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In a seminal essay Carl Dahlhaus has pointed out that »often it is possible to turn the ending in a different direction without making any difference to the substance of the tragic course of events leading to it». Dahlhaus’ statement is especially relevant to Italian Romantic opera seria. Whereas Lieto fine was central to the ethics of eighteenth-century Enlightenment opera, Romantic opera turned to heartbreaking tragic endings, often as means of social and political criticism. Yet the ending of a Romantic opera was not inevitable, and a significant proportion of Romantic operas have Lieto fine. An example is Rossini’s «Tancredi» that was premiered in 1813 first with Lieto fine (Venice), then with a tragic ending (Ferrara), and again with Lieto fine (Milan), suggesting that the ending was not essential to the opera. The book analyzes the processes leading to Lieto fine in 23 operas from «Tancredi» to Puccini’s «La Fanciulla del West». This includes mixed endings, such as in Verdi’s «Macbeth» that ends with a hymn of victory, yet centers on the human tragedy of Macbeth and Lady Macbeth. The book discusses both canonic and unjustly neglected operas, such as the socialist «Papa Martin» by Antonio Cagnoni.
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French literature (outside France) --- Film --- Motion picture plays. --- Scénarios de cinéma --- Dormael, Jaco van, --- Mr Nobody (Motion picture) --- 842 --- Literature French drama --- Scénarios de cinéma
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Motion picture plays --- Motion pictures --- Scénarios de cinéma --- Cinéma --- History and criticism --- History --- Histoire et critique --- Histoire --- Film --- Germany --- Scénarios de cinéma --- Cinéma
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Motion picture authorship. --- Motion picture plays --- Technique. --- Scénarios de cinéma --- Scénarios de cinéma --- Film --- Cinéma --- Art d'écrire --- Technique
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Motion picture plays --- Film plays --- Film scripts --- Filmscripts --- Motion picture scripts --- Moving-picture plays --- Photoplays --- Scenarios --- Screen plays --- Screenplays --- Scripts (Motion pictures) --- Drama --- German literature
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Robert L. Belknap's theory of plot illustrates the active and passive roles literature plays in creating its own dynamic reading experience. Literary narrative enchants us through its development of plot, but plot tells its own story about the making of narrative, revealing through its structures, preoccupations, and strategies of representation critical details about how and when a work came into being.Through a rich reading of Shakespeare's King Lear and Dostoevsky's Crime and Punishment, Belknap explores the spatial, chronological, and causal aspects of plot, its brilliant manipulation of reader frustration and involvement, and its critical cohesion of characters. He considers Shakespeare's transformation of dramatic plot through parallelism, conflict, resolution, and recognition. He then follows with Dostoevsky's development of the rhetorical and moral devices of nineteenth-century Russian fiction, along with its epistolary and detective genres, to embed the reader in the murder Raskolnikov commits. Dostoevsky's reinvention of the psychological plot was profound, and Belknap effectively challenges the idea that the author abused causality to achieve his ideological conclusion. In a final chapter, Belknap argues that plots teach us novelistic rather than poetic justice. Operating according to their own logic, plots provide us with a compelling way to see and order our world.
Plots (Drama, novel, etc.) --- Fiction --- Fiction writing --- Metafiction --- Writing, Fiction --- Authorship --- Drama --- Dramatic plots --- Novels --- Scenarios --- Literature --- Technique. --- Plot --- Plots --- Technique
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Bizet, Georges --- Opera --- Operas --- Realism in opera --- Musical analysis --- Opéra --- Opéras --- Réalisme à l'opéra --- Analyse musicale --- Scenarios --- Scénarios --- Bizet, Georges,
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Theatrical science --- Mass communications --- Television plays --- -#SBIB:309H520 --- Plays, Television --- Scenarios, Television --- Television drama --- Drama --- Television programs --- Television scripts --- History and criticism --- Audiovisuele communicatie: algemene werken --- History and criticism. --- -Plays, Television
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Drama --- 792.097 --- Television plays --- -Plays, Television --- Scenarios, Television --- Television drama --- Television programs --- Television scripts --- Televisiespelen. Televisiedrama's --- History and criticism --- -Televisiespelen. Televisiedrama's --- 792.097 Televisiespelen. Televisiedrama's --- -792.097 Televisiespelen. Televisiedrama's --- Plays, Television
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Motion picture plays --- Scénarios de cinéma --- Blood simple (Motion picture) --- Joel and Ethan Coen --- scenario's --- #SBIB:309H1327 --- film --- 791.44 --- Films met een amusementsfunctie en/of esthetische functie: script --- Scénarios de cinéma --- American literature
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