I am happy to let you know that this is the very best publication i actually have read in my very own existence and could be he greatest pdf for ever. (Dr. Nelda Schuppe) DISCLAIMER | DMCA SJXUXO7G9N9I / Doc \ A Florentine Tragedy: La Sainte Courtisane A FLORENTINE TRAGEDY: LA SAINTE COURTISANE To read A Florentine Tragedy: La Sainte Courtisane PDF, make sure you refer to the link listed below and save the ebook or have access to other information which are highly relevant to A FLORENTINE TRAGEDY: LA SAINTE COURTISANE book. Createspace Independent Pub, 2015. Paperback. Condition: Brand New. 36 pages. 9.00x6.00x0.09 inches. This item is printed on demand. Read A Florentine Tragedy: La Sainte Courtisane Online Download PDF A Florentine Tragedy: La Sainte Courtisane B7UGWN9GBYQG \\ Kindle \ A Florentine Tragedy: La Sainte Courtisane Relevant Books [PDF] Oscar Wilde Miscellaneous: A Florentine Tragedy - A Fragment, and La Sainte Courtisane - A Fragment (Dodo Press) Access the web link beneath to read "Oscar Wilde Miscellaneous: A Florentine Tragedy - A Fragment, and La Sainte Courtisane - A Fragment (Dodo Press)" document. Read Book » [PDF] Diary of a Potion Maker (Book 1): The Potion Expert (an Unoicial Minecra Book for Kids Ages 9 - 12 (Preteen) Access the web link beneath to read "Diary of a Potion Maker (Book 1): The Potion Expert (an Unoicial Minecra Book for Kids Ages 9 - 12 (Preteen)" document.
    [Show full text]
  • MODELING HEROINES from GIACAMO PUCCINI's OPERAS by Shinobu Yoshida a Dissertation Submitted in Partial Fulfillment of the Requ
    MODELING HEROINES FROM GIACAMO PUCCINI’S OPERAS by Shinobu Yoshida A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2011 Doctoral Committee: Associate Professor Naomi A. André, Co-Chair Associate Professor Jason Duane Geary, Co-Chair Associate Professor Mark Allan Clague Assistant Professor Victor Román Mendoza © Shinobu Yoshida All rights reserved 2011 TABLE OF CONTENTS LIST OF FIGURES ...........................................................................................................iii LIST OF APPENDECES................................................................................................... iv I. CHAPTER ONE........................................................................................................... 1 INTRODUCTION: PUCCINI, MUSICOLOGY, AND FEMINIST THEORY II. CHAPTER TWO....................................................................................................... 34 MIMÌ AS THE SENTIMENTAL HEROINE III. CHAPTER THREE ................................................................................................. 70 TURANDOT AS FEMME FATALE IV. CHAPTER FOUR ................................................................................................. 112 MINNIE AS NEW WOMAN V. CHAPTER FIVE..................................................................................................... 157 CONCLUSION APPENDICES………………………………………………………………………….162 BIBLIOGRAPHY..........................................................................................................
    [Show full text]
  • Hollow Men: Colonial Forms, Irish Subjects, and the Great Famine in Modernist Literature, 1890-1930
    Graduate Theses, Dissertations, and Problem Reports 2016 Hollow Men: Colonial Forms, Irish Subjects, and the Great Famine in Modernist Literature, 1890-1930 Aaron Matthew Percich Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Percich, Aaron Matthew, "Hollow Men: Colonial Forms, Irish Subjects, and the Great Famine in Modernist Literature, 1890-1930" (2016). Graduate Theses, Dissertations, and Problem Reports. 6399. https://researchrepository.wvu.edu/etd/6399 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Hollow Men: Colonial Forms, Irish Subjects, and the Great Famine in Modernist Literature, 1890-1930 Aaron Matthew Percich A dissertation submitted to the Eberly College of Arts and Sciences at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English. Lisa Weihman, Ph.D., Chair Dennis W. Allen, Ph.D. Gwen Bergner, Ph.D. John B. Lamb, Ph.D. Enda Duffy, Ph.D.
    [Show full text]