A HISTORY of SENSUAL WRITING by Werner Fuld
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Pick Your Plays B Owmer Close Down His Illegal Gambling Operation
A ngus Pick Your Plays b owmer close down his illegal gambling operation. Play Suitability Suggestions Nathan is desperate for $1,000 to secure his These play descriptions provide specific next dice game’s location, so he bets high- t content information and suggestions roller Sky Masterson that Masterson cannot he A for play suitability for your students. convince a straight-laced Salvation Army tre Each school and community is unique, doll named Sarah to go on a date. To add to so please read carefully to determine the pressure, Nathan’s fiancée of 14 years, what is appropriate for your students. a nightclub performer named Adelaide, will Be aware that these suggestions walk out if she doesn’t walk down the aisle soon. Guys and Dolls is a delightful musical during the Communist takeover of China in are made before the plays go into 1949. Decades later, as death nears for Jiang, rehearsal. Occasionally, decisions are based on Damon Runyon’s fond stories of gamblers and showgirls. The bad guys aren’t he makes a last attempt to track down the made during the rehearsal process or really dangerous, the dolls have superhuman woman he lost so many years before. The preview performances that change patience, and what everybody wants deep other company is rehearsing Peach Blossom the appropriateness of a production. down inside is to reform and lead respectable Land, a bawdy retelling of an ancient Chinese When changes occur, the Education lives. Classic songs and great comedy make fable about a lost fisherman who finds Department posts updated suitability Guys and Dolls an odds-on favorite to please himself in a utopian land. -
The Sounds of Paris in Verdi╎s La Traviata
University of New Orleans ScholarWorks@UNO Foreign Languages Faculty Publications Department of English and Foreign Languages 4-2014 The Sounds of Paris in Verdi’s La Traviata (book review) Juliana Starr University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/fl_facpubs Part of the French and Francophone Language and Literature Commons, and the Music Commons Recommended Citation Starr, Juliana. "The Sounds of Paris in Verdi’s La Traviata." (book review) H-France Review 14 (April 2014): 1-4. http://www.h-france.net/vol14reviews/vol14no65starr.pdf This Book Review is brought to you for free and open access by the Department of English and Foreign Languages at ScholarWorks@UNO. It has been accepted for inclusion in Foreign Languages Faculty Publications by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. H-France Review Volume 14 (2014) Page 1 H-France Review Vol. 14 (April 2014), No. 65 Emilio Sala, The Sounds of Paris in Verdi’s La traviata. Cambridge and New York: Cambridge University Press, 2013. xv + 206 pp. Figures, notes, bibliography, and index. $95.00 U.S. (hb). ISBN 978-1-107- 00901-1; $60.80 U.S. (eb). Kindle digital file. Review by Juliana Starr, University of New Orleans. How did Paris and its musical “soundscape” (p. 11) influence Verdi’s La traviata? In this volume, Emilio Sala breaks fresh ground in the fields of ethnomusicology, music history, and sound studies by re- examining the famous opera in the cultural context of the French capital in the mid-nineteenth century. -
Ebook Download Madame Du Barry and Her Quite Interesting Origins
MADAME DU BARRY AND HER QUITE INTERESTING ORIGINS PDF, EPUB, EBOOK Sean Caruana Webster | 66 pages | 01 Nov 2020 | Independently Published | 9798674255734 | English | none Madame du Barry and her Quite Interesting Origins PDF Book Joan Haslip's classic biography shares the extraordinary and ultimately tragic story of du Barry's life and, in turn, illustrates the dazzling world of the eighteenth century royal court of France and the horrors of the Revolution. Lyra Lyra is passionate about dancing, reading and drifting through the city's streets. Including wigs. Designed for intensive technical use, such as through equestrian use, these slim fit jeans are designed to last a lifetime of usage while looking damn good doing it. She was known to have a beautiful voice. Fame is where you find it. Jan 26, Sylvia Zedler rated it really liked it. We respect your privacy. This post originally appeared on F Yeah History and is reprinted here with permission. It was a fact that Marie Antoinette had rather close relationships with some of her male admirers. I just started reading the book a few days ago but what got me a bit confused about the facts is the D. What made this even worse was the fact that her son was indoctrinated by the revolutionaries and made to believe that his mother was all wrong. Marie Antoinette by Joseph Ducreux. Well, that would certainly be fitting for a French Queen. James McKinney rated it really liked it Mar 11, There you have it, all about the life of Marie Antoinette! Convents, not the natural home for teenage sass…. -
La Traviata March 5 – 13, 2011
