The Ear of Dionysius; but the Name Only Dates from the Sixteenth Century
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Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021 Please Note: due to production considerations, duration for each production is subject to change. Please consult associated cue sheet for final cast list, timings, and more details. Please contact [email protected] for more information. PROGRAM #: OS 21-01 RELEASE: June 12, 2021 OPERA: Handel Double-Bill: Acis and Galatea & Apollo e Dafne COMPOSER: George Frideric Handel LIBRETTO: John Gay (Acis and Galatea) G.F. Handel (Apollo e Dafne) PRESENTING COMPANY: Haymarket Opera Company CAST: Acis and Galatea Acis Michael St. Peter Galatea Kimberly Jones Polyphemus David Govertsen Damon Kaitlin Foley Chorus Kaitlin Foley, Mallory Harding, Ryan Townsend Strand, Jianghai Ho, Dorian McCall CAST: Apollo e Dafne Apollo Ryan de Ryke Dafne Erica Schuller ENSEMBLE: Haymarket Ensemble CONDUCTOR: Craig Trompeter CREATIVE DIRECTOR: Chase Hopkins FILM DIRECTOR: Garry Grasinski LIGHTING DESIGNER: Lindsey Lyddan AUDIO ENGINEER: Mary Mazurek COVID COMPLIANCE OFFICER: Kait Samuels ORIGINAL ART: Zuleyka V. Benitez Approx. Length: 2 hours, 48 minutes PROGRAM #: OS 21-02 RELEASE: June 19, 2021 OPERA: Tosca (in Italian) COMPOSER: Giacomo Puccini LIBRETTO: Luigi Illica & Giuseppe Giacosa VENUE: Royal Opera House PRESENTING COMPANY: Royal Opera CAST: Tosca Angela Gheorghiu Cavaradossi Jonas Kaufmann Scarpia Sir Bryn Terfel Spoletta Hubert Francis Angelotti Lukas Jakobski Sacristan Jeremy White Sciarrone Zheng Zhou Shepherd Boy William Payne ENSEMBLE: Orchestra of the Royal Opera House, -
Slaves, Sex, and Transgression in Greek Old Comedy
Slaves, Sex, and Transgression in Greek Old Comedy By Daniel Christopher Walin A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mark Griffith, Chair Professor Donald J. Mastronarde Professor Kathleen McCarthy Professor Emily Mackil Spring 2012 1 Abstract Slaves, Sex, and Transgression in Greek Old Comedy by Daniel Christopher Walin Doctor of Philosophy in Classics University of California, Berkeley Professor Mark Griffith, Chair This dissertation examines the often surprising role of the slave characters of Greek Old Comedy in sexual humor, building on work I began in my 2009 Classical Quarterly article ("An Aristophanic Slave: Peace 819–1126"). The slave characters of New and Roman comedy have long been the subject of productive scholarly interest; slave characters in Old Comedy, by contrast, have received relatively little attention (the sole extensive study being Stefanis 1980). Yet a closer look at the ancestors of the later, more familiar comic slaves offers new perspectives on Greek attitudes toward sex and social status, as well as what an Athenian audience expected from and enjoyed in Old Comedy. Moreover, my arguments about how to read several passages involving slave characters, if accepted, will have larger implications for our interpretation of individual plays. The first chapter sets the stage for the discussion of "sexually presumptive" slave characters by treating the idea of sexual relations between slaves and free women in Greek literature generally and Old Comedy in particular. I first examine the various (non-comic) treatments of this theme in Greek historiography, then its exploitation for comic effect in the fifth mimiamb of Herodas and in Machon's Chreiai. -
The Robert Shaw Chorale and Orchestra ROBERT SHAW, Conductor
1958 Eightieth Season 1959 UNIVERSITY MUSICAL SOCIETY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor Fifth Concert Thirteenth Annual Extra Series Complete Series 3259 The Robert Shaw Chorale and Orchestra ROBERT SHAW, Conductor SUNDAY AFTERNOON, MARCH IS, 1959, AT 2:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Suite from Acis and Galatea HANDEL Requiem Mass INTERMISSION Four Faces of Love : True Love, from Five Songs on Old Texts HINDEMITH Love Song, from Four Hungarian Folksongs . BARTOK The Lover's Wish, from Vier Stucke, Op. 27 SCHONBERG With Air Commanding, from The Rake's Progress STRAVINSKY Rhapsodie