Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Doelstelling: Het doel van deze scriptie is twee Nederlandstalige boventitelingen van de opera Peter Grimes van Benjamin Britten te vergelijken met elkaar, en met het originele Engelstalige libretto, en de twee vertalingen waarop de boventiteling deels zijn gebaseerd te vergelijken met elkaar. Middelen of methode: De analyse bestaat uit drie onderdelen. Eerst worden de boventitelingen vergeleken met de brontekst. Daarna worden beide boventitelingen met elkaar vergeleken. Tot slot worden de vertalingen, waarop de respectievelijke boventitelingen zijn gebaseerd, met elkaar vergeleken. Alle bevindingen worden ondergebracht in verschillende categorieën, bv. mogelijke motieven, aanspreekvormen, culturele referenties,... Resultaten: De hypothese wordt bevestigd dat de boventiteling een sterk gereduceerde vorm van het operalibretto is. De verschillen tussen de boventitelingen zijn mogelijk beinvloed door het gebruik van niet enkel de Engelstalige brontekst, maar evenzeer de Nederlandstalige vertaling van die brontekst. Toekomstig onderzoek zou kunnen uitwijzen op welke criteria boventitelaars zich baseren bij hun beslissingen.

Benjamin Britten. --- Boventiteling. --- Engels. --- Libretto. --- Nederlands. --- Opera. --- Operavertaling. --- Peter Grimes. --- Vergelijkend onderzoek. --- Vertaalroutines. --- Vertaling en vergelijking met bestaande vertaling.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Benjamin Britten: New Perspectives on his Life and Work reveals the extent to which Britten scholarship is reaching outside the confines of Anglo-American criticism. The volume engages with juvenilia and other orchestral works from the 1920s and examines a broad range of influences on Britten, including the works of Shostakovich and Verdi, the poetry of Ovid, and the cinema. Among his operatic works the dