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Stepping out of the Frame Alternative Realities in Rushdie’S the Ground Beneath Her Feet
Universiteit Gent 2007 Stepping Out of the Frame Alternative Realities in Rushdie’s The Ground Beneath Her Feet Verhandeling voorgelegd aan de Faculteit Letteren en Wijsbegeerte voor het verkrijgen van de graad van Prof. Gert Buelens Licentiaat in de taal- en letterkunde: Prof. Stef Craps Germaanse talen door Elke Behiels 1 Preface.................................................................................................................. 3 2 Historical Background: the (De-)Colonization Process in India.......................... 6 2.1 The Rise of the Mughal Empire................................................................... 6 2.2 Infiltration and Colonisation of India: the Raj ............................................. 8 2.3 India, the Nation-in-the-making and Independence (1947) ....................... 11 2.3.1 The Rise of Nationalism in India ....................................................... 11 2.3.2 Partition and Independence................................................................ 12 2.3.3 The Early Postcolonial Years: Nehru and Indira Gandhi................... 13 2.4 Contemporary India: Remnants of the British Presence............................ 15 3 Postcolonial Discourse: A (De)Construction of ‘the Other’.............................. 19 3.1 Imperialism – Colonialism – Post-colonialism – Globalization ................ 19 3.2 Defining the West and Orientalism............................................................ 23 3.3 Subaltern Studies: the Need for a New Perspective.................................. -
THE MYTH of ORPHEUS and EURYDICE in WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., Universi
THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., University of Toronto, 1957 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OP PHILOSOPHY in the Department of- Classics We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September, i960 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada. ©he Pttttrerstt^ of ^riitsl} (Eolimtbta FACULTY OF GRADUATE STUDIES PROGRAMME OF THE FINAL ORAL EXAMINATION FOR THE DEGREE OF DOCTOR OF PHILOSOPHY of MARK OWEN LEE, C.S.B. B.A. University of Toronto, 1953 M.A. University of Toronto, 1957 S.T.B. University of Toronto, 1957 WEDNESDAY, SEPTEMBER 21, 1960 AT 3:00 P.M. IN ROOM 256, BUCHANAN BUILDING COMMITTEE IN CHARGE DEAN G. M. SHRUM, Chairman M. F. MCGREGOR G. B. RIDDEHOUGH W. L. GRANT P. C. F. GUTHRIE C. W. J. ELIOT B. SAVERY G. W. MARQUIS A. E. BIRNEY External Examiner: T. G. ROSENMEYER University of Washington THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN Myth sometimes evolves art-forms in which to express itself: LITERATURE Politian's Orfeo, a secular subject, which used music to tell its story, is seen to be the forerunner of the opera (Chapter IV); later, the ABSTRACT myth of Orpheus and Eurydice evolved the opera, in the works of the Florentine Camerata and Monteverdi, and served as the pattern This dissertion traces the course of the myth of Orpheus and for its reform, in Gluck (Chapter V). -
3. Monody and Opera
Monody & Opera Florence Grand Duchy of Florence Italian Peninsula Monody & Opera FLORENCE Monody & Opera The CAMERATA Monody & Opera The CAMERATA Giovanni de’ BARDI, patron Jacopo CORSI, patron Girolamo MEI, historian Vincenzo GALILEI, musician Monody & Opera Polyphony = “Many Voices” Monody = “One Voice” Monody & Opera Reaction Against the Madrigal… The Madrigal The most important secular genre of the sixteenth century The Madrigal Composers enriched the meaning and impact of the text through musical setting. The genre became an experimental vehicle for dramatic characterization, inspiring new compositional devices. The Madrigal First Practice “Music is the mistress of the Text” Second