Chapter 38 and Preserved in a Repertoire of Classics the Late Twentieth Century 14
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Doubles and Doubling in Tarchetti, Capuana, and De Marchi By
Uncanny Resemblances: Doubles and Doubling in Tarchetti, Capuana, and De Marchi by Christina A. Petraglia A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Italian) At the University of Wisconsin-Madison 2012 Date of oral examination: December 12, 2012 Oral examination committee: Professor Stefania Buccini, Italian Professor Ernesto Livorni (advisor), Italian Professor Grazia Menechella, Italian Professor Mario Ortiz-Robles, English Professor Patrick Rumble, Italian i Table of Contents Introduction – The (Super)natural Double in the Fantastic Fin de Siècle…………………….1 Chapter 1 – Fantastic Phantoms and Gothic Guys: Super-natural Doubles in Iginio Ugo Tarchetti’s Racconti fantastici e Fosca………………………………………………………35 Chapter 2 – Oneiric Others and Pathological (Dis)pleasures: Luigi Capuana’s Clinical Doubles in “Un caso di sonnambulismo,” “Il sogno di un musicista,” and Profumo……………………………………………………………………………………..117 Chapter 3 – “There’s someone in my head and it’s not me:” The Double Inside-out in Emilio De Marchi’s Early Novels…………………..……………………………………………...222 Conclusion – Three’s a Fantastic Crowd……………………...……………………………322 1 The (Super)natural Double in the Fantastic Fin de Siècle: The disintegration of the subject is most often underlined as a predominant trope in Italian literature of the Twentieth Century; the so-called “crisi del Novecento” surfaces in anthologies and literary histories in reference to writers such as Pascoli, D’Annunzio, Pirandello, and Svevo.1 The divided or multifarious identity stretches across the Twentieth Century from Luigi Pirandello’s unforgettable Mattia Pascal / Adriano Meis, to Ignazio Silone’s Pietro Spina / Paolo Spada, to Italo Calvino’s il visconte dimezzato; however, its precursor may be found decades before in such diverse representations of subject fissure and fusion as embodied in Iginio Ugo Tarchetti’s Giorgio, Luigi Capuana’s detective Van-Spengel, and Emilio De Marchi’s Marcello Marcelli. -
Mr Trumble.Pdf
REVIEW OF EXHIBITIONS AND PUBLIC PROGRAMS AT THE NATIONAL MUSEUM OF AUSTRALIA SUBMISSION BY ANGUS TRUMBLE I wish to make the following submission in connection with DCITA’s 2003 Review of Exhibitions and Public Programs at the National Museum of Australia, Canberra. My thoughts about the NMA are largely the product of having for many years visited dozens museums all over the world, either out of interest or through my work as Curator of European Art at the Art Gallery of South Australia in Adelaide (1996 to 2001). However, I should also make it clear that I have had no professional contact with the NMA staff other than as an ordinary visitor, and it is in that capacity, not so much as an art museum curator, that I wish to comment on the building and aspects of the display, which I have studied carefully in the course of five visits in February and March this year. Despite the robust nature of many of my criticisms, I should say that I welcome the long-awaited arrival of the NMA. I believe it has a vital role to play in the cultural life of the nation, and the many problems that it must now solve are no more than temporary setbacks. None, apart from the terrible building, is insoluble, and even the building can be improved, I think, beyond measure. The architecture The design of the new NMA building is very poor and will not, I think, serve the long-term exhibition needs of the NMA. Nor will it open up new possibilities for public programming in the long term. -
Not Even Past NOT EVEN PAST
The past is never dead. It's not even past NOT EVEN PAST Search the site ... Of How a Hopi Ancient Word Became a Famous Experimental Film Like 65 Tweet by Montserrat Madariaga The theater is at its full capacity. The musicians are in place as the orchestra conductor starts to wave his arms in time with the image on the screen. There, little red dots emerge from a black background. They slowly widen and turn into capital letters: The word KOYAANISQATSI takes over. Keyboard notes evoking a church organ underline the mystery of the term and suit the dramatic hard-edged-typography. It is a Friday afternoon, February 23, 2018, in the Bass Concert Hall of the Texas Performing Art Center of The University of Texas, at Austin. The occasion is the screening of Godfrey Reggio’s 1982 lm, accompanied by the live performance of The Philip Glass Ensemble playing its original score music. Featured for the rst time to an ample public in the 1982 New York Film Festival, Koyaanisqatsi is an audiovisual art piece without dialogue or voiceover, deprived of any explicit narrative, that is nowadays a cult classic. It opens with a shot of the Holy Ghost Panel in Horseshoe Canyon, Utah, a human trace dated between 400 AD and 1100 AD. Then, footage of imposing natural landscapes and wildlife of the United States’ Southwest is followed by images of urban spaces: construction, crowded streets, demolitions, technology of the time, and so on. The collage escalates in its pace along with the music: utes, clarinet, trombone, viola, tuba, keyboards and vocals from time to time repeat the word “koyaanisqatsi” in a low pitched ceremonial tone that creates an apocalyptic atmosphere. -
