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L'opera Italiana Nei Territori Boemi Durante Il
L’OPERA ITALIANA NEI TERRITORI BOEMI DURANTE IL SETTECENTO V. 1-18_Vstupy.indd 2 25.8.20 12:46 Demofoonte come soggetto per il dramma per musica: Johann Adolf Hasse ed altri compositori del Settecento a cura di Milada Jonášová e Tomislav Volek ACADEMIA Praga 2020 1-18_Vstupy.indd 3 25.8.20 12:46 Il libro è stato sostenuto con un finanziamento dell’Accademia delle Scienze della Repubblica Ceca. Il convegno «Demofoonte come soggetto per il dramma per musica: Johann Adolf Hasse ed altri compositori del Settecento» è stato sostenuto dall’Istituto della Storia dell’Arte dell’Accademia delle Scienze della Repubblica Ceca con un finanziamento nell’ambito del programma «Collaborazione tra le Regioni e gli Istituti dell’Accademia delle Scienze della Repubblica Ceca » per l’anno 2019. Altra importante donazione ha ricevuto l’Istituto della Storia dell’Arte dell’Accademia delle Scienze della Repubblica Ceca da Johann Adolf Hasse-Gesellschaft a Bergedorf e.V. Prossimo volume della collana: L’opera italiana – tra l’originale e il pasticcio In copertina: Pietro Metastasio, Il Demofoonte, atto II, scena 9 „Vieni, mia vita, vieni, sei salva“, Herissant, vol. 1, Paris 1780. In antiporta: Il Demofoonte, atto II, scena 5 „Il ferro, il fuoco“, in: Opere di Pietro Metastasio, Pietro Antonio Novelli (disegnatore), Pellegrino De Col (incisore), vol. 4, Venezia: Antonio Zatta, 1781. Recensori: Prof. Dr. Lorenzo Bianconi Prof. Dr. Jürgen Maehder Traduzione della prefazione: Kamila Hálová Traduzione dei saggi di Tomislav Volek e di Milada Jonášová: Ivan Dramlitsch -
Rhetorical Concepts and Mozart: Elements of Classical Oratory in His Drammi Per Musica
Rhetorical Concepts and Mozart: elements of Classical Oratory in his drammi per musica A thesis submitted to the University of Newcastle in fulfilment of the requirements for the degree of Master of Philosophy Heath A. W. Landers, BMus (Hons) School of Creative Arts The University of Newcastle May 2015 The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository, subject to the provisions of the Copyright Act 1968. Candidate signature: Date: 06/05/2015 In Memory of My Father, Wayne Clive Landers (1944-2013) Requiem aeternam dona ei, Domine: et lux perpetua luceat ei. Acknowledgments Foremost, my sincerest thanks go to Associate Professor Rosalind Halton of the University Of Newcastle Conservatorium Of Music for her support and encouragement of my postgraduate studies over the past four years. I especially thank her for her support of my research, for her advice, for answering my numerous questions and resolving problems that I encountered along the way. I would also like to thank my co-supervisor Conjoint Professor Michael Ewans of the University of Newcastle for his input into the development of this thesis and his abundant knowledge of the subject matter. My most sincere and grateful thanks go to Matthew Hopcroft for his tireless work in preparing the musical examples and finalising the layout of this dissertation. -
Two Operatic Seasons of Brothers Mingotti in Ljubljana
Prejeto / received: 30. 11. 2012. Odobreno / accepted: 19. 12. 2012. tWo OPERATIC SEASONS oF BROTHERS MINGOTTI IN LJUBLJANA METODA KOKOLE Znanstvenoraziskovalni center SAZU, Ljubljana Izvleček: Brata Angelo in Pietro Mingotti, ki sta Abstract: The brothers Angelo and Pietro med 1736 in 1746 imela stalno gledališko posto- Mingotti between 1736 and 1746 based in Graz janko v Gradcu, sta v tem času priredila tudi dve organised during this period also two operatic operni sezoni v Ljubljani, in sicer v letih 1740 seasons in Ljubljana, one in 1740 and the other in 1742. Dve resni operi (Artaserse in Rosmira) in 1742. Two serious operas (Artaserse and s komičnimi intermezzi (Pimpinone e Vespetta) Rosmira) with comic intermezzi (Pimpinone e je leta 1740 pripravil Angelo Mingotti, dve leti Vespetta) were produced in 1740 by Angelo Min- zatem, tik pred svojim odhodom iz Gradca na gotti. Two years later, just before leaving Graz sever, pa je Pietro Mingotti priredil nadaljnji for the engagements in the North, Pietro Mingotti dve resni operi, in sicer Didone abbandonata in brought another two operas to Ljubljana, Didone Il Demetrio. Prvo je nato leta 1744 priredil tudi v abbandonata and Il Demetrio. The former was Hamburgu, kjer je pelo nekaj že znanih pevcev, ki performed also in 1744 in Hamburg with some so izvajali iz starejše partiture, morda tiste, ki jo of the same singers who apparently used mostly je impresarij preizkusil že v Gradcu in Ljubljani. an earlier score, possibly first checked out in Primerjalna analiza ljubljanskih predstav vseka- Graz and Ljubljana. The comparative analysis kor potrjuje dejstvo, da so bile te opera pretežno of productions in Ljubljana confirms that these lepljenke, čeprav Pietrova Didone abbandonata operas were mostly pasticcios. -
Proper Names
PROPER NAMES Acca 820 Aurunci 318 Achaeans 266 Ausoniae 41; Ausonii 253 Acheron 23 Achilles 9f., 14-28, 438; and Hector's Bacchus, and music 737 corpse 72-7; and Patroclus 42-58; Bellipotens 8 Achilles and ritual slaughter 82; death Bitias 396 anticipated 43, 45f., 54 Butes 690 Acoetes 30 Aconteus 612 Calydon 270 Adriatic, names for 405 Camilla 432; biography 535-96; name Aeneas 2; account of earlier events 113, 543; tomb 594; guilt 586; death 114; ancestry of 305; bonus I 06; 794-835; place of, in book xi, xiif. bound to kill Tu. 178f.; burial and corpse 892; vanity of 782 Aen. I 08 -19; commander 2-4, Caphereus 260 14 -28, 36; conflict of duties 94; Casmilla 543 deification of 125; Diomedes and Aen. Catillus 640 243-95; diplomacy of I 09; and des Chloreus 768 tiny 232; Evander and Aen. 152; Chromis 675 fama and arma of 124; father 184; Cicero 122-32 fights Tu. 434; good king I 06; Cloelia 535-96 Hector and Aen. 289; imperator 79, Clytius 666 446; just 126; magnanimity of 127; Coras 465; 604 mementoes of Dido 72-7; mourner Cybelo 768 39f., 42 58, 34; feeling for Pallas 36; Cyclopes 263 returns to narrative 904; victorious Cyrene 535-96 4; warrior 126; warrior hero 282fi; weeps 29, 41 Dardanidis 353 Aethon 89 Dardanium 472 Agamemnon 266ff. Demophoon 675 Amasenus 547 Dercennus 850 Amaster 673 Diana 535-96, 537, 591; vengeance of Amazon 648 857 Amazones Threiciae 659 Dido and cloaks given to A en. 72-7; Amazons 535-96, 571, Appx. -
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 -
Furthest Voices in Virgil's Dido I
FURTHEST VOICES IN VIRGIL’S DIDO I ‘We have to stop somewhere, but we also have to face the fact that any par- ticular stopping-place is therefore our choice, and carries with it ideological implications.’ Don Fowler 1 ‘Magnus est Maro’. I. L. La Cerda 2 Part one Reading Dido – in the Aeneid and beyond – has always been an intensely charged literary and political game. A sensitive, loving woman, Dido offers Aeneas a real alternative to the complex business of setting Rome in motion, and her death shows the enormous price there is to pay in terms of human fulfilment and happiness for the sake of empire building. How more or less sympathetic and straightforward she is seen to be is of course crucial to our perception of Aeneas as epic hero, and to the meaning of the Aeneid as a whole. It is only natural that throughout the 20th century, and into the 21st, critics have over- whelmingly packaged this fascinating character as the archetypical ‘other voice’ to the poem’s teleological (not to say ‘Augustan’) plot. 1 D. P. FOWLER 1997: 25 = 2000: 127-128. 2 LA CERDA: vol. 1, p. 441. Furthest Voices in Virgil’s Dido 61 This comfortable opposition rests to a significant extent on a one- sided reading of Dido’s emotional intricacies. Already ancient poets and readers, from Ovid to the Christians, vigorously edited Virgil’s Dido to produce their own challenge to his epic. Building upon Heinze’s influ- ential treatment, modern critics have favoured a comparable approach: current readings emphasize the image of a loving and forlorn heroine whose short outbursts of rage and fury are evanescent – and justified. -
Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars. -
Katabasis in Eliot's the Waste Land
“I had not thought death had undone so many”: Katabasis in Eliot’s The Waste Land Research Thesis Presented in partial fulfillment of the requirements for graduation with research distinction in English in the undergraduate colleges of The Ohio State University by Noah Mastruserio The Ohio State University May 2018 Project Advisor: Professor Sebastian Knowles, Department of English 1 Introduction Of the many works referenced in Eliot’s The Waste Land, Dante’s Divine Comedy holds the most prominent position. Eliot’s dedication to Pound on the title page alludes to a line from Purgatorio, and Dante makes an appearance in every section of the poem, either by direct quote or veiled allusion. Such an association brings Dante’s journey through the Underworld to the forefront of the mind when reading The Waste Land, and provides one of the easiest avenues toward unpacking the poem’s density. But I propose that the poem’s exploration of the Underworld extends beyond a kinship to Dante and toward a deeper structural and thematic debt to the narrative of the katabasis, the descent into the Underworld. I suggest that the five parts of The Waste Land can be united via a traditional katabasis narrative, a narrative of metamorphosis and self-refinement. The katabasis is only one of the many classical and mythological structures Eliot employs throughout the poem. Already thoroughly explored in criticism are his use of the Grail legend1 and the burial and rebirth of a dying god figure. Less so is the appearance of the katabasis in the poem. The poem’s debt to Dante is obvious, but the presence of katabasis extends beyond Eliot quoting pieces of Inferno. -
1996 Njcl Certamen Round A1 (Revised)
1996 NJCL CERTAMEN ROUND A1 (REVISED) 1. Who immortalized the wife of Quintus Caecilius Metellus as Lesbia in his poetry? (GAIUS VALERIUS) CATULLUS What was probably the real name of Lesbia? CLODIA What orator fiercely attacked Clodia in his Pro Caelio? (MARCUS TULLIUS) CICERO 2. According to Hesiod, who was the first born of Cronus and Rhea? HESTIA Who was the second born? DEMETER Who was the fifth born? POSEIDON 3. Name the twin brothers who fought in their mother's womb. PROETUS & ACRISIUS Whom did Proetus marry? ANTIA (ANTEIA) (STHENEBOEA) With what hero did Antia fall in love? BELLEROPHON 4. Give the comparative and superlative forms of mult§ PLâRS, PLâRIM¦ ...of prÇ. PRIOR, PR¦MUS ...of hebes. HEBETIOR, HEBETISSIMUS 5. LegÇ means “I collect.” What does lectitÇ mean? (I) COLLECT OFTEN, EAGERLY Sitis means “thirst.” What does the verb sitiÇ mean? (I) AM THIRSTY / THIRST CantÇ means “I sing.” What does cantillÇ mean? (I) CHIRP, WARBLE, HUM, SING LOW 6. Differentiate in meaning between p~vÇ and paveÇ. P}VÆ -- PEACOCK PAVEÆ -- (I) FEAR, TREMBLE Differentiate in meaning between cavÇ and caveÇ. CAVÆ -- I HOLLOW OUT CAVEÆ -- I TAKE HEED, BEWARE Differentiate in meaning between modo (must pronounce with short “o”) and madeÇ. MODO -- ONLY, MERELY, BUT, JUST, IMMEDIATELY, PROVIDED THAT MADEÆ -- I AM WET, DRUNK Page 1 -- A1 7. What two words combine to form the Latin verb malÇ? MAGIS & VOLÆ What does malÇ mean? PREFER M~la is a contracted form of maxilla. What is a m~la? CHEEK, JAW 8. Which of the emperors of AD 193 executed the assassins of Commodus? DIDIUS JULIANUS How had Julianus gained imperial power? BOUGHT THE THRONE AT AN AUCTION (HELD BY THE PRAETORIANS) Whom had the Praetorians murdered after his reign of 87 days? PERTINAX 9. -
The Roman Poets of the Augustan Age: Virgil by W
