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Recent developments in Pentateuchal studies - from both diachronic (historical) and synchronic (literary-textual) perspectives - have made it possible to read Genesis 18 and 19, the evocative story of Abraham and Lot, in a new light. This work uses both types of approach to examine the text, (1) considered in its own terms - its structural and linguistic features, in a detailed close reading of each verse - and (2) considered in terms of its symbolism and imagery in relation to those found in comparable cultures of the ancient Middle East. The end product is an integrated reading of the Abraham and Lot story as a sustained literary unit, and the reading process demonstrates the value of a range of exegetical methods - structuralist, linguistic, literary, historical and anthropological - in the continuing exploration of this well-known biblical narrative.

Bible --- Criticism, interpretation, etc --- 222.2 --- Genesis --- Bible. --- Criticism, interpretation, etc. --- Exegesis --- Genesis (Book of the Bible) --- Literary Structure

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Operetta developed in the second half of the 19th century from the French opéra-comique and the more lighthearted German Singspiel. As the century progressed, the serious concerns of mainstream opera were sustained and intensified, leaving a gap between opéra-comique and vaudeville that necessitated a new type of stage work. Jacques Offenbach, son of a Cologne synagogue cantor, established himself in Paris with his series of opéras-bouffes. The popular success of this individual new form of entertainment light, humorous, satirical and also sentimental led to the emergence of operetta as a sepa

Music --- opera's --- muziekgeschiedenis --- anno 1900-1999 --- anno 1800-1899 --- Europe --- Opérettes --- Operetta. --- Opérette --- Opérette --- Comic opera --- Musical farce --- Opera --- Liederspiel

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Opéra comique --- Opera --- Opéra-comique --- Opéra --- Opéra-Comique (Paris, France) --- Music --- opéra comique --- muziekgeschiedenis --- France

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This second volume of Meyerbeer's non-operatic work is devoted to his secular choral writing for male voices, solo songs with chorus, and later songs with instrumental obbligato and local colour. Choral writing-so much part of the operatic tradition, also germane to religious music, and integral to the public music of celebration-is fundamental to the next genre Meyerbeer wrote for, the part-song, a typical German tradition. Meyerbeer's part-songs for male chorus, most of which were provided...

Vocal music --- Music --- History and criticism. --- Meyerbeer, Giacomo, --- Beer, Jakob Liebmann Meyer

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Cesare Pugni was born in Genoa on 31 May 1802, and studied in Milan from 1815 to 1822, with Antonio Rollo and Bonifazio Asioli. He became a cymbalist in the theatre orchestra, and on the death of Vincenzo Lavigna, was appointed musical director. He late

Ballets --- History and criticism. --- Pugni, Cesare, --- Пуни, Цезарь, --- Puni, T︠S︡ezarʹ, --- Criticism and interpretation.