O p e r a B o x Teacher’s Guide TABLE OF CONTENTS Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Giuseppe Verdi – a biography ...............................50 Catalogue of Verdi’s Operas . .52 Background Notes . .54 2 0 1 0 – 2 0 1 1 S E A S O N The Real Traviata . .58 World Events in 1848 and 1853 . .64 ORPHEUS AND History of Opera ........................................68 URYDICE History of Minnesota Opera, Repertoire . .79 E SEPTEMBER 25 – OCTOBER 3, 2010 The Standard Repertory ...................................83 Elements of Opera .......................................84 Glossary of Opera Terms ..................................88 CINDERELLA OCTOBER 30 – NOVEMBER 7, 2010 Glossary of Musical Terms .................................94 Bibliography, Discography, Videography . .97 Word Search, Crossword Puzzle . .100 MARY STUART Evaluation . .103 JANUARY 29 – FEBRUARY 6, 2011 Acknowledgements . .104 LA TRAVIATA MARCH 5 – 13, 2011 WUTHERING mnopera.org HEIGHTS APRIL 16 – 23, 2011 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. -
Study Guide for La Traviata, 2016.Pub
What’s all the About? Screaming , r, 2014, r,License Creative Commons Walker and1983 Company, TITLEFake CREDIT: headline, banner Roger Englander Photo by Cliff Oliver Hubbardfor Theate Hall Opera Opera Vancouver at Tim Matheson by Photo Production Misguided Society Belle Succumbs After Too Many Parties by Jill Leahy Music by Giuseppe Verdi La traviata Some speculate that the opera La traviata could be called the original Pretty Woman , recalling the story of the 1990 film. One of the movie’s famous scenes depicts Edward (Richard Gere) and Vivian (Julia Roberts) at the Libretto by Francesco Maria Piave opera, watching a performance of La traviata, and Vivian is brought to tears. As the viewers, we’re meant to see the similarity between the movie and the opera—a courtesan falling in love with a wealthy suiter. But in Verdi's day, fiery romances at the opera often didn't turn out so well. It’s useful to remember that in 18th- and 19th- century Europe, operas were a popular form of entertainment, similar to our movies today. Verdi based his oper a on the play, The Lady of the Camellias, a thinly-veiled autobiographical account by Alexandre Dumas fils, about his love affair with a Parisian courtesan in the mid 1800s. Verdi fought the Italian censors to set the opera in his present day and was also willing to take on Italian conservatives who disapproved of his living with a woman he had not married. However, opera Giuseppe Verdi companies insisted on setting the story in the early (1813 –1901) 1700s and, famously, the 1853 premiere was not Giovanni Boldini's 1886 successful, partly due to bad singing, and partly portrait of Verdi hangs in due to audience reaction to the change in setting. -
Subversive Eroticism in Kate Chopin's the Awakening and Edith Wharton's Summer
This is the published version of the bachelor thesis: Martínez Boada, Alejandra; Gimeno Pahissa, Laura, dir. Speaking the Un- speakable : Subversive Eroticism in Kate Chopin’s The Awakening and Edith Wharton’s Summer. 2016. 46 pag. (997 Grau en Estudis d’Anglès i de Francès) This version is available at https://ddd.uab.cat/record/165497 under the terms of the license Speaking the Unspeakable: Subversive Eroticism in Kate Chopin’s The Awakening and Edith Wharton’s Summer Treball de Fi de Grau Grau en Estudis d’Anglès i Francès Supervisor: Dr Laura Gimeno Pahissa Alejandra Martínez Boada June 2016 We need to imagine a world in which every woman is the presiding genius of her own body Adrienne Rich Acknowledgments Foremost, I would like to express my sincerest gratitude to my supervisor Laura Gimeno for the continuous support and guidance I have received from her. I frankly cannot imagine what I would have done without her help. I would also like to thank my good friend Iris for the patience she has had with me and the joy she has always transmitted, as well as for reminding me of all the deadlines. She has always been very enthusiastic and has persistently attempted to motivate me. Besides, I am also deeply thankful to Manon, a very close person who has supported and inspired me all this time from Paris. She has equally helped and guided me whenever I have needed it. And finally, I am indebted with all the friends and relatives who have had to hear me talking about this research project for months. -
The Reading, Writing and Translating of Erotic Literature
