DOCSLIB.ORG

Sabine Hake Professor and Texas Chair of German Literature And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sabine Hake Professor and Texas Chair of German Literature And Sabine Hake Professor and Texas Chair of German Literature and Culture Department of Germanic Studies Burdine Hall 332 The University of Texas at Austin Austin, TX 78712-1199 Office: 512-471-4123 FAX: 512-471-4025 E-mail: [email protected] (UT) and [email protected] (GSR) Website: sabinehake.com Professional Experience 2004-present Professor and Texas Chair of German Literature and Culture, Department of Germanic Studies, University of Texas at Austin, with courtesy appointments in Comparative Literature, and Women’s and Gender Studies 1995-2004 Professor of German and Film Studies, with adjunct appointment in History of Art and Architecture, University of Pittsburgh 1992-95 Associate Professor of German, University of Pittsburgh 1988-92 Assistant Professor of German, University of Pittsburgh 1986-88 Research Fellow, History of Art, Bryn Mawr College Published Monographs 2017 The Proletarian Dream: Socialism, Culture, and Emotion in Germany, 1863–1933. Berlin: De Gruyter. 370 pp. Paperback second edition in 2018. Reviewed in German Studies Review 41.3 (2018): 623-625; European History 49.1 (2019): 127-129; H-Net Reviews, URL: http://www.h- net.org./reviews/showrev.php?id=5256. 2012 Screen Nazis: Cinema, History, and Democracy. Madison: University of Wisconsin Press, 308 pp. Shortlisted for Willy Haas Award. Reviewed in Screen 56.2 (Summer 2015): 291-293; German Studies Review 38.1 (2015); Central European History 47.2 (2014): 469-471; German Quarterly 87.1 (2014): 131- 132; Seminar 49.4 (2013): 433-36; H-Soz-u-Kult, http://hsozkult.geschichte.hu- berlin.de/rezensionen/2013-4-228; H-Net Reviews, URL: http://www.h- net.org/reviews/showrev.php?id=38664 2008 Topographies of Class: Modern Architecture and Mass Society in Weimar Berlin. Ann Arbor: University of Michigan Press. 336 pp. Reviewed in German History 28.4 (2010): 552-53; Journal of Architecture 14.4 (2009): 541-44; H-Net Reviews: URL: http://www.h-net.org/reviews/showrev.php?id=23505; Central European History 42.4 (2009): 779-81; Germany Quarterly 82.4 (2009); German Studies Review 33.2 (2010): 453-54; Historical Materialism 18.2 (2010): 177-94; Germanic Review 85.3 (2010): 162-69. 2008 German National Cinema. Enlarged and revised edition. London: Routledge. 280 pp. Japanese translation in 2010 by Choeisha Tokyo. 2 Reviewed in Quarterly Review of Film and Video 28.2 (2011); 171-174. Filmblatt 14.41 (2009/10): 68-69. 2004 Film in Deutschland: Geschichte und Geschichten ab 1895. Reinbek: Rowohlt (rowohlts deutsche enzyklopädie). An expanded and revised translation of German National Cinema. 576 pp. Reviewed in Kameramann 7 (2005): 73; Literaturkritik 4 (2005) at http://www.literaturkritik.de/public/rezension.php?rez_id=7983&ausgabe=200504; Zeitschrift für Germanistik 2 (2005): 469-71. 2002 German National Cinema. London: Routledge. 232 pp. Reviewed in H-Soz-u-Kult at http://hsozkult.geschichte.hu-berlin.de/rezensionen/2003-3- 020>. German Studies Review 26.2 (2003): 472-73; Germanic Review (2003): 149-53; Monatshefte 95.4 (2003): 699-700; Film Comment 38:3 (2002): 9; Bright Lights Film Journal 28 (2002): 1-5. 2001 Popular Cinema of the Third Reich. Austin: University of Texas Press, 2001. 272 pp. Reviewed in Film Quarterly 61.1 (2007): 68–72; Screen 45.1 (2004): 83-89; Journal of Film Radio and Television 23.1 (March 2003): 85-86; Film Comment 38:3 (2002): 9; German Quarterly 75.4 (Fall 2002): 450-51; HPROB 1.2 (2002) at http://www.hprob.com/May 2002Reviews/cinemathirdreichText.htm. 1993 The Cinema’s Third Machine: German Writings on Film 1907-1933. Lincoln and London: University of Nebraska Press. 352 pp. Reviewed in German Quarterly 71.2 (Spring 1998): 179-84; German History16.1 (1998): 104-6; Film-Philosophy 3. 