Coexistence of Mythological and Historical Elements
COEXISTENCE OF MYTHOLOGICAL AND HISTORICAL ELEMENTS AND NARRATIVES: ART AT THE COURT OF THE MEDICI DUKES 1537-1609 Contents Introduction ........................................................................................................................................................ 3 Greek and Roman examples of coexisting themes ........................................................................ 6 1. Cosimo’s Triumphal Propaganda ..................................................................................................... 7 Franco’s Battle of Montemurlo and the Rape of Ganymede ........................................................ 8 Horatius Cocles Defending the Pons Subicius ................................................................................. 10 The Sacrificial Death of Marcus Curtius ........................................................................................... 13 2. Francesco’s parallel narratives in a personal space .............................................................. 16 The Studiolo ................................................................................................................................................ 16 Marsilli’s Race of Atalanta ..................................................................................................................... 18 Traballesi’s Danae .................................................................................................................................... 21 3. Ferdinando’s mythological dream ............................................................................................... -
Sydney Film Festival Announces Essential Scorsese
MEDIA RELEASE THURSDAY 31 MARCH 2016 DAVID STRATTON CURATES SCORSESE RETROSPECTIVE Sydney Film Festival, Australian Centre for the Moving Image (ACMI) and the National Film and Sound Archive of Australia (NFSA) announce that David Stratton will present a program of 10 essential films directed by Martin Scorsese. The curated films will screen as the retrospective program during the 63rd Sydney Film Festival (8-19 June) and in Melbourne at ACMI (27 May-12 June) to coincide with ACMI’s exhibition SCORSESE (26 May-18 September). All 10 films will screen at the NFSA in Canberra (1-23 July) after Sydney Film Festival’s screenings. The retrospective program of ten titles, including specially imported 35mm prints, curated by David Stratton, entitled Essential Scorsese: Selected by David Stratton, features works by one of the most influential directors of our time, including Taxi Driver, Goodfellas, Raging Bull and The Age of Innocence. The renowned critic and broadcaster, was appointed director of the Sydney Film Festival 50 years ago, and held the position from 1966 to 1983. Stratton will introduce selected screenings in the retrospective program. David Stratton says: “Scorsese talks in a rapid-fire style as though he doesn’t have enough time to describe everything he knows. He’s like a character in a 1930s movie. His films are passionate too. His best are explosive in their impact, crammed with information and detail. On the one hand, his Catholic upbringing leads him to tackle religious subjects (The Last Temptation of Christ, Kundun) while the Saturday matinee kid in him revels in the trashy gore of his gangster films.” Essential Scorsese: Selected by David Stratton will screen over two weekends during the Festival (8 – 19 June) at the Art Gallery of NSW. -
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Society of Composers Inc. National Student Conference 2001 Presented by The Indiana School of Music welcomes you to the 2001 Society of Composers Inc. National Student Conference Dear Composers and Friends: I am pleased to attend the Third Annual National Student Conference of the Society of Composers, Inc. This event, ably hosted by Jason Bahr with generous support from Don Freund, will give you that rare opportunity to meet and hear each other's works performed by some of the most talented performers in this country. Take advantage of this timethese are your future colleagues, for you can never predict when you will meet them again. This is the weekend we will choose the three winners of the SCI/ASCAP Student Composition Commission Competition, to be announced at the banquet on Saturday evening. You will hear three new compositions by the winners of the 2000 competition: Lansing D. McLoskey's new choral work on Saturday at 4:00 p.m.; Karim Al-Zand's Wind Ensemble work to be performed Thursday night at 8:00 p.m.; and Ching-chu Hu's chamber ensemble work on the Friday night concert. SCI is grateful to Fran Richard and ASCAP for their support with this ongoing commissioning project. Last month I was asked by the editor of the on-line journal at the American Music Center in New York to discuss the dominant musical style of today and to predict what the dominant musical style might be of tomorrow. If only I could predict future trends! And yet, today's music depends upon whom you ask. -
Passacaglia PRINT
On Shifting Grounds: Meandering, Modulating, and Möbius Passacaglias David Feurzeig Passacaglias challenge a prevailing assumption underlying traditional tonal analysis: that tonal motion proceeds along a unidirectional “arrow of time.” The term “continuous variation,” which describes characteristic passacaglia technique in contrast to sectional “Theme and Variations” movements, suggests as much: the musical impetus continues forward even as the underlying progression circles back to its starting point. A passacaglia describes a kind of loop. 1 But the loop of a traditional passacaglia is a rather flattened one, ovoid rather than circular. For most of the pattern, the tonal motion proceeds in one direction—from tonic to dominant—then quickly drops back to the tonic, like a skier going gradually up and rapidly down a slope. The looping may be smoother in tonic-requiring passacaglia themes (those which end on the dominant) than in tonic- providing themes, as the dominant harmony propels the music across the “seam” between successive statements of the harmonic pattern. But in both types, a clear dominant-tonic cadence tends to work against a sense of seamless circularity. This is not the case for some more recent passacaglias. A modern compositional type, which to my knowledge has not been discussed before as such, is the modulatory passacaglia.2 Modulating passacaglia themes subvert tonal closure via progressions which employ elements of traditional tonality but veer away from the putative tonal center. Passacaglias built on these themes may take on a more truly circular form, with no obvious start or endpoint. This structural ambiguity is foreshadowed in some Baroque ground-bass compositions. -
John Zorn Artax David Cross Gourds + More J Discorder
John zorn artax david cross gourds + more J DiSCORDER Arrax by Natalie Vermeer p. 13 David Cross by Chris Eng p. 14 Gourds by Val Cormier p.l 5 John Zorn by Nou Dadoun p. 16 Hip Hop Migration by Shawn Condon p. 19 Parallela Tuesdays by Steve DiPo p.20 Colin the Mole by Tobias V p.21 Music Sucks p& Over My Shoulder p.7 Riff Raff p.8 RadioFree Press p.9 Road Worn and Weary p.9 Bucking Fullshit p.10 Panarticon p.10 Under Review p^2 Real Live Action p24 Charts pJ27 On the Dial p.28 Kickaround p.29 Datebook p!30 Yeah, it's pink. Pink and blue.You got a problem with that? Andrea Nunes made it and she drew it all pretty, so if you have a problem with that then you just come on over and we'll show you some more of her artwork until you agree that it kicks ass, sucka. © "DiSCORDER" 2002 by the Student Radio Society of the Un versify of British Columbia. All rights reserved. Circulation 17,500. Subscriptions, payable in advance to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN ilsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money ordei payable to DiSCORDER Magazine, DEADLINES: Copy deadline for the December issue is Noven ber 13th. Ad space is available until November 27th and can be booked by calling Steve at 604.822 3017 ext. 3. Our rates are available upon request. -
CALIFORNIA's NORTH COAST: a Literary Watershed: Charting the Publications of the Region's Small Presses and Regional Authors
