431 research outputs found
Manon van der Heijden, Marion Pluskota and Sanne Muurling (eds.), Women's Criminality in Europe, 1600–1914. Cambridge: Cambridge University Press, 2020. xiv + 257pp. £78.99 hbk.
No full textReview of Manon van der Heijden, Marion Pluskota and Sanne Muurling (eds.), Women's Criminality in Europe, 1600–1914. Cambridge: Cambridge University Press, 202
Tri dramodydd cyfoes
No full textYn yr astudiaeth hon canolbwyntir ar ddramâu gwreiddiol i’r llwyfan a gyfansoddwyd gan dri dramodydd Cymraeg cyfoes: Meic Povey, Siôn Eirian ac Aled Jones Williams. A’r tri wedi eu geni yn y 1950au, bu eu cyfraniad rhyngddynt i’r theatr Gymraeg er canol y 1970au yn un canolog ac allweddol. Aethant i’r afael yn eofn a phynciau heriol gan eu harchwilio drwy ystod o dechnegau llwyfan.
Y cwestiynau ymchwil y ceisir eu hateb fydd; i ba raddau y mae’r dramodwyr yn tynnu ar brofiad personol wrth ysgrifennu a pha mor theatrig yw gweithiau’r dramodwyr. Er mwyn canfod atebion i’r cwestiynau hyn, canolbwyntir ar bob dramodydd yn ei dro.
Yn y bennod gyntaf, edrychir ar weithiau Meic Povey. Rhoddir cyflwyniad i’w gefndir a’i yrfa, amlinellir plot pob drama a thrafodir amrediad o themâu. Eir ymlaen i ddadansoddi ieithwedd y gweithiau dan sylw, cyn edrych ar dechnegau llwyfannu’r gweithiau yn unol â’r hyn a nodir yn y testunau, yn ogystal â chynyrchiadau ohonynt. Dilynir y drefn hon yn y ddwy bennod a ganlyn hefyd; yr ail bennod yn trafod gweithiau Siôn Eirian a’r bennod olaf yn canolbwyntio ar waith Aled Jones Williams.
Sylwir, erbyn diwedd yr astudiaeth, fod y tri dramodydd yn tynnu’n sylweddol ar brofiadau personol wrth gyfansoddi ac adlewyrchir hynny mewn sawl agwedd o’r dramâu gan gynnwys plot, cymeriadau, ieithwedd, themâu a thechnegau theatrig. Fodd bynnag, ni olyga hynny y gellir cyfeirio at y gweithiau fel rhai hunangofianno
ANGUS BELL Bass-Baritone SENIOR RECITAL Sunday, April 5, 1992 3:00 p.m. Lillian H. Duncan Recital Hall
No full textProgram: Reveng[e] Timotheous cries from Alexander's feast / George Frideric Handel (1685-1759) -- O du mein holder Abendstern from Tannhäuser / Richard Wagner -- Vier ernste Gesänge / Johannes Brahms (1833-1897) -- Épouse quelque brave fille from Manon / Jules Massenet -- Une sainte en son auréole from La bonne chanson / Gabriel Fauré -- En sourdine / Gabriel Fauré -- Les berceaux / Gabriel Fauré -- Warm as the autumn light from The ballad of Baby Doe / Douglas Moore -- The call / Ralph Vaughan Williams (1872-1958) -- Antiphon from The mystical songs / Ralph Vaughan Williams (1872-1958).This recital is given in partial fulfillment of the requirements for the degree Bachelor of Music
Languages and Worldview
No full textThis work was created as part of the University of Missouri’s Affordable and Open Access Educational Resources Initiative (https://www.umsystem.edu/ums/aa/oer).I. Language and Culture: Concepts and DefinitionsII. Conveying MeaningIII. The Ethnolinguistic PerspectiveIV. Language, Worldviews, and Intercultural CommunicationAsks and answers questions about what culture entails and examines the fundamental properties and intertwining nature of language and culture. This text explores linguistic relativity, lexical differences among languages and intercultural communication, including high and low contexts.Changes to a variety of OER works were made by Manon Allard-Kropp in the Department of Language and Cultural Studies to tailor the text to fit the needs of the Languages and World View course at the University of Missouri-St. Louis. Materials from the original sources have been combined, reorganized, and added to by the current author, and any conceptual or typographical errors are the responsibility of the current author
Comparative Study of Jule Massenet's Manon and Giacomo Puccini's Manon Lescaut
No full text본 논문에서는 아베 프레보 (Abbe´ Pre´vost, 1697-1763)의 소설 “마농 레스코와 기사 데 그리외의 이야기(L'histoire du chevalier des Grieux et de Manon Lescaut,1731)”는 많은 대중들에게 인기를 얻었고, 시대를 뛰어넘어 작곡가들에게 오페라 소재로 선택되어졌다. 특히, 쥘 마스네(Jule Massenet, 1842-1912)의 오페라 「마농」(Manon)과 지아코모 푸치니(Giacomo Puccini, 1858-1924)의 오페라 「마농 레스코」(Manon Lescaut)는 대표적으로 지금까지 대중에게 많은 사랑을 받고 있다.
본 논문에서는 19세기 후반 프랑스와 이탈리아의 당시 유행했던 오페라 양식과 음악어법이 잘 나타난 이 두 작품을 통하여 하나의 소재에 의해 각기 다른 대본가와 작곡가의 성향에 따라 창조되어진 오페라의 구성, 줄거리 및 각 등장인물의 차이점에 대해 연구하였고, 피날레 부분의 이중창을 중심으로 선율, 화성, 리듬, 템포 등의 측면에서 분석하여 두 작곡가의 음악적 스타일을 비교 연구하였다.
마스네는 전체를 5막으로, 푸치니는 4막으로 구성하였다. 두 작품 모두 1막의 배경과 내용면에 있어 공통되지만 마스네의 작품 제 2막, 3막, 4막의 배경과 푸치니의 작품 제 2막, 3막에서 배경과 시간 흐름에 있어 전개의 차이점을 보였다. 두 작품의 비극적 결말을 맺는 피날레 이중창부분에 있어 마스네의 선율은 가사에 비중을 두어 프랑스어의 뉘앙스를 살린 낭송조의 선율로 나타내 말하는 듯한 표현을 대체로 짧은 악구로 형성하였고, 반주부는 장면과 감정을 묘사하는 방식으로 표현되었다. 반면 푸치니의 성악 선율은 음악에 더 비중을 두어 선율의 악구가 길고 성악 선율이 반주부에 포함된 부분이 많이 보였다. 또한 감정을 극대화 하기위해 대체로 음역이 넓고 풍부한 화성을 사용하여 마스네보다는 극의 긴장감이 더 느껴졌다.
이와 같이 하나의 원작을 가지고 각기 다른 대본가와 작곡가에 의해 새롭게 창조된 두 오페라를 통해 19세기 프랑스와 이탈리아의 시대적 배경과 음악어법에 따라 표현되어진 방법의 차이점을 알 수 있었다.;It was in 1731 that the French author Abbe´ Pre´vost (1697-1763) published "Histoire du Chevalier des Grieux et de Manon Lescaut." The work enjoyed much popularity among the public, and inspired various composers to write operas based on the novel. Especially, Manon by Jule Massenet (1842-1912) and Manon Lescaut by Giacomo Puccini (1858-1924) are considered representative works among such, and are dearly loved by the opera fans to this day.
In this research, the two works, which incorporate the opera forms and styles common in the late nineteenth-century France and Italy, are analyzed and compared. Although based on the same original novel, the two operas are constructed uniquely by different librettists and composers. The musical characteristics of the two composers are compared through the analysis of the musical structures, plots, and main characters of the two operas as well as the melody, harmony, rhythm, and tempo in the duet finales.
In terms of structure, Massenet's Manon consists of five acts, and Puccini's Manon Lescaut consists of four. They share a common scene and plot in the first act; however, Massenet's second, third, and fourth act differ from Puccini's second and third act in time featured and backgrounds. In Massenet's duet finale of tragic ending, melody places emphasis on the text; Massenet uses parlando style well-suited to the French language, and short motifs for the speech-like expressions; the accompaniment describes the scene and the emotions. However, in Puccini's, vocal melody places more emphasis on the music; the phrases in the melody tend to be long; the vocal melody is often included in the accompaniment. Puccini also uses rich harmony, wide in range, in order to dramatize the emotions, thus creating more dramatic tension than Massenet in his work.