Practice “The Text is the mistress of the Music” The Madrigal Claudio Monteverdi Cruda Amarilli (pub. 1605) The Madrigal The Madrigal Artusi / Monteverdi Controversy Giovanni Maria Artusi L’Artusi (pub. 1600) Monody & Opera The CAMERATA Musicians Jacopo PERI Giulio CACCINI Emilio de’ CAVALIERI Monody & Opera Speech song of Greek and Roman Theatrical Tragedies & Epic “GREEKS and ROMANS” Monody & Opera “[The Camerata] having repeatedly discoursed on the manner in which the ancients used to represent their tragedies, and whether they employed song, and of what kind, Signor Rinuccini took to writing the play Dafne, and Signor Corsi composed some airs to parts of it… and shared his thoughts with Signor Peri. The latter, having listened to their purpose and approving of the airs already composed, took to composing the rest… “The pleasure and amazement produced -
Orfeo Euridice
ORFEO EURIDICE NOVEMBER 14,17,20,22(M), 2OO9 Opera Guide - 1 - TABLE OF CONTENTS What to Expect at the Opera ..............................................................................................................3 Cast of Characters / Synopsis ..............................................................................................................4 Meet the Composer .............................................................................................................................6 Gluck’s Opera Reform ..........................................................................................................................7 Meet the Conductor .............................................................................................................................9 Meet the Director .................................................................................................................................9 Meet the Cast .......................................................................................................................................10 The Myth of Orpheus and Eurydice ....................................................................................................12 OPERA: Then and Now ........................................................................................................................13 Operatic Voices .....................................................................................................................................17 Suggested Classroom Activities -
The Power of Affections: Vocal Music from Seventeenth-Century Italy
presents The Power of Affections: Vocal Music from Seventeenth-Century Italy Wednesday, November 12, 2014 7:30PM Class of 1978 Pavilion, Kislak Center Van Pelt Library, 6th floor Philadelphia, PA 2 PROGRAM Sinfonia from “Tempro la cetra” (Settimo libro di Claudio Monteverdi madrigali, 1619) “Musica dolce” (Gli Amori d’Apollo e di Dafne, 1640) Francesco Cavalli “Ardo, sospiro e piango” (Artemisia, 1657) “Piangete, sospirate” (La Calisto, 1651) Francesco Cavalli “Stral che vola” (Artemisia, 1657) Balletto IV e Corrente a tre (Opera VIII, 1629) Biagio Marini “Delizie d’Amore” (Elena, 1659) Francesco Cavalli “Luci belle” (Elena, 1659) Sonata sopra ‘La Monica’ (Opera VIII, 1629) Biagio Marini “Lucidissima face” (La Calisto, 1651) Francesco Cavalli “Dell’antro magico” (Giasone, 1649) “Addio Roma” (L’incoronazione di Poppea, 1643) Claudio Monteverdi “Lasciate averno, o pene, e me seguite” (Orfeo, 1647) Luigi Rossi Ciaccona (Canzoni overo sonate concertate per chiesa e Tarquinio Merula camera, 1637) “Accenti queruli” (Cantate a voce sola. Libro secondo, 1633) Giovanni Felice Sances Julianne Baird, soprano Rebecca Harris, violin Mandy Wolman, violin Rebecca Cypess, harpsichord and clavicytherium Christa Patton, harp Richard Stone, theorbo 3 PROGRAM NOTES by Carlo Lanfossi The seventeenth-century stage was quite a busy one. Gods, machinery, clunky sets, comici, animals, and dancers surrounded actor-singers. It is no surprise that in most of their early attempts at building a genre crafted on dramatic singing on stage, composers had to ensure singers -