CORE Metadata, citation and similar papers at core.ac.uk Provided by Concordia University Research Repository Lust in Language: The Reading, Writing and Translating of Erotic Literature Ghislaine LeFranc A Thesis in The Department of Études françaises Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Translation Studies) at Concordia University Montréal, Québec, Canada February 2017 © Ghislaine LeFranc, 2017 CONCORDIA UNIVERSITY CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Ghislaine LeFranc Entitled: Lust in Language: The Reading, Writing and Translating of Erotic Literature and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Translation Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: ____________________________ Philippe Caignon (Chair) ____________________________ Sherry Simon (Examiner) ____________________________ Krista Lynes (Examiner) ____________________________ Pier-Pascale Boulanger (Supervisor) Approved by __________________________________________________ Chair of the Department or Graduate Program Director _____________ 2017 _____________________________________ Dean of the Faculty ABSTRACT Lust in Language: The Reading, Writing and Translating of Erotic Literature Ghislaine LeFranc Sexuality and language are two fundamental characteristics of human culture, and the relationship between both shows the role language has in expressing such inexpressible feelings as lust, desire and passion. Humans have long been preoccupied with the mysteries of sex, and language has been the vehicle through which to express such curiosities. Erotic literature has become a genre with such distinct characteristics that translating such texts requires a methodology and approach different from traditional translation tactics. -
Aesthetics, the Body, and Erotic Literature in the Age of Lessing
HEAVING AND SWELLING: AESTHETICS, THE BODY, AND EROTIC LITERATURE IN THE AGE OF LESSING Derrick Ray Miller A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Germanic Languages and Literatures. Chapel Hill 2007 approved by: Eric Downing Jonathan Hess (advisor) Clayton Koelb Alice Kuzniar Richard Langston © 2007 Derrick Ray Miller ALL RIGHTS RESERVED ii ABSTRACT DERRICK RAY MILLER: Heaving and Swelling: Aesthetics, the Body, and Erotic Literature in the Age of Lessing (Under the direction of Jonathan Hess) In this dissertation, I explore how signs affect the body in German neoclassicism. This period constructs a particular body (the voluptuary’s body) that derives primarily sensual—as opposed to cognitive—pleasure from the signs of art. Erotic literature with its sensual appeal, then, becomes a special case of art, one that manifests this relationship between signs and the body the most clearly. By focusing on erotic literature as a paradigmatic rather than a marginal case of literature, I am able to reconsider our current understanding of German neoclassicism. Erotic literature exceeds the aesthetic and semiotic principles that scholars have come to expect to circumscribe the literature of this period. Erotic literature moves beyond such categories as vividness, veracity, and verisimilitude to achieve an aesthetic pleasure of virtuality. Its arousing signs produce voluptuous sensations and transformations in the reader’s body in addition to transmitting knowledge and manipulating affect. And as they strike—or stroke—the body, these signs appear less transparent than sticky. -
Literature, Criticism and Theory Provides a Completely Fresh and Original Introduction to Literary Studies
AW234x156.qxd 5/6/08 11:16 AM Page 1 . Introduction to Introduction The best introduction to literary study on the market. Jonathan Culler, Cornell University The most un-boring, unnerving, unpretentious textbook I've ever come across. Elizabeth Wright, University of Cambridge It is by far the best and most readable of all such introductions that I know Introduction to of...The treatment of the various topics is masterful, even-handed and informative. I cannot think of a better introduction for undergraduates, to be sure, but for many graduate students too. Literature, Criticism Hayden White, University of California at Santa Cruz Literature, Criticism and I don’t know of any book that could, or does, compete with this one. It is irreplaceable. Richard Rand, University of Alabama Theory [Bennett and Royle have] cracked the problem of how to be introductory and sophisticated, accessible but not patronising. Peter Buse, English Subject Centre Newsletter Third edition Introduction to Literature, Criticism and Theory provides a completely fresh and original introduction to literary studies. Bennett and Royle approach their subject by way of literary works themselves (a poem by Emily Dickinson, a passage from Shakespeare, a novel by Salman Rushdie), rather than by way of abstract theoretical ideas and isms. In 32 short chapters they focus on a range of familiar-looking terms (character, the author, and voice, narrative) as well as less obvious ones (laughter, pleasure, ghosts, secrets) in order to show why such literary texts are so compelling. This third edition updates and expands on earlier editions, and includes new chapters on: Theory • creative writing • literature and film • war • monsters, mutants and the inhuman Introduction to Literature, Criticism and Theory avoids what is so frequently tiresome or intimidating about ‘theory’, offering instead an introduction that is consistently entertaining, thought provoking and surprising. -
A Review of Martín, Adrienne Laskier's Book: an Erotic Philology of Golden