Therefore, by examining the two operas based on the same novel, but recreated by different librettists and composers, the contrasting qualities of the historical background and the musical idioms of the nineteenth-century France and Italy are portrayed and brought out.Ⅰ. 서론 = 1
Ⅱ. 이론적 배경 = 3
A. 19세기 프랑스 오페라와 이탈리아 오페라 = 3
B. J. Massenet 와 G. Puccini의 음악 = 12
Ⅲ. J. Massenet 의 오페라 「마농」과 G. Puccini 의 오페라 「마농 레스코」 에 관한 연구 = 23
A. 작품 개요 및 줄거리 = 23
B. 오페라 구성 = 33
C. 소설 “마농 레스코와 기사 데 그리외의 이야기” 와 비교 = 36
Ⅳ. 피날레 이중창을 통한 두 작품의 비교 = 44
A. 마스네「마농」과 푸치니「마농 레스코」의 이중창 분석 = 44
B. 이중창 비교 = 88
Ⅴ. 결론 = 90
참고문헌 = 93
ABSTRACT = 9
« Dans le métro, on n’est pas lesbiennes ». Rendre compte des violences lesbophobes dans les transports par un documentaire : Visibles
No full textDans le documentaire Visibles, coréalisé en 2022 par Manon Marguerit et Félix Cardoso, huit couples de lesbiennes évoquent les violences qu’elles subissent dans les transports en commun franciliens. Dans son article, l’autrice revient sur les conditions de production du documentaire et sur les choix de mise en scène. Ces éléments apportent un éclairage nouveau sur la façon dont les transports en commun intensifient les violences lesbophobes. Par des entretiens et des itinéraires filmés, les transports sont donnés à voir comme des espaces d’enfermement qui favorisent les « stigmatisations verbales » à l’égard des lesbiennes. Ils apparaissent également comme un espace où se déploie leur agentivité : les couples produisent une performance de visibilité que le documentaire restitue dans le contexte d’une mise en scène autour de la notion d’autonomisation.In the documentary Visibles, co-directed in 2022 by Manon Marguerit and Félix Cardoso, eight lesbian couples talk about the violence they experience in public transport in the Paris region. In her paper, the author, looks back at the documentary’s production conditions and directorial choices. Those elements shed a new light on the way public transport intensifies lesbophobic violence. Through interviews and filmed itineraries, transport is depicted as a closed-in space that reinforces « verbal stigmatization » towards Lesbians. They also appear as a space where their agentivity is deployed. The documentary portrays the couples’s performance of visibility in a setting based on the notion of empowerment.En el documental Visibles, codirigido en 2022 por Manon Marguerit y Félix Cardoso, ocho parejas de lesbianas hablan de la violencia que viven en el transporte público de la región de Isla de Francia. En su artículo, la autora analiza las condiciones de producción del documental y las elecciones de puesta en escena. Estos elementos arrojan nueva luz sobre la forma en que el transporte público intensifica la violencia lesbofóbica. A través de entrevistas e itinerarios filmados, los transportes se muestran como espacios de encierro que promueven la « estigmatización verbal » contra las lesbianas. También aparecen como un espacio donde se despliega su agentividad : las parejas producen un espectáculo de visibilidad que el documental restituye en el contexto de una puesta en escena en torno a la noción de autonomización
Cecil Garrison, Tenor
No full textOn Wenlock Edge / Ralph Vaughan Williams; En fermant les yeux , from Manon / Jules Massenet; Deux Romances / Claude Debussy; Tri Amhrán (Three Songs) / Ana Sokolović; Vier vermischte Gesänge / Carl Loewe; Testa adorata . from La Bohème / Ruggero Leoncavall
Cecil Garrison, Tenor
No full textOn Wenlock Edge / Ralph Vaughan Williams; En fermant les yeux , from Manon / Jules Massenet; Deux Romances / Claude Debussy; Tri Amhrán (Three Songs) / Ana Sokolović; Vier vermischte Gesänge / Carl Loewe; Testa adorata . from La Bohème / Ruggero Leoncavall
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