CALIFORNIA'S NORTH COAST: A Literary Watershed: Charting the Publications of the Region's Small Presses and Regional Authors. A Geographically Arranged Bibliography focused on the Regional Small Presses and Local Authors of the North Coast of California. First Edition, 2010. John Sherlock Rare Books and Special Collections Librarian University of California, Davis. 1 Table of Contents I. NORTH COAST PRESSES. pp. 3 - 90 DEL NORTE COUNTY. CITIES: Crescent City. HUMBOLDT COUNTY. CITIES: Arcata, Bayside, Blue Lake, Carlotta, Cutten, Eureka, Fortuna, Garberville Hoopa, Hydesville, Korbel, McKinleyville, Miranda, Myers Flat., Orick, Petrolia, Redway, Trinidad, Whitethorn. TRINITY COUNTY CITIES: Junction City, Weaverville LAKE COUNTY CITIES: Clearlake, Clearlake Park, Cobb, Kelseyville, Lakeport, Lower Lake, Middleton, Upper Lake, Wilbur Springs MENDOCINO COUNTY CITIES: Albion, Boonville, Calpella, Caspar, Comptche, Covelo, Elk, Fort Bragg, Gualala, Little River, Mendocino, Navarro, Philo, Point Arena, Talmage, Ukiah, Westport, Willits SONOMA COUNTY. CITIES: Bodega Bay, Boyes Hot Springs, Cazadero, Cloverdale, Cotati, Forestville Geyserville, Glen Ellen, Graton, Guerneville, Healdsburg, Kenwood, Korbel, Monte Rio, Penngrove, Petaluma, Rohnert Part, Santa Rosa, Sebastopol, Sonoma Vineburg NAPA COUNTY CITIES: Angwin, Calistoga, Deer Park, Rutherford, St. Helena, Yountville MARIN COUNTY. CITIES: Belvedere, Bolinas, Corte Madera, Fairfax, Greenbrae, Inverness, Kentfield, Larkspur, Marin City, Mill Valley, Novato, Point Reyes, Point Reyes Station, Ross, San Anselmo, San Geronimo, San Quentin, San Rafael, Sausalito, Stinson Beach, Tiburon, Tomales, Woodacre II. NORTH COAST AUTHORS. pp. 91 - 120 -- Alphabetically Arranged 2 I. NORTH COAST PRESSES DEL NORTE COUNTY. CRESCENT CITY. ARTS-IN-CORRECTIONS PROGRAM (Crescent City). The Brief Pelican: Anthology of Prison Writing, 1993. 1992 Pelikanesis: Creative Writing Anthology, 1994. 1994 Virtual Pelican: anthology of writing by inmates from Pelican Bay State Prison. -
Джоð½ Зоñ€Ð½ ÐлÐ
Джон Зорн ÐÐ »Ð±ÑƒÐ¼ ÑÐ ¿Ð¸ÑÑ ŠÐº (Ð ´Ð¸ÑÐ ºÐ¾Ð³Ñ€Ð°Ñ„иÑÑ ‚а & график) The Big Gundown https://bg.listvote.com/lists/music/albums/the-big-gundown-849633/songs Spy vs Spy https://bg.listvote.com/lists/music/albums/spy-vs-spy-249882/songs Buck Jam Tonic https://bg.listvote.com/lists/music/albums/buck-jam-tonic-2927453/songs https://bg.listvote.com/lists/music/albums/six-litanies-for-heliogabalus- Six Litanies for Heliogabalus 3485596/songs Late Works https://bg.listvote.com/lists/music/albums/late-works-3218450/songs https://bg.listvote.com/lists/music/albums/templars%3A-in-sacred-blood- Templars: In Sacred Blood 3493947/songs https://bg.listvote.com/lists/music/albums/moonchild%3A-songs-without-words- Moonchild: Songs Without Words 3323574/songs The Crucible https://bg.listvote.com/lists/music/albums/the-crucible-966286/songs Ipsissimus https://bg.listvote.com/lists/music/albums/ipsissimus-3154239/songs The Concealed https://bg.listvote.com/lists/music/albums/the-concealed-1825565/songs Spillane https://bg.listvote.com/lists/music/albums/spillane-847460/songs Mount Analogue https://bg.listvote.com/lists/music/albums/mount-analogue-3326006/songs Locus Solus https://bg.listvote.com/lists/music/albums/locus-solus-3257777/songs https://bg.listvote.com/lists/music/albums/at-the-gates-of-paradise- At the Gates of Paradise 2868730/songs Ganryu Island https://bg.listvote.com/lists/music/albums/ganryu-island-3095196/songs The Mysteries https://bg.listvote.com/lists/music/albums/the-mysteries-15077054/songs A Vision in Blakelight -
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; -
Between Liminality and Transgression: Experimental Voice in Avant-Garde Performance
BETWEEN LIMINALITY AND TRANSGRESSION: EXPERIMENTAL VOICE IN AVANT-GARDE PERFORMANCE _________________________________________________________________ A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Theatre and Film Studies in the University of Canterbury by Emma Johnston ______________________ University of Canterbury 2014 ii Abstract This thesis explores the notion of ‘experimental voice’ in avant-garde performance, in the way it transgresses conventional forms of vocal expression as a means of both extending and enhancing the expressive capabilities of the voice, and reframing the social and political contexts in which these voices are heard. I examine these avant-garde voices in relation to three different liminal contexts in which the voice plays a central role: in ritual vocal expressions, such as Greek lament and Māori karanga, where the voice forms a bridge between the living and the dead; in electroacoustic music and film, where the voice is dissociated from its source body and can be heard to resound somewhere between human and machine; and from a psychoanalytic perspective, where the voice may bring to consciousness the repressed fears and desires of the unconscious. The liminal phase of ritual performance is a time of inherent possibility, where the usual social structures are inverted or subverted, but the liminal is ultimately temporary and conservative. Victor Turner suggests the concept of the ‘liminoid’ as a more transgressive alternative to the liminal, allowing for permanent and lasting social change. It may be in the liminoid realm of avant-garde performance that voices can be reimagined inside the frame of performance, as a means of exploring new forms of expression in life.