37 (Sept. 1997) Das Argument 209 (1995): 420-22; New German Critique 67 (1996): 177-90; Iris 18 (Spring 1995): 168-73; German Studies Review 18.1 (1995): 164-65; Monatshefte 87.2 (1995): 236-42, German Politics and Society 37 (Winter 1995): 189-90; Film Quarterly 48 (Fall 1994): 42-43; Historical Journal of Film, Radio and Television 14.3 (1994): 337-38; Choice 31.6 (1994): 942; at http://www.mailbase.ac.uk/lists/film-philosophy/files.malone.html. 1992 Passions and Deceptions: The Early Films of Ernst Lubitsch. Princeton: Princeton University Press. 215 pp. Reviewed in Film Quarterly 47.2 (Winter 1993-94): 59. Anthologies 2012 Turkish German Cinema in the New Millennium: Sites, Sounds, and Screens. Anthology, co-edited with Barbara Mennel. New York: Berghahn, 250 pp. Reviewed in Screen 56.2 (Summer 2015): 286-289; German Studies Review 37.2 (2015): 463-65; Historical Journal of Film, Radio, and Television 35.1 (2015): 197-88; Monatshefte 105.4 (2013): 745-746; German Quarterly 86.4 (2013): 503-5; Transnational Cinemas 4.1 (2013): 131-33. 2010 Berlin Divided City, 1949-89. Co-edited with Philip Broadbent. New York: Berghahn. 204 pp. Reviewed in German Studies Review 34.3 (2011): 702; H-Net Reviews, URL: http://www.h-net.org/reviews/showrev.php?id=33500; German History 29.4 (2011): 679. 2009 Convergence Media History. Co-edited with Janet Staiger. London: Routledge. 224 pp. Reviewed in Cultural Studies Review 17.2 (2011): 399-405; Popular Communication 9.10: 98-100. 3 2007 Framing the Fifties: Cinema in a Divided Germany. Co-edited with John Davidson. New York: Berghahn. 250 pp. Reviewed in Filmblatt 42 (2010): 119-21; H-Net, URL: http://www.h- net.org/reviews/showrev.php?id+14320; Journal of Contemporary History 44.3 (2009): 570-72. Works in Progress “The Workers’ States, 1933-1989.” The second volume of a two-volume project that, with an emphasis on the Third Reich and East Germany, reconstructs the proletariat as an imaginary subject in literature, art, film, and political theory and focuses on the role of emotions, as mediated through aesthetic experiences and cultural practices, in the making of class identifications and (National) socialist/communist ideologies. Research stage, with completion planned for 2022. “German Cinema in the Age of Media Convergence.” An account of national cinema from the perspective of media convergence, with case studies on the historical manifestations of media convergence (film, music, theater, literature, television) and on the theoretical implications for film history and media archeology (intermediality, multimediality, adaptation), 50 % completed. Articles in Peer-Reviewed Journals 2020 “Proletarian Modernism and the Politics of Emotion: On Franz Wilhelm Seiwert and John Heartfield.” Modernism/Modernity, accepted for publication, 44 ms. pp. 2015 “The Münchhausen Complex: From Adaptation to Intermediality,” ILCEA (Revue de l’Institut des langues et cultures d’Europe et d’Amérique 23 (July 2015): 1-13. Online https://ilcea.revues.org/3289. 2013 “Contemporary German Film Studies in Ten Points,” German Studies Review 36.3: 643- 51. 2013 “German Cinema as European Cinema: Learning from Film History,” Film History 25.1- 2: 110-17. 2010 “Art and Exploitation: On the Fascist Imaginary in 1970s Italian Cinema,” Studies in European Cinema 7.1: 11-21. 2006 “Visualizing the Urban Masses: Modern Architecture and Architectural Photography in Weimar Berlin,” The Journal of Architecture 11.5: 523-30. 2004 “A Stranger in Berlin: On Joseph Roth’s Urban Discourse,” Studies in 20th and 21st Century Literature 28.1: 47-75. 1998 “Heinz Rühmann und die Inszenierung des ‘kleinen Mannes’,” Montage a/v 7.1: 133-56. 1997 “The Melodramatic Imagination of Detlef Sierck: Final Chord (1936) and Its Resonances,” Screen 38.3: 129-48. 1996 “Legacies: Mabuse, Lang, and the Sound of Noir,” Iris 21: 54-73. 1994 “The Continuous Provocation of Louise Brooks,” German Politics and Society 32.1: 58- 75. 1994 “Urban Paranoia in Alfred Döblin’s Berlin Alexanderplatz,” German Quarterly 67.3: 349-70. 1993 “Saxa loquuntur: Freud and Archaeology,” boundary 2 20.1: 146-73. 4 1990 “Chaplin Reception in Weimar Germany,” New German Critique 51: 87-111. 1990 “New German Cinema,” Monatshefte 82.2: 267-75. 1990 “Architectural Hi/stories: Fritz Lang and The Nibelungs,” Wide Angle 12.3: 38-57. 1989 “Focusing the Gaze—The Critical Project of Frauen, und Film,” Women in German Yearbook 5: 19-39. 1989 “‘Gold, Love, Adventure’—The Postmodern Piracy of Madame X,” Discourse 11: 88- 110. 1988 “So This Is Paris: A Comedy of Misreading,” Journal of Film and Video 40.3: 3-17. 1987 “Girls and Crisis—The Other Side of Diversion,” New German Critique 40: 147-66. Chapters in Anthologies and Conference Proceedings 2019 “Brecht and the Gestus of Socialism,” in Bertolt Brecht in Context, ed. by Stephen Brockmann. Cambridge: Cambridge University Press. 10 ms. pp. Forthcoming. 2019 “Embodied Emotions: On the Communist Habitus of Agitprop,” in Feelings Materialized: Emotions, Bodies, and Things in Modern Germany, ed. by Derek Hillard and Heiki Lempi. New York: Berghahn. 24 ms. pp. Forthcoming. 2019 “Communists into Nazis: The Conversion of the German Worker,” in The Wider Arc of Revolution, ed. by Choi Chatterjee, Steven G. Marks, Mary Neuburger, and Steven Sabol, 167-193. Bloomington: Slavica Press of Indiana University. 2016 “Walter Felsenstein and the DEFA Opera Film,” in Reimagining DEFA: East German Cinema in National and Transnational Contexts, ed. by Seán Allan and Sebastian Heiduschke, 191-209. New York: Berghahn. 2014 “Public Figures, Political Symbols, Popular Stars: Actors in DEFA Cinema and Beyond,” in DEFA at the Crossroads of East German and International Film Culture: A Companion, ed. by Marc Silberman and Henning Wrage, 197-220. Berlin: De Gruyter. 2013 “The Lives of Objects,” in Das Leben der Anderen and Contemporary German Film, ed. by Paul Cooke, 199-219. Berlin: De Gruyter. 2013 “Politische Satire im Kalten Krieg: Der Hauptmann von Köln und Rosen für den Staatsanwalt,” in DEFA International: Grenzüberschreitende Filmbeziehungen vor und nach dem Mauerbau, ed.
Load more

Recommended publications
  • German Jews in the United States: a Guide to Archival Collections
    GERMAN HISTORICAL INSTITUTE,WASHINGTON,DC REFERENCE GUIDE 24 GERMAN JEWS IN THE UNITED STATES: AGUIDE TO ARCHIVAL COLLECTIONS Contents INTRODUCTION &ACKNOWLEDGMENTS 1 ABOUT THE EDITOR 6 ARCHIVAL COLLECTIONS (arranged alphabetically by state and then city) ALABAMA Montgomery 1. Alabama Department of Archives and History ................................ 7 ARIZONA Phoenix 2. Arizona Jewish Historical Society ........................................................ 8 ARKANSAS Little Rock 3. Arkansas History Commission and State Archives .......................... 9 CALIFORNIA Berkeley 4. University of California, Berkeley: Bancroft Library, Archives .................................................................................................. 10 5. Judah L. Mages Museum: Western Jewish History Center ........... 14 Beverly Hills 6. Acad. of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Coll. ............................................................................ 16 Davis 7. University of California at Davis: Shields Library, Special Collections and Archives ..................................................................... 16 Long Beach 8. California State Library, Long Beach: Special Collections ............. 17 Los Angeles 9. John F. Kennedy Memorial Library: Special Collections ...............18 10. UCLA Film and Television Archive .................................................. 18 11. USC: Doheny Memorial Library, Lion Feuchtwanger Archive ...................................................................................................