The Project Gutenberg EBook of The Roman Poets of the Augustan Age: Virgil by W. Y. Sellar 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 http://www.gutenberg.org/license Title: The Roman Poets of the Augustan Age: Virgil Author: W. Y. Sellar Release Date: October 29, 2010 [Ebook 34163] Language: English ***START OF THE PROJECT GUTENBERG EBOOK THE ROMAN POETS OF THE AUGUSTAN AGE: VIRGIL*** THE ROMAN POETS OF THE AUGUSTAN AGE: VIRGIL. BY W. Y. SELLAR, M.A., LL.D. LATE PROFESSOR OF HUMANITY IN THE UNIVERSITY OF EDINBURGH AND FELLOW OF ORIEL COLLEGE, OXFORD iv The Roman Poets of the Augustan Age: Virgil THIRD EDITION OXFORD AT THE CLARENDON PRESS OXFORD UNIVERSITY PRESS AMEN HOUSE, E.C. 4 London Edinburgh Glasgow New York Toronto Melbourne Capetown Bombay Calcutta Madras HUMPHREY MILFORD PUBLISHER TO THE UNIVERSITY vi The Roman Poets of the Augustan Age: Virgil IMPRESSION OF 1941 FIRST EDITION, 1877 THIRD EDITION, 1897 vii PRINTED IN GREAT BRITAIN TO E. L. LUSHINGTON, ESQ., D.C.L., LL.D., ETC. LATE PROFESSOR OF GREEK IN THE UNIVERSITY OF GLASGOW. MY DEAR LUSHINGTON, Any old pupil of yours, in finishing a work either of classical scholarship or illustrative of ancient literature, must feel that he owes to you, probably more than to any one else, the impulse which directed him to these studies. -
Faunus and the Fauns in Latin Literature of the Republic and Early Empire
University of Adelaide Discipline of Classics Faculty of Arts Faunus and the Fauns in Latin Literature of the Republic and Early Empire Tammy DI-Giusto BA (Hons), Grad Dip Ed, Grad Cert Ed Submitted in fulfilment of the requirements for the degree of Master of Philosophy October 2015 Table of Contents Abstract ................................................................................................................... 4 Thesis Declaration ................................................................................................... 5 Acknowledgements ................................................................................................. 6 Introduction ............................................................................................................. 7 Context and introductory background ................................................................. 7 Significance ......................................................................................................... 8 Theoretical framework and methods ................................................................... 9 Research questions ............................................................................................. 11 Aims ................................................................................................................... 11 Literature review ................................................................................................ 11 Outline of chapters ............................................................................................ -
Aeneid 7 Page 1 the BIRTH of WAR -- a Reading of Aeneid 7 Sara Mack
Birth of War – Aeneid 7 page 1 THE BIRTH OF WAR -- A Reading of Aeneid 7 Sara Mack In this essay I will touch on aspects of Book 7 that readers are likely either to have trouble with (the Muse Erato, for one) or not to notice at all (the founding of Ardea is a prime example), rather than on major elements of plot. I will also look at some of the intertexts suggested by Virgil's allusions to other poets and to his own poetry. We know that Virgil wrote with immense care, finishing fewer than three verses a day over a ten-year period, and we know that he is one of the most allusive (and elusive) of Roman poets, all of whom wrote with an eye and an ear on their Greek and Roman predecessors. We twentieth-century readers do not have in our heads what Virgil seems to have expected his Augustan readers to have in theirs (Homer, Aeschylus, Euripides, Apollonius, Lucretius, and Catullus, to name just a few); reading the Aeneid with an eye to what Virgil has "stolen" from others can enhance our enjoyment of the poem. Book 7 is a new beginning. So the Erato invocation, parallel to the invocation of the Muse in Book 1, seems to indicate. I shall begin my discussion of the book with an extended look at some of the implications of the Erato passage. These difficult lines make a good introduction to the themes of the book as a whole (to the themes of the whole second half of the poem, in fact).