for Contralto Solo, Male Chorus, and Orchestra, Op. 53 . BRAHMS FLORENCE KOPLEFF, Contralto Suite from Les Brigands OFFENBACH The Steinway is the official piano of the University Musical Society A R S LON G A V I T A BREVIS PROGRAM NOTES Suite from Ads and Galatea GEORG FRIEDRICH HANDEL Acis, Tenor Galatea, Soprano Polypheme, Bass In this year commemorating the 200th anniversary of Handel's death, audiences will have the opportunity to become acquainted with many of his less-performed master pieces. One of these is certainly Acis and Galatea, composed in 1720 when Handel was at the height of his fame as an opera composer and manager in London. In music of great charm it tells the story of the goddess Galatea, whose great beauty causes the Cyclops, Polypheme, to fall madly in love with her. He catches sight of her one day sporting with her love Acis, a Naiad. Mad with rage, he hurls a rock at them, pinning the unfortunate Acis beneath. -
The Turing Test
THE TURING TEST Nick Totton It is within language that the world speaks to us in a voice that is not our own. This is, I believe, a first and fundamental experience of dictation and correspondence - the dead speaking to us in language is only one level of the outside that ceaselessly invades our thought. (Robin Blaser, The Practice of Outside) This sort of thing is more difficult to do than it looked. (Professor A.W. Verrall, posthumously) Dead Authors In the early years of the twentieth century an unusual literary project was initiated, which continued for over thirty years: a project known generally as the 'Cross Correspondences': a collaboration between a number of authors and/or transcribers, some of them friends and relatives, others complete strangers, and in widely varying circumstances. These variations include important factors like class and education; but most striking, perhaps, is that several of the more prominent figures involved were dead at the time. The project1 consists of a number of separate texts, no one or several of which contains the work itself. The work - like the structure of a myth - emerges solely from the relationship between these different texts: it is a second-order reality, an epiphenomenon. One could appropriately say that the work itself is incarnate in the texts, though identifiable with none of them, nor yet with the sum of the parts. In one sense the Cross Correspondences are very much of their time: a strikingly Modernist texture, inhabiting the same world as Joyce and Eliot, as a small sample of the enormous material will show: Lots of wars - A Siege I hear the sound of chipping. -
The Project Gutenberg Ebook of Bulfinch's Mythology: the Age of Fable, by Thomas Bulfinch
The Project Gutenberg EBook of Bulfinch's Mythology: The Age of Fable, by Thomas Bulfinch This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Bulfinch's Mythology: The Age of Fable Author: Thomas Bulfinch Posting Date: February 4, 2012 [EBook #3327] Release Date: July 2002 First Posted: April 2, 2001 Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK BULFINCH'S MYTHOLOGY: AGE OF FABLE *** Produced by an anonymous Project Gutenberg volunteer. BULFINCH'S MYTHOLOGY THE AGE OF FABLE Revised by Rev. E. E. Hale CONTENTS Chapter I Origin of Greeks and Romans. The Aryan Family. The Divinities of these Nations. Character of the Romans. Greek notion of the World. Dawn, Sun, and Moon. Jupiter and the gods of Olympus. Foreign gods. Latin Names.-- Saturn or Kronos. Titans. Juno, Vulcan, Mars, Phoebus-Apollo, Venus, Cupid, Minerva, Mercury, Ceres, Bacchus. The Muses. The Graces. The Fates. The Furies. Pan. The Satyrs. Momus. Plutus. Roman gods. Chapter II Roman Idea of Creation. Golden Age. Milky Way. Parnassus. The Deluge. Deucalion and Pyrrha. Pandora. Prometheus. Apollo and Daphne. Pyramus and Thisbe. Davy's Safety Lamp. Cephalus and Procris Chapter III Juno. Syrinx, or Pandean Pipes. Argus's Eyes. Io. Callisto Constellations of Great and Little Bear. Pole-star. Diana. Actaeon. Latona. Rustics turned to Frogs. Isle of Delos. Phaeton. -
Painted Hall