    [Show full text]
  • Frauenleben in Magenza
    www.mainz.de/frauenbuero Frauenleben in Magenza Porträts jüdischer Frauen und Mädchen aus dem Mainzer Frauenkalender seit 1991 und Texte zur Frauengeschichte im jüdischen Mainz Frauenleben in Magenza Frauenleben in Magenza Die Porträts jüdischer Frauen und Mädchen aus dem Mainzer Frauenkalender und Texte zur Frauengeschichte im jüdischen Mainz 3 Frauenleben in Magenza Impressum Herausgeberin: Frauenbüro Landeshauptstadt Mainz Stadthaus Große Bleiche Große Bleiche 46/Löwenhofstraße 1 55116 Mainz Tel. 06131 12-2175 Fax 06131 12-2707 [email protected] www.mainz.de/frauenbuero Konzept, Redaktion, Gestaltung: Eva Weickart, Frauenbüro Namenskürzel der AutorInnen: Reinhard Frenzel (RF) Martina Trojanowski (MT) Eva Weickart (EW) Mechthild Czarnowski (MC) Bildrechte wie angegeben bei den Abbildungen Titelbild: Schülerinnen der Bondi-Schule. Privatbesitz C. Lebrecht Druck: Hausdruckerei 5. überarbeitete und erweiterte Auflage Mainz 2021 4 Frauenleben in Magenza Vorwort des Oberbürgermeisters Die Geschichte jüdischen Lebens und Gemein- Erstmals erschienen ist »Frauenleben in Magen- delebens in Mainz reicht weit zurück in das 10. za« aus Anlass der Eröffnung der Neuen Syna- Jahrhundert, sie ist damit auch die Geschichte goge im Jahr 2010. Weitere Auflagen erschienen der jüdischen Frauen dieser Stadt. 2014 und 2015. Doch in vielen historischen Betrachtungen von Magenza, dem jüdischen Mainz, ist nur selten Die Veröffentlichung basiert auf den Porträts die Rede vom Leben und Schicksal jüdischer jüdischer Frauen und Mädchen und auf den Frauen und Mädchen. Texten zu Einrichtungen jüdischer Frauen und Dabei haben sie ebenso wie die Männer zu al- Mädchen, die seit 1991 im Kalender »Blick auf len Zeiten in der Stadt gelebt, sie haben gelernt, Mainzer Frauengeschichte« des Frauenbüros gearbeitet und den Alltag gemeistert.
    [Show full text]
  • Kurtweill Briefe an Die Familie (1914 - 1950) Veröffentlichungen Der Kurt-Weill-Gesellschaft Dessau, Band 3
    KurtWeill Briefe an die Familie (1914 - 1950) Veröffentlichungen der Kurt-Weill-Gesellschaft Dessau, Band 3 Herausgegeben von Nils Grosch, Joachim Lucchesi und Jürgen Schebera Lys Symonette / Elmar Juchem (Hrsg.) Unter Mitarbeit von Jürgen Schebera Kurt Weill Briefe an die Familie (1914 - 1950) Verlag J. B. Metzler Stuttgart . Weimar Die Deutsche Bibliothek - CIP-Einheitsaufnahme Kurt Weill Briefe an die Familie (1914 . 1950): hrsg. von Lys Symonette und Elmar Juchem. Unter Mitarb. von Jürgen Schebera - Stuttgart ; Weimar: Metzler, 2000 ISBN 978-3-476-45244-3 ISBN 978-3-476-02714-6 (eBook) DOI 10.1007/978-3-476-02714-6 Dieses Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfl"Utigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. M & P Schriftenreihe für Wissenschaft und Forschung © 2000 Springer-Verlag GmbH Deutschland Ursprünglich erschienen bei J.B.Metzlersche Verlagsbuchhandlung und Carl Ernst Poeschel Verlag GmbH in Stuttgart 2000 © für die Texte von Kurt Wem: Kurt Wem Foundation for Music, New York. Sämtliche Rechte zu öffentlichen Darbietungen (Lesungen, dramatische Bearbeitung, Radio, Film und Fernsehen) liegen bei der Kurt Wem Foundation for Music, Inc. INHALT Einführung 6 Editorische Notiz 13 Provenienz der Briefe 15 Übersicht: Drei Generationen der Familie Weill 17 DIE BRIEFE 19 Danksagung 428 Glossar 429 Abbildungsnachweis 430 Personenregister 431 Werkregister 443 1. Werke Kurt Weills 443 1. Werke anderer Autoren 444 5 EINFÜHRUNG "Mit 22 Jahren hoffe ich anderswo gehört zu werden als vor ein paar Pau­ kern." Gelangweilt von dem eingefahrenen Studienbetrieb an der Berliner Musikhochschule und mit einer beachtlichen Portion Selbstbewußtsein macht der gerade neunzehnjährige Kurt Weill in einem Brief seinem Un­ mut Luft.
