70 research outputs found
Libretti by Lorenzo Da Ponte
No full textThe theme of the bachelor thesis is Italian libretti by the poet Lorenzo da Ponte. The thesis is dealing with a bio-bibliographical aspect of the author, analyses of three opera libretti and characteristics of texts written by da Ponte with a brief comparison with the work of the Italian poet and librettist Pietro Metastasio. Italian libretti are divided into three main chapters: Le nozze di Figaro, Il dissoluto punito ossia il don Giovanni and Così fan tutte ossia la scuola degli amanti. In individual parts descriptions are divided into a separate analysis of the above mentioned opera libretti. Introduction of each chapter describes a specific work and circumstances of its creation. A more detailed analysis aims to describe prominent figures and their possible changes in the course of the plot, analyze rhythm in stanzas and identify specific phrases, metaphors and naming. Conclusion of each chapter ends with the most important findings and the potential anomalies, which were discovered during the analysis
Joaquina Comella, Unacknowledged Author of the Libretti for Seven «Tonadillas» by Blas de Laserna
No full textThe starting-point of this study is the discovery of documents which identify Joaquina Comella (c. 1778-1800) as the author of seven libretti for tonadillas whose music would be composed by Blas de Laserna. The documents are requests for permission to perform seven works for three voices which were submitted in 1800. The discovery has led to the tracking down of two of the libretti, one of which, La pasiega y el hidalgo (The woman from Pas and the nobleman), is presented here in a critical edition. The ensuing research has involved the reconstruction of the textual, musical and performance possibilities of five of these works by analysing the texts in conjunction with theatre notes and musical scores. As a result we now have a considerable homogeneous body of work on which to base a study of the output of an author for whom until now only one libretto was extant; it also provides substantial evidence of Comella’s partnership with Laserna. The literary analysis which forms the complementary focus of this study highlights the quality of Joaquina Comella’s dramatic talent in the musical genre in question and aims to enrich the evaluation of the literary component of 18th-century tonadillas designed for dramatic performance.</p
The mezzo-soprano as representation of 'the other' in nineteenth century opera
No full textIncludes bibliographical references.The author continues by arguing that mezzo-soprano and contralto voices resemble the male voice and therefore composers often cast women in this fach as the jealous and malicious characters compared to the true and simplistic nature of the soprano (e.g. Ortrud versus Elsa in Lohengrin).3 When one looks at the significant mezzo-soprano roles in nineteenth-century opera, it is clear that the majority of these roles can be seen as representations of the Other. The aim of the thesis will be to investigate some of the most important nineteenth-century mezzo-soprano roles that represent the Other. The main research question is: To what extent do the selected roles represent the various templates delineated in theories of alterity? The roles will be classified and discussed according to four templates of alterity: social, religious, moral and emotional
Forgetting Identity, Recovering Politics: Rethinking Chicana/o Nationalism, Identity Politics, and Resistance to Racism in Alejandro Morales's Death of an Anglo
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Beyond the Innocence of Globalization: The Abiding Necessity of Carlos Bulosan’s Anti-Imperialist Imagination
No full textThis essay analyzes Carlos Bulosan’s writing in terms of the way he works to develop an aesthetic that comprehends and cognitively maps the repetitive dynamics of US and global colonial capitalism. More precisely, the essay examines how Bulosan’s aesthetic practice both grapples with the question of how an individual and collective consciousness can grasp the systemic processes that condition experience and also how it fosters that consciousness in the way it represents the relationships among experience, the larger class and colonial dynamics that produce that experience, and the ideological processes that intervene in our comprehension of those dynamics. In developing an aesthetic that aligns ideology and experience and grasps the dynamics of the global colonial system, Bulosan’s fiction, this essay argues, generates a narrative of class struggle and a consciousness that grasps the national dimension of the Filipino working-class, comprehending the need for national liberation. The essay explores the way Bulosan’s political narratives work through and confront ideological tensions between a facile internationalism and a more concrete national liberation politics in his fiction by deploying, at times, an innocent narrator whose idealistic values and approach to the world are challenged through that character’s experiences of racial and economic injustice, violence, exploitation, and deprivation. This technique allows Bulosan to articulate a utopian worldview, that is, an ideal sense of what a world framed on principles of justice would entail, and also to address the political and economic realities that betray that ideal and thus require repair and transformation through collective political struggle. Typically, in constructing plots that move through innocence to experience, Bulosan works to create an aesthetic that aligns representation and the lived experience of Filipinos in the United States and the Philippines in ways that highlight the national dimensions of Filipino life and foster a national consciousness, challenging a premature or under-theorized internationalism or universalism
“A Broader and Wiser Revolution”: Refiguring Chicano Nationalist Politics in Latin American Consciousness in Post-Movement Literature
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