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The Limits of Identity: Early Modern Venice, Dalmatia, and the Representation of Difference
This book considers the production of collective identity in Venice (Christian, civic-minded, anti-tyrannical), which turned on distinctions drawn in various fields of representation from painting, sculpture, print, and performance to classified correspondence. Dismemberment and decapitation bore a heavy burden in this regard, given as indices of an arbitrary violence ascribed to Venice’s long-time adversary, “the infidel Turk.” The book also addresses the recuperation of violence in Venetian discourse about maintaining civic order and waging crusade. Finally, it examines mobile populations operating in the porous limits between Venetian Dalmatia and Ottoman Bosnia and the distinctions they disrupted between “Venetian” and “Turk” until their settlement on farmland of the Venetian state. This occurred in the eighteenth century with the closing of the borderlands, thresholds of difference against which early modern “Venetian-ness” was repeatedly measured and affirmed.
Emblems of Eloquence
Opera developed during a time when the position of women—their rights and freedoms, their virtues and vices, and even the most basic substance of their sexuality—was constantly debated. Many of these controversies manifested themselves in the representation of the historical and mythological women whose voices were heard on the Venetian operatic stage. Drawing upon a complex web of early modern sources and ancient texts, this engaging study is the first comprehensive treatment of women, gender, and sexuality in seventeenth-century opera. Wendy Heller explores the operatic manifestations of female chastity, power, transvestism, androgyny, and desire, showing how the emerging genre was sha...
Publications of the Modern Language Association of America
Vols. for 1921-1969 include annual bibliography, called 1921-1955, American bibliography; 1956-1963, Annual bibliography; 1964-1968, MLA international bibliography.
The Politics of Opera
A wide-ranging look at the interplay of opera and political ideas through the centuries The Politics of Opera takes readers on a fascinating journey into the entwined development of opera and politics, from the Renaissance through the turn of the nineteenth century. What political backdrops have shaped opera? How has opera conveyed the political ideas of its times? Delving into European history and thought and music by such greats as Monteverdi, Lully, Rameau, and Mozart, Mitchell Cohen reveals how politics—through story lines, symbols, harmonies, and musical motifs—has played an operatic role both robust and sotto voce. This is an engrossing book that will interest all who love opera and are intrigued by politics.
A Companion to Music in Sixteenth-Century Venice
This book offers an overview of all facets of musical life in sixteenth-century Venice. It addresses the city’s institutions (churches, confraternities, and academies) against the background of public and private occasions of music making. Supported by a generous collection of archival, literary, and iconographical sources, it treats both ceremonial life in the Serenissima and private forms of patronage. The Companion also addresses the dense web of musical activity (from chapel masters and singers to instrumentalists and instrument makers to music printers and theorists) and the rich variety of styles and musical genres (the frottola, the madrigal, motets and masses, instrumental music, polychoral music, Venetian-language polyphony), broadening the geographical perspective beyond the Veneto to Istria and Dalmatia. Contributors are Rodolfo Baroncini, Sherri Bishop, Bonnie J. Blackburn, David Bryant, Ivano Cavallini, Paolo Da Col, Daniel Donnelly, Rebecca Edwards, Iain Fenlon, Jonathan Glixon, Don Harrán (†), Jeffrey Kurtzman, Giulio M. Ongaro, Francesco Passadore, Elena Quaranta, Katelijne Schiltz, Eleanor Selfridge-Field, and Giovanni Zanovello.
Monteverdi and his Contemporaries
This collection of reprinted essays takes the trends of the author's Music, Patronage and Printing in Late Renaissance Florence (also in the 'Variorum' series) in a somewhat different direction. If the focus there was primarily on archival documents, here it is on the actual music. The starting-point is similar - the rise of the 'new music' for solo voice and basso continuo in late sixteenth- and early seventeenth-century Florence, in particular the songs of Giulio Caccini. But it moves on to broader aesthetic issues crystallized in contemporary theoretical debate and musical practice - not least the rise of aria-based styles - and concludes with a series of studies of Claudio Monteverdi's works for the theatre, including the operas Il ritorno d'Ulisse in patria (1640) and the ever-problematic L'incoronazione di Poppea (1643).
Monteverdi's Musical Theatre
Claudio Monteverdi (1567-1643) is well known as the composer of the earliest operas still performed today. His Orfeo, Il Ritorno d'Ulisse in Patria, and L'incoronazione di Poppea are internationally popular nearly four centuries after their creation. These seminal works represent only a part of Monteverdi's music for the stage, however. He also wrote numerous works that, while not operas, are no less theatrical in their fusion of music, drama and dance. This is a survey of Monteverdi's entire output of music for the theatre - his surviving operas, other dramatic musical compositions, and lost works.
Imagined Networks in Pre-Modern Italian Literature
Imagined Networks in Pre-Modern Italian Literature: Literary Mothers, Literary Sisters presents the untold stories of the literary mothers and sisters in pre-modern Italian literature and the vibrant intellectual networks they forged. The authors argue that these women writers became adoptive references for other authors, often as an alternative to an established canon of textual authority. The proposed concepts of literary motherhood and sisterhood focus on the agency of the writers in choosing a model, rather than adhering to hierarchical structures. The women showcased in this book defied conventions, and are aware of the generative power of their works and regard themselves as literary g...