Orpheus: Cinematic (And Operatic) Evocations
Orpheus: Cinematic (and Operatic) Evocations A number of cinematic productions have featured ancient pagan concepts of death and the afterlife, e.g. The Mummy (1932); Gladiator (2000). Within this sub-corpus, those involving Orpheus have a particular signature that began developing in the Renaissance. Poliziano’s Fabula di Orfeo (c. 1480) synthesized the Vergilian and Ovidian accounts into a pastoral drama. (Segal, 1989) Two early seventeenth century operas, the Rinuccini/Peri Euridice (1600) and the Striggio/Monteverdi L’Orfeo (1607), accommodated Baroque court patronage by refitting the tragic story with a deus ex machina-engendered happy ending. In a political denouement, the Parisian Buti/Rossi Orfeo (1647) pleased the French court by comparing Orpheus’ lyre to the royal fleur-de-lis. Considered together with the popular Halévy/Offenbach operetta, Orphée aux enfers (1858), which features an unhappily married Orpheus and Eurydice, the cumulative effect of such high-profile dramatized adaptations of the Orpheus myth was to transform its original tragic outcome and expand its dramaturgical potential with updated artistic, philosophical, and political themes. The early decades of the twentieth century contributed a dense cluster of equally innovative Orpheus operatic productions leading to Jean Cocteau‘s one-act tragédie, Orphée (1926), revised in 1950 as the first film featuring Orpheus. In his 1973 essay Du Cinématographe, Cocteau revealed his artistic reason for selecting Orpheus as his protagonist: (Cocteau, 1992) Nobody can believe in a famous poet whose name has been invented by a writer. I had to find a mythical bard, the bard of bards, the Bard of Thrace. And his story is so enchanting that it would be crazy to look for another. -
Orfeo Ed Euridice
CHRISTOPH WILLIBALD GLUCK orfeo ed euridice conductor Opera in three acts Mark Wigglesworth Libretto by Ranieri de’ Calzabigi production Mark Morris Sunday, October 20, 2019 set designer 3:00–4:30 PM Allen Moyer costume designer First time this season Isaac Mizrahi lighting designer James F. Ingalls choreographer Mark Morris The production of Orfeo ed Euridice was made possible by a generous gift from Mr. and Mrs. Wilmer J. Thomas, Jr. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2019–20 SEASON The 99th Metropolitan Opera performance of CHRISTOPH WILLIBALD GLUCK’S orfeo ed euridice conductor Mark Wigglesworth in order of vocal appearance orfeo Jamie Barton amore Hera Hyesang Park* euridice Hei-Kyung Hong harpsichord Dan Saunders Orfeo ed Euridice is performed without intermission. Sunday, October 20, 2019, 3:00–4:30PM MARTY SOHL / MET OPERA A scene from Chorus Master Donald Palumbo Gluck’s Orfeo Musical Preparation John Keenan, Dan Saunders, and ed Euridice Howard Watkins* Assistant Stage Directors Gina Lapinski, Stephen Pickover, and Daniel Rigazzi Stage Band Conductor Gregory Buchalter Assistant Choreographer Sam Black Associate Costume Designer Courtney Logan Italian Coach Loretta Di Franco Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Orfeo ed Euridice is performed in the Vienna version, 1762, edited for the Gluck Complete Works (Gluck-Gesamtausgabe) by Anna Amalie Abert and Ludwig Finscher; used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Bärenreiter-Verlag, publisher and copyright owner. -
ORFEO NEL METRÒ Di Claudio Monteverdi