    [Show full text]
  • Premieren Der Oper Frankfurt Ab September 1945 Bis Heute
    Premieren der Oper Frankfurt ab September 1945 bis heute Musikalische Leitung der Titel (Title) Komponist (Composer) Premiere (Conductor) Regie (Director) Premierendatum (Date) Spielzeit (Season) 1945/1946 Tosca Giacomo Puccini Ljubomir Romansky Walter Jokisch 29. September 1945 Das Land des Lächelns Franz Lehár Ljubomir Romansky Paul Kötter 3. Oktober 1945 Le nozze di Figaro W.A. Mozart Dr. Karl Schubert Dominik Hartmann 21. Oktober 1945 Wiener Blut Johann Strauß Horst-Dietrich Schoch Walter Jokisch 11. November 1945 Fidelio Ludwig van Beethoven Bruno Vondenhoff Walter Jokisch 9. Dezember 1945 Margarethe Charles Gounod Ljubomir Romansky Walter Jokisch 10. Januar 1946 Otto und Theophano Georg Friedrich Händel Bruno Vondenhoff Walter Jokisch 22. Februar 1946 Die Fledermaus Johann Strauß Ljubomir Romansky Paul Kötter 24. März 1946 Zar und Zimmermann Albert Lortzing Ljubomir Romansky Heinrich Altmann 12. Mai 1946 Jenufa Leoš Janáček Bruno Vondenhoff Heinrich Altmann 19. Juni 1946 Spielzeit 1946/1947 Ein Maskenball Giuseppe Verdi Bruno Vondenhoff Hans Strohbach 29. September 1946 Così fan tutte W.A. Mozart Bruno Vondenhoff Hans Strohbach 10. November 1946 Gräfin Mariza Emmerich Kálmán Georg Uhlig Heinrich Altmann 15. Dezember 1946 Hoffmanns Erzählungen Jacques Offenbach Werner Bitter Karl Puhlmann 2. Februar 1947 Die Geschichte vom Soldaten Igor Strawinsky Werner Bitter Walter Jokisch 30. April 1947 Mathis der Maler Paul Hindemith Bruno Vondenhoff Hans Strohbach 8. Mai 1947 Cavalleria rusticana / Pietro Mascagni / Werner Bitter Heinrich Altmann 1. Juni 1947 Der Bajazzo Ruggero Leoncavallo Spielzeit 1947/1948 Ariadne auf Naxos Richard Strauss Bruno Vondenhoff Hans Strohbach 12. September 1947 La Bohème Giacomo Puccini Werner Bitter Hanns Friederici 2. November 1947 Die Entführung aus dem W.A.