Volume 30.2 (2010) Reviews 213 Martín, Adrienne Laskier. An Erotic Philology of Golden Age Spain. Nashville: Vanderbilt University Press, 2008. 258 pp. isbn: 978 0 8265 1579 7. It is most welcome to recognize the newest study from an established scholar as meticulous in her critical research and erudite insights as Adrienne Martín. The groundwork for her present study on Spanish literary eroticism is invig- orated by her considerable examination of the subject in previous works that comprise several articles, the edited collectionPoesía erótica del Siglo de Oro. Crítica y antología (Calíope 2006), and compilations co-edited with J. Ignacio Díez Fernández: La poesía erótica de Fray Melchor de la Serna (2003), Venus ven- erada: Tradiciones eróticas de la literatura española (2006), and Venus venerada II: Literatura erótica y modernidad en España (2007). Martín analyzes the representation of eroticized figures found in canoni- cal and less prominent works that encompass the genres of poetry, prose, and drama. She addresses the function of these works as literature and as aesthetic constructs and explores their meanings, both literal and figurative. Her study is informed by Ericson’s sociology of deviance that characterizes behavior as nor- mal or anomalous based on its reception in society. The moral stigmas associ- ated with non-normative sexualities are formalized as codifying precepts in law, society and, consequently, literature. Martín’s five-chapter study opens with the chapter “Prostitution and Power” in which she discusses the social and literary frames of prostitution in Cervantes’s exemplary novel La tía fingida and in the Quixote. She describes prostitution as a threat to the existing social order that requires social and finan- cial containment. -
A Review Essay. Review of Eli Yassif, the Hebrew Folktale: History, Genre, Meaning
University of Pennsylvania ScholarlyCommons Department of Near Eastern Languages and Departmental Papers (NELC) Civilizations (NELC) 1995 The Hebrew Folktale: A Review Essay. Review of Eli Yassif, The Hebrew Folktale: History, Genre, Meaning Dan Ben-Amos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/nelc_papers Part of the Cultural History Commons, Folklore Commons, Jewish Studies Commons, Near and Middle Eastern Studies Commons, and the Oral History Commons Recommended Citation Ben-Amos, D. (1995). The Hebrew Folktale: A Review Essay. Review of Eli Yassif, The Hebrew Folktale: History, Genre, Meaning. Jewish Studies, 35 29-60. Retrieved from https://repository.upenn.edu/ nelc_papers/138 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/nelc_papers/138 For more information, please contact [email protected]. The Hebrew Folktale: A Review Essay. Review of Eli Yassif, The Hebrew Folktale: History, Genre, Meaning Abstract The history of oral narratives is in the grip of a paradox. The voice of their past telling is no longer evident, and what is evident is no longer oral. Once committed to writing, oral tales become literature, bearing the consequences of this transformation that occurs under specific social, eligious,r economic, even technical, circumstances.1 The shift from orality to literacy involves thematic, stylistic, and poetic modifications, and although in their new state the tales have a relatively higher degree of stability, they still can offer us glimpses into their performance history. Disciplines Cultural History | Folklore | Jewish Studies | Near and Middle Eastern Studies | Oral History This review is available at ScholarlyCommons: https://repository.upenn.edu/nelc_papers/138 RECENT BOOKS IN JEWISH STUDIES THE HEBREW FOLKTALE: A REVIEW ESSAY Dan Ben-Amos A. -
H-France Review Volume 18 (2018) Page 1
H-France Review Volume 18 (2018) Page 1 H-France Review Vol. 18 (March 2018), No. 52 René Weis, The real Traviata. The Song of Marie Duplessis. Oxford and New York: Oxford University Press, 2015. xvi + 416. Preface, figures, notes, references, picture credits, index. £25.00 UK, $39.95 U.S. (hb). ISBN 978-0-19-870854-4. Reviewed by Dr Alessandra Palidda, Cardiff University. Weis’s book constitutes the latest and most comprehensive outcome of the interest already surrounding the figure of Marie Duplessis for quite a number of years. As the title suggests, Marie (or, better, Alphonsine) embodies the rather rare case of a real-life character inspiring not only a major writer’s work, but also what the author himself considers “probably the best loved opera in the world” (p. 1). In the case of an operatic work that has almost completely displaced its literary sources, the interest towards the real “fallen woman” has already produced quite significant fruits, both in English and, most notably, in French. Weis’s book not only operates a comprehensive summary of the existing literature produced around the figure of Duplessis in her links to both Dumas and Verdi (see the extensive bibliography), but also supplements it with what can be considered the most extensive research ever carried out specifically on this figure. The amount and variety of sources used is astonishing, from spa police records in Baden-Baden to cartographical documents of mid-nineteenth-century Paris, from the detailed descriptions of the places visited by Duplessis herself to a varied palette of precious iconographical sources (see also the detailed acknowledgements at the beginning and the references and index at the end).