PAINTED HALL Please leave for others to enjoy Used to welcome and impress guests, this was the largest and grandest room built by the 1st Duke. Ask the guide to tell you more about the painted stories. Use the mirrors to help you see. First impressions count. When guests are welcomed to Chatsworth, this is one of the first rooms they see. HOUSE PLAN - Ground Floor William, 1st Duke of Devonshire built the Painted Hall between 1689 and 1694, the only original feature is the painted decoration on the walls and ceiling. Whilst still Earl of Devonshire he chose to flatter the monarch by decorating the hall with scenes from the life of Julius Caesar, he was elevated to Duke in the year the room was completed. A house has been standing here since the 1550s. It was built for Bess of Hardwick and Sir William Cavendish. Together they established the Cavendish family line from which the earls and dukes of Devonshire are descended. Bess persuaded Cavendish to buy the Chatsworth Estate in 1549. Something to Share... The inscription above the fire was placed by the 6th Duke on completion of his renovation of this room in 1840. There is a translation underneath. Family Timeline 4th Earl & 1st Duke Bess of Hardwick 2nd Earl of Devonshire 3rd Duke 5th Duke 7th Duke 9th Duke 11th Duke 12th Duke 1520–1608 1590–1628 1641–1707 1698–1755 1748–1811 1808–1891 1868–1938 1920–2004 Peregrine [Stoker] 1st Earl of Devonshire 3rd Earl 2nd Duke 4th Duke 6th Duke 8th Duke 10th Duke Devonshire 1552–1626 1617–1684 1673–1729 1720–1764 1790–1858 1833–1908 1895–1950 b.1944 PAINTED HALL continued.. -
C O M M E N T a T I O N
COMMENTATIONES Eos C 2013 ISSN 0012-7825 SICILY’S PLACE IN GREEK POETRY* by GERSON SCHADE ...vuote le mani, ma pieni gli occhi del ricordo di lei... Ibn Hamdis ABSTRACT: A multitude of literary texts dealing with Sicily are presented in four chapters. Starting with a fusion of the Aeneid’s presentation of Sicily and some modern literary associations, the opening chapter proves that in Virgil’s usage the term “Sicilian” became a kind of shibboleth, which turns his works into texts au deuxième degré. His Sicelides Musae come from Theocritus whose poetry is at the centre of the bifold second chapter, offering two retrospective glances upon earlier Greek poetry: a first half is dedicated to Theocritus’ Cyclops-poems and their ‘bucolic archae- ology’. Quite similarly, the second half of the second chapter is concerned with Theocritus’ poem on Hieron II and its epinician predecessors, i.e. Simonides and Pindar. This tradition, however, might well have started earlier than Simonides, and it is not unlikely that already Ibykos and Stesichoros, the latter born in Sicily, composed epinician poetry. Pindar and Simonides’ nephew Bakchylides were guests of Hieron I, who also invited innovative Aeschylus, reputed to be a vir utique Siculus, to whom the third chapter is dedicated. Aside from the bucolic and epinician tradition, Sicily has another literary facet of which the fourth chapter catches some glimpses: Sicilian lifestyle attracted attention, and Sicilians were famous in antiquity for some extravagancies, a fact well known to comedy one streak of which is supposed to have its origins in Sicily. Sicilian food and all what comes with it were not altogether above suspicion, as Plato and his translator Cicero remarked, and also Horace thought of Sicilian banquets, Siculae dapes, as most lavish. -
Polyphemus in Pastoral and Epic Poetry Grace Anthony Trinity University, [email protected]
Trinity University Digital Commons @ Trinity Classical Studies Honors Theses Classical Studies Department 5-2017 The aC nnibal’s Cantations: Polyphemus in Pastoral and Epic Poetry Grace Anthony Trinity University, [email protected] Follow this and additional works at: http://digitalcommons.trinity.edu/class_honors Recommended Citation Anthony, Grace, "The aC nnibal’s Cantations: Polyphemus in Pastoral and Epic Poetry" (2017). Classical Studies Honors Theses. 