giovedì 2 maggio 2019, ore 21.00 - Palcoscenico del Teatro Ponchielli, Cremona venerdì 3 maggio 2019, ore 21.00 - Palcoscenico del Teatro Ponchielli, Cremona sabato 4 maggio 2019, ore 15.00 e ore 21.00 - Palcoscenico del Teatro Ponchielli, Cremona ORFEO NEL METRÒ di Claudio Monteverdi Hernán Schvartzman, direttore Luigi De Angelis, regia, scene e luci Young Barocco – Stagione d’Opera 2019 Centro di Musicologia Walter Stauffer ORFEO NEL METRÒ Libretto di Alessandro Striggio. Musica di Claudio Monteverdi Edizione Clifford Bartlett, The Early Music Company Ltd. Orfeo Antonio Sapio Musica, Messaggera, Proserpina Arianna Stornello assistente alla regia Andrea Argentieri – direttore di scena Maria Solinas Euridice, Eco, Speranza Veronica Villa maestro di sala sostituto Marco Brunelli – maestro alle luci Eleonora Paolin Caronte, Plutone Lorenzo Tosi responsabile dell’allestimento Beppe Premoli – macchinista Yorsi Eduardo Bandez Corrales Apollo, Pastore II Michele Gaddi elettricisti Marco Bellini, Alberto Bonometti – responsabile sartoria Maria Paolillo Pastore I Danilo Pastore scene e attrezzeria Laboratorio Teatro A. Ponchielli, Cremona Pastore III Stefano Maffioletti illuminotecnica Teatro Ponchielli, Cremona – fonica e video Proservice s.r.l., Cremona Pastore IV Marco Tomasoni Si ringraziano Ninfa Martha Rook Roberto Balconi, vocal coach, docente di canto rinascimentale e barocco Civica Scuola di Musica Claudia Caffagni, coordinatore Orchestra Barocca, docente di musica medioevale Civica Scuola di Musica Spiriti infernali Danilo Pastore, -
International Journal of Education Humanities and Social Science
International Journal of Education Humanities and Social Science ISSN: 2582-0745 Vol. 2, No. 04; 2019 EARLY MELODRAMA, EARLY TRAGICOMIC Roberto Gigliucci Sapienza University of Rome Piazzale (Square) Aldo Moro, 5, Rome 00185, Italy [email protected] ABSTRACT This essay tries to demonstrate that the tragicomic blend, typical of Baroque Melodrama, has born much earlier than what is commonly believed. Just in the Jesuitical play “Eumelio” (1606) the hellish characters are definitely comical; a year later, in the celebrated “Orfeo” by Striggio jr. and Monteverdi, we think to find droll, if not grotesque, elements. The article ends considering the opera “La morte d’Orfeo” by S. Landi (1619), particularly focusing on the character of Charon. Key Words: Tragicomic, Melodrama, Orpheus’ myth. INTRODUCTION An excellent scholar as Gloria Staffieri, in a recent historical frame of Melodrama from its birth up to Metastasio, reaffirms a widespread statement: the “invention” of tragicomic blend in the Opera is due to Rospigliosi, during the Barberini age [1], starting from 1629 (Sant’Alessio) and developing increasingly during the Thirties [2]. A quite late birth, therefore, of the tragicomic element, which is universally considered one of the most identitarian – strongly peculiar – feature of Baroque Melodrama [3]. In our short speech, we would demonstrate that this fundamental trait of Operatic mood was born at the very inception of the genre itself. Rinuccini If we skip now the case of Dafne [4] (where Rinuccini puts himself in line with the experiment of satira scenica by Giraldi Cinzio, the Egle [5], with its sad metamorphic ending), we may consider Euridice as a happy ending tragedy. -
12 Amati Camperi 20100929
Philomusica on-line 9/2 – Sezione II/371-385 Atti del VI Seminario Internazionale di Filologia Musicale. «La filologia musicale oggi: il retaggio storico e le nuove prospettive» Murder in Thrace A Shakespearean Orpheus in Seventeenth-Century Venice Alexandra Amati-Camperi University of San Francisco [email protected] § Tutti i momenti storici più significativi § Most momentous points in the history della storia dell’opera includono una of opera involve retelling the myth of versione del mito d’Orfeo, un mito Orpheus. This “superannuated” musical musicale il cui protagonista è stato l’eroe myth has been the quintessential operistico per eccellenza dalle favole della operatic hero for centuries, from the corte fiorentina alla riforma di Gluck, Florentine court favole, through Gluck’s fino alla ripresa comica di Offenbach. In reform, to Offenbach’s spoof. Hitherto una delle versioni si è celato finora un undetected in one retelling of the myth riferimento ad un’altra figura are allusions to another dramatic figure: drammatica: Otello. L’Orfeo di Aureli e Othello. Aureli and Sartorio’s L’Orfeo Sartorio (Venezia, 1673), un lavoro (Venice, 1673), a pivotal work in opera importante nella storia dell’opera seria, seria history, contains under the contiene un’imitazione dell’Otello di mythological plot an intentional Shakespeare, malcelata sotto il manto imitation of Shakespeare’s Othello. mitologico. Sebbene non sia chiaro While Shakespearean scholars don’t quando l’Otello sia arrivato a Venezia, i know when Othello reached Venice, the numerosi paralleli tra quest’Orfeo e similarities between this L’Orfeo and l’Otello non possono annoverarsi fra le Othello are too numerous to be coincidenze. -
Christoph Willibald Von Gluck (1714-1787) Orfeo Ed Euridice
Christoph Willibald von Gluck (1714-1787) Act II Orfeo ed Euridice (Live recording of the 1762 Vienna Version) 16 Ballo 1. 16 17 Chi mai dell’ Erebo (Coro) 0. 26 18 Ballo 0. 45 19 Chi mai dell’ Erebo (Coro) 1. 01 1 Overture 3. 10 20 Ballo 1. 12 21 Deh! placatevi con me (Orfeo/Coro) 2. 19 Act I 22 Misero giovane! (Coro) 0. 56 2 Ah! se intorno a quest’urna funesta (Coro) 2. 29 23 Mille pene (Orfeo) 0. 46 3 Basta, basta, o compagni (Orfeo) 0. 49 24 Ah, quale incognito affetto flebile (Coro) 0. 43 4 Ballo. Larghetto 2. 11 25 Men tiranne, ah! voi sareste (Orfeo) 0. 39 5 Ah! se intorno a quest’urna funesta (Coro) 1. 53 26 Ah, quale incognito affetto flebile (Coro) 1. 20 6 Chiamo il mio ben così (Orfeo) 1. 11 27 Ballo 1. 59 7 Euridice! (Orfeo) 1. 10 28 Ballo 3. 43 8 Cerco il mio ben così (Orfeo) 1. 13 29 Che puro ciel (Orfeo/Coro) 4. 59 9 Euridice! (Orfeo) 1. 10 30 Vieni a’regni del riposo (Coro) 1. 16 10 Piango il mio ben così (Orfeo) 1. 08 31 Ballo 2. 27 11 Numi! barbari numi! (Orfeo) 0. 52 32 Anime avventurose (Orfeo/Coro) 0. 41 12 T’assiste Amore (Amore/Orfeo) 1. 49 33 Torna, o bella, al tuo consorte (Coro) 1. 18 13 Gli sguardi trattieni (Amore) 2. 42 14. Che disse! che ascoltai! (Orfeo) 1. 46 Act III 15 Presto 0. 38 34 Vieni: segui i miei passi (Orfeo/Euridice) 6. -
Adaptation and Narrative Structure in the Orpheus Myth Ryan Cadrette
Tracing Eurydice: Adaptation and Narrative Structure in the Orpheus Myth Ryan Cadrette Master’s Thesis in The Department of Communication Studies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Media Studies) at Concordia University Montreal, Quebec, Canada August 2013 © Ryan Cadrette, 2013 iii Abstract Tracing Eurydice: Adaptation and Narrative Structure in the Orpheus Myth Ryan Cadrette The primary purpose of this thesis is to postulate a working method of critical inquiry into the processes of narrative adaptation by examining the consistencies and ruptures of a story as it moves across representational form. In order to accomplish this, I will draw upon the method of structuralist textual analysis employed by Roland Barthes in his essay S/Z to produce a comparative study of three versions of the Orpheus myth from Ovid’s Metamorphoses. By reviewing the five codes of meaning described by Barthes in S/Z through the lens of contemporary adaptation theory, I hope to discern a structural basis for the persistence of adapted narrative. By applying these theories to texts in a variety of different media, I will also assess the limitations of Barthes’ methodology, evaluating its utility as a critical tool for post-literary narrative forms. iv Acknowledgments I would like to thank my advisor, Peter van Wyck, for his reassurance that earlier drafts of this thesis were not necessarily indicative of insanity, and, hopefully, for his forgiveness of my failure to incorporate all of his particularly insightful feedback. I would also like to thank Matt Soar and Darren Wershler for agreeing to actually read the peculiar monstrosity I have assembled here.