Notes on Contributors Frieder Von Ammon, Born 1973, Is

Notes on Contributors Frieder von Ammon, born 1973, is Assistan Professor of New Ger- man Literature at the University of Munich. His main areas of research are poetry, satire, paratextuality and intermediality with a special focus on the relations between literature and music. Apart from a number of articles on contemporary, modern and early modern German literature as well as on music and film, his publications include Ungastliche Gaben: Die ‘Xenien’ Goethes und Schillers und ihre literarische Rezeption von 1796 bis zur Gegenwart (Tübingen 2005). He is co-editor of Die Pluralisierung des Paratextes in der Frühen Neuzeit: Theorie, Formen, Funktionen (Münster 2008) and of the series Münchner Reden zur Poesie (Munich 2005ff.). A collection of Texte zur Musikästhetik is forthcoming. Walter Bernhart, a retired Professor of English Literature at the Uni- versity of Graz, Austria, is the Director of the university’s “Centre for Intermediality Studies in Graz (CIMIG)” and the founding and current President of “The International Association for Word and Music Studies (WMA)”. His recent publications include “What Can Music Do to a Poem? New Intermedial Perspectives of Literary Studies” (2008) and “‘Pour Out … Forgiveness Like a Wine’: Can Music ‘Say an Existence is Wrong’?” (2009). He is Executive Editor of “Word and Music Studies (WMS)” and “Studies in Intermediality (SIM)”, and has (co)edited numerous individual volumes. Peter Dayan is Professor of Word and Music Studies at the University of Edinburgh. He began academic life as a lecturer in French, and for fifteen years, his research concentrated on French literature in the 19th century (especially Mallarmé, Nerval, Lautréamont and Sand). His growing interest in the reasons for which literature describes itself as music, and music as poetry, led to his book Music Writing Literature, from Sand via Debussy to Derrida (Aldershot 2006). He subsequently began to wonder whether those reasons apply to intermedial references between the other arts too; his latest book (to be published by Ashgate in 2011), Art as Music, Music as Poetry, Po- etry as Art, from Whistler to Stravinsky, attempts to show that painting presents itself as music or poetry in much the same way. 190 Notes on Contributors Joachim Grage is Professor of Scandinavian Literature and Culture at the University of Freiburg, Germany, after having been Junior Profes- sor at the University of Göttingen from 2002 until 2008. He has con- ducted extensive research on the literary construction of music and intermedial aesthetics in Scandinavia between romanticism and mod- ernism for several years and has also focused on the cultural transfer between the Nordic and German-speaking countries. In addition to a number of articles on these topics he has edited a volume entitled Mu- sik in der klassischen Moderne: Mediale Konzeptionen und interme- diale Poetologien (2006). Other fields of research include literary biographies and performance studies. He is also co-editor of the Ger- man edition of Søren Kierkegaard’s works (Deutsche Søren Kierke- gaard Edition, 2005ff.). Michael Halliwell studied literature and music in South Africa and at the London Opera Centre. He studied with Otakar Kraus in London, and with Tito Gobbi in Florence. He was principal baritone for many years with the Netherlands Opera, the Nürnberg Opera, and the Hamburg State Opera. He is Vice-President and Editorial Board Member of The International Association for Word and Music Studies (WMA). At the University of Sydney Conservatorium of Music he has been Chair of Vocal Studies and Opera, Pro-Dean and Head of School, and Associate Dean (Research). He performs regularly in Australia and abroad. His book, Opera and the Novel, was published by Rodopi (Amsterdam/New York, NY) in January, 2005. Bernhard Kuhn is Associate Professor of Italian Studies at Bucknell University (Lewisburg, PA). His current areas of research include Italian cinema, 19th- and 20th-century Italian culture, intermediality, and in particular the relationship between opera and cinema. He is the author of Die Oper im italienischen Film (2005) and of several articles concerning intermedial aspects of the relationship between stage me- dia and film. Robert Samuels is Lecturer in Music at The Open University in the UK. He studied at Robinson College, Cambridge, reading English and Music as an undergraduate (BA, 1985), and completing a PhD in music, supervised by Derrick Puffett. He worked at Lancaster University from 1989 to 1995 before moving to his current post. His work centres on music from the nineteenth and twentieth centuries, and is principally concerned with analytical theory, aesthetics, and the .

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