6. http://digitalcommons.trinity.edu/class_honors/6 This Thesis open access is brought to you for free and open access by the Classical Studies Department at Digital Commons @ Trinity. It has been accepted for inclusion in Classical Studies Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. The Cannibal’s Cantations: Polyphemus in Pastoral and Epic Poetry Grace Anthony A DEPARTMENT HONORS THESIS SUBMITTED TO THE DEPARTMENT OF CLASSICAL STUDIES AT TRINITY UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR GRADUATION WITH DEPARTMENTAL HONORS April 17, 2016 Dr. Corinne Pache, Thesis Advisor Dr. Larry Kim, Department Chair Dr. Tim O’ Sullivan, VPAA Student Agreement I grant Trinity University (“Institution”), my academic department (“Department”), and the Texas Digital Library (“TDL”) the non-exclusive rights to copy, display, perform, distribute and publish the content I submit to this repository (hereafter called “work”) and to make the Work available in any format in perpetuity as part of a TDL, Institution or Department repository communication or distribution effort. I understand that once the Work is submitted, a bibliographic citation to the Work can remain visible in perpetuity, even if the Work is updated or removed. -
Cratinus' Cyclops
S. Douglas Olson Cratinus’ Cyclops – and Others Abstract The primary topic of this paper is Cratinus’ lost Odusseis (“Odysseus and his Companions”), in particular fr. 147, and the over-arching question of what can reasonably be called “Cyclops-plays”. My larger purpose is to argue for caution in regard to what we can and cannot regard as settled about the basic dramatic arc or “storyline” of individual lost comedies, while simultaneously advocating openness to a larger set of possibilities than is sometimes allowed for. Late 5 th -century comedy seems to have been fundamentally dependent on wild acts of imagination and fantastic re- workings of traditional material. Given how little we know about most authors and plays, we must accordingly both beware of over-confidence in our reconstructions and attempt to not too aggressively box in the impulses of the genre. As an initial way of illustrating and articulating these issues, I begin not with Cratinus but with the five surviving fragments of Nicophon’s Birth of Aphrodite. Temi principali di questo contributo sono i perduti Odissei (Odisseo e i suoi compagni ) di Cratino, in particolare il fr. 147, e la più complessiva questione di quali commedie possano essere ragionevolmente definite “commedie sul Ciclope”. Il mio scopo più ampio è di indurre alla prudenza rispetto a cosa possiamo e non possiamo ritenere stabilito riguardo alla struttura drammaturgica di fondo o alla “trama” di singole commedie perdute, e al contempo incoraggiare l’apertura verso uno spettro di possibilità più ampio rispetto a quanto talvolta non sia consentito. La commedia di fine quinto secolo sembra esser stata ispirata fondamentalmente da liberi atti di sfrenata immaginazione e da riscritture fantastiche di materiale tradizionale. -
Metamorphoses: `The Transformation and Transmutation of the Arcadian Dream'
Durham E-Theses Pastoral elements and imagery in Ovid's metamorphoses: `the transformation and transmutation of the Arcadian dream' Dibble, Alison Jane How to cite: Dibble, Alison Jane (2002) Pastoral elements and imagery in Ovid's metamorphoses: `the transformation and transmutation of the Arcadian dream', Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3836/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 UNIVERSITY OF DURHAM DEPARTMENT OF CLASSICS AND ANCIENT HISTORY 2002 M.A. by Research PASTORAL ELEMENTS AND IMAGERY IN OVID'S METAMORPHOSES: 'THE TRANSFORMATION AND TRANSMUTATION OF THE ARCADIAN DREAM' ALISON JANE DIBBLE PASTORALELEMENTSANDIMAGERYIN OVID'S METAMORPHOSES: 'THE TRANSFORMATION AND TRANSMUTATION OF THE ARCADIAN DREAM.' ALISON J. DIBBLE 'They, looking back, all the eastern side beheld Of Paradise, so late their happy seat, Waved over by that flaming brand, the gate With dreadful faces thronged and fiery arms: Some natural tears they dropped, but wiped them soon; The world was all before them, where to choose Their place of rest, and Providence their guide; They, hand in hand, with wandering steps and slow, Through Eden took their solitary way.