    [Show full text]
  • Populäres Musiktheater Im Sozialismus / Popular Music Theatre
    1 Populäres Musiktheater im Sozialismus / Popular music theatre under socialism Operette und Musical in den ost-europäischen Staaten zwischen 1945 und 1990 / Operettas and musicals in the Eastern European States 1945 to 1990 Veranstalter / Organizer: Zentrum für Populäre Kultur und Musik der Universität Freiburg i.Br. und dem Institut für Kunstgeschichte und Musikwissenschaft, Abteilung Musikwissenschaft der Universität Mainz / Center for Popular Culture and Music, University of Freiburg, Germany, and the Institute for art history and musicology, Department of music science of the University of Mainz, Germany Ort / Venue: Zentrum für Populäre Kultur und Musik / Center for Popular Culture and Music Rosastraße 17-19 D-79098 Freiburg im Breisgau Programm / schedule: 24. Februar 2017 10.00 h: Begrüßung /Welcome DDR / GDR 10.15 h: „Nicht lachend die Welt vergessen, sondern lachend die Welt und sich selbst erkennen“, Operette in der DDR. („Not laughingly forget the world, but laughingly recognize the world and oneself”, Operetta in the GDR) Dr. Katrin Stöck, Universität Leipzig, Institut für Musikwissenschaft. 11.00 h: Das Gegenwartsstück vor bzw. nach dem Mauerbau 1961 im Heiteren Musiktheater der (ehemaligen) DDR. (The contemporary stage works in the Light Music Theater of the [former] GDR before and after the wall was built in 1961). Roland H. Dippel, Leipzig. 11-45 h – 12.15 h Kaffeepause / Coffee Break 12.15 h: Come blow your horn, Commercial Broadway musicals and the circulation of American ideology on DDR stages. Dr. Laura MacDonald, University of Portsmouth, England, School of Media and Performing Arts. 13.00 h – 14.30 h: Mittagspause / Lunch Break 2 14.30 h: Von „Trembita“ (1952) bis „Der König David Bericht“ (1989), Operetten- und Musical-Importe aus den „sozialistischen Bruderländern“.
    [Show full text]
  • The 2017/18 Season: 70 Years of the Komische Oper Berlin – 70 Years Of
    Press release | 30/3/2017 | acr | Updated: July 2017 The 2017/18 Season: 70 Years of the Komische Oper Berlin – 70 Years of the Future of Opera 10 premieres for this major birthday, two of which are reencounters with titles of legendary Felsenstein productions, two are world premieres and four are operatic milestones of the 20 th century. 70 years ago, Walter Felsenstein founded the Komische Oper as a place where musical theatre makers were not content to rest on the laurels of opera’s rich traditions, but continually questioned it in terms of its relevance and sustainability. In our 2017/18 anniversary season, together with their team, our Intendant and Chefregisseur Barrie Kosky and the Managing Director Susanne Moser are putting this aim into practice once again by way of a diverse program – with special highlights to celebrate our 70 th birthday. From Baroque opera to operettas and musicals, the musical milestones of 20 th century operatic works, right through to new premieres of operas for children, with works by Georg Friedrich Handel through to Philip Glass, from Jacques Offenbach to Jerry Bock, from Claude Debussy to Dmitri Shostakovich, staged both by some of the most distinguished directors of our time as well as directorial newcomers. New Productions Our 70 th birthday will be celebrated not just with a huge birthday cake on 3 December, but also with two anniversary productions. Two works which enjoyed great success as legendary Felsenstein productions are returning in new productions. Barrie Kosky is staging Jerry Brock’s musical Fiddler on the Roof , with Max Hopp/Markus John and Dagmar Manzel in the lead roles, and the magician of the theatre, Stefan Herheim, will present Jacques Offenbach’s operetta Barbe- bleue in a new, German and French version.
    [Show full text]
  • Circling Opera in Berlin by Paul Martin Chaikin B.A., Grinnell College
    Circling Opera in Berlin By Paul Martin Chaikin B.A., Grinnell College, 2001 A.M., Brown University, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Program in the Department of Music at Brown University Providence, Rhode Island May 2010 This dissertation by Paul Martin Chaikin is accepted in its present form by the Department of Music as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date_______________ _________________________________ Rose Rosengard Subotnik, Advisor Recommended to the Graduate Council Date_______________ _________________________________ Jeff Todd Titon, Reader Date_______________ __________________________________ Philip Rosen, Reader Date_______________ __________________________________ Dana Gooley, Reader Approved by the Graduate Council Date_______________ _________________________________ Sheila Bonde, Dean of the Graduate School ii Acknowledgements I would like to thank the Deutsche Akademische Austauch Dienst (DAAD) for funding my fieldwork in Berlin. I am also grateful to the Institut für Musikwissenschaft und Medienwissenschaft at Humboldt-Universität zu Berlin for providing me with an academic affiliation in Germany, and to Prof. Dr. Christian Kaden for sponsoring my research proposal. I am deeply indebted to the Deutsche Staatsoper Unter den Linden for welcoming me into the administrative thicket that sustains operatic culture in Berlin. I am especially grateful to Francis Hüsers, the company’s director of artistic affairs and chief dramaturg, and to Ilse Ungeheuer, the former coordinator of the dramaturgy department. I would also like to thank Ronny Unganz and Sabine Turner for leading me to secret caches of quantitative data. Throughout this entire ordeal, Rose Rosengard Subotnik has been a superlative academic advisor and a thoughtful mentor; my gratitude to her is beyond measure.
    [Show full text]
  • The Bulletin P AR E XCELLENCE !
    E UGENE , O REGON -- THE U NIVERSITY TOWN The Bulletin P AR E XCELLENCE ! — Anne Dhu McLucas, University of Oregon OF THE S OCIETY FOR A MERICAN M USIC FOUNDED IN HONOR OF O SCAR G . T . S ONNECK Pesidents’ Weekend of 2005 st Vol. XXX, No. 3 Fall 2004 (February 17-20) will see the 31 Annual Conference of the Society for American Music meeting in Eugene, Oregon, hosted by the University of Oregon. Eugene is R ICHARD S TRAUSS ’S VISIT renowned for its track meets, its bike TO THE K LEINES STADCHEN OF M ORGANTOWN , paths, and its friendly, liberal, and casual WEST VIRGINIA atmosphere. The city is beautifully situ- ated between the Cascade Mountains to the East and the pristine Oregon Coast to — Christopher Wilkinson, West Virginia University the West-- each an hour away by car. The Willamette Valley is home to numerous This past March, the Division of of his art songs. That evening, Strauss vineyards and wineries. Some of the best Music of West Virginia University com- conducted the Pittsburgh Orchestra in pinot noir and pinot gris wines in the U.S. memorated the centenary of the visit to performances of two of his best known are produced here, and locally-grown campus by the German composer Richard tone poems: Tod und Verklärung and Till grapes also find their way into California Strauss, his wife, soprano Pauline de Eulenspiegels lustige Streiche. The story wines. Ahna Strauss, the Pittsburgh Orchestra, of the seemingly improbable series of The conference will be held primar- and its conductor, Victor Herbert, on events concerns not only the circumstanc- ily at the Eugene Hilton, in the heart of March 14, 1904.
    [Show full text]
  • 2018 Lotte Lenya Competition Finals
    20TH ANNIVERSARY Finalists from the 2017 Competition 2018 LOTTE LENYA COMPETITION FINALS Daytime Round Kilbourn Hall, Eastman School of Music Saturday, 14 April 2018, 11:00 am Each finalist will have fifteen minutes to present a program of four contrasting selections. 12:45 Benjamin Pattison, 27 To ensure that each contestant has the opportunity to sing his/her entire program, please “The Rain Song” from 110 in the Shade Schmidt/Jones withhold applause until the conclusion of each contestant’s final selection.For the “And where is the one who will mourn me when I’m gone?” daytime round, accompanists Lyndon Meyer and Shane Schag will alternate. from Down in the Valley Weill/Sundgaard “Una furtiva lagrima” from L’elisir d’amore Donizetti/Romani 11:00 John Tibbetts, 27 “If I Sing” from Closer Than Ever Shire/Maltby “This is New” from Lady in the Dark Weill/Gershwin “In Praise of Women” from A Little Night Music Sondheim -INTERMISSION- “Lieben, Hassen, Hoffen, Zagen” from Ariadne auf Naxos Strauss/von Hofmannsthal 2:00 Philip Stoddard, 26 “This is the Life” from Love Life Weill/Lerner “Or vi dirò...” from La bohème Puccini/Illica, Giacosa “Daybreak” from Floyd Collins Guettel 11:15 Andrea Lett, 27 “Ballade vom angenehmen Leben” “Youkali” Weill/Fernay from Die Dreigroschenoper Weill/Brecht “Vanilla Ice Cream” from She Loves Me Bock/Harnick “Joey, Joey, Joey” from The Most Happy Fella Loesser “Perfect” from Edges Pasek, Paul “Chacun le sait” from La fille du régiment Donizetti/Saint-Georges, Bayard 2:15 Christine Amon, 31 “Mister Snow” from
    [Show full text]
  • Between Stockhausen/Zimmermann and Eisler/Dessau: the Italian Composer Luca Lombardi in the Two Germanies
    Between Stockhausen/Zimmermann and Eisler/Dessau: The Italian Composer Luca Lombardi in the Two Germanies [with a list of selected works and writings] Cold War Divisions The Iron Curtain was not as ironclad as captured by Churchill’s colorful and certainly appropriate verdict, and the Berlin Wall—erected more than fifty years ago as the most visible and ominous piece of architecture of the Cold War—was not as impenetrable, as minefields, watch towers, self-shooting mechanisms, and the orders to kill trespassers implied. But the traffic was largely one-sided—from West to East. Visits to the “other” side largely depended on what kind of passport one happened to have. Living in Berlin (West) during the 1960s, I frequently crossed the checkpoint at the S- Bahnhof Friedrichstraße, exchanged the obligatory amount of D-Mark-West for D-Mark-Ost at the obligatory rate of 1:1, paid an additional administrative fee, waited in line (sometimes for an hour or more), until I was admitted to stand before a more or less unfriendly border guard to answer questions about the nature of my visit and, most importantly, whether I carried any printed matter—“brinted madder” in Saxonian dialect. Newspapers and books deemed unworthy of entry were submitted to a shredder. When I finally had passed all the hurdles to enter the capital of the DDR, I was indeed in a different country. It smelled differently: the disinfectant used there and brown-coal--burning stoves imbued the DDR with a distinct odor. The newspapers had entirely different headlines than those in the Western half of the city.
    [Show full text]
  • The Lotte Lenya Competition
    Cover photos (left to right): Nine-time Competition judge Teresa Stratas; 2012 winners Matthew Grills, Jacob Keith Watson, Justin Hopkins, and Megan Marino; 2009 judge Ted Chapin with winners Lauren Worsham, Ginger Costa-Jackson, Yannick-Muriel Noah, and Zachary James. THE LOTTE LENYA COMPETITION PAST WINNERS AND JUDGES 2012 2007 2002 First Prize: Matthew Grills First Prize: James Benjamin First Prize: Lisa Conlon Second Prize: Justin Hopkins, Rodgers Second Prize: Kyle Barisich, Jacob Keith Watson Second Prize: Analisa Leaming Ethan Watermeier Third Prize: Megan Marino Third Prize: Leena Chopra, Lys Symonette Awards: Nicole Lys Symonette Awards: Natalie Christopher Herbert Cabell, Lucas Meachem, Amy Ballenger, Maria Failla Lys Symonette Awards: Paul Van Looy Judges: Rob Berman, Theodore Corona, Jeanine De Bique, Brian Judges: Eric Stern, Teresa Stratas, S. Chapin, Rebecca Luker Charles Rooney Stanley Walden Judges: Theodore S. Chapin, Ted 2011 2001 Sperling, Teresa Stratas First Prize: Caitlin Mathes First Prize: Jennifer Dyan Goode Three equal runner-up prizes: 2006 Second Prize: Jacob Langfelder, Jing Lin, Emma Sewell, Jacob First Prize: Justin Welsh Raquela Sheeran Lewis Smith Second Prize: Justin Lee Miller, Lys Symonette Awards: Noah Lys Symonette Awards: Daniel Rodell Aure Rosel Stewart, Misty Ann Castleberry Schwait, John Viscardi, Jorell Third Prize: Sarah Blaskowsky, Sturm Williams Hallie Silverston Judges: André Bishop, Welz Judges: Rob Berman, Rebecca Lys Symonette Awards: Meredith Kauffman, Teresa Stratas Luker, Michael Kaufmann Arwady, Karim Sulayman, Bray 2000 Wilkins 2010 Two special competitions were First Prize: Rebekah Camm Judges: Theodore S. Chapin, held in Germany, one for students James Holmes, Teresa Stratas and one for young professionals.
    [Show full text]
  • A Performer's Guide to the American Theater Songs of Kurt Weill
    A Performer's Guide to the American Musical Theater Songs of Kurt Weill (1900-1950) Item Type text; Electronic Dissertation Authors Morales, Robin Lee Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 16:09:05 Link to Item http://hdl.handle.net/10150/194115 A PERFORMER’S GUIDE TO THE AMERICAN MUSICAL THEATER SONGS OF KURT WEILL (1900-1950) by Robin Lee Morales ________________________________ A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 8 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As member of the Document Committee, we certify that we have read document prepared by Robin Lee Morales entitled A Performer’s Guide to the American Musical Theater Songs of Kurt Weill (1900-1950) and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. Faye L. Robinson_________________________ Date: May 5, 2008 Edmund V. Grayson Hirst__________________ Date: May 5, 2008 John T. Brobeck _________________________ Date: May 5, 2008 Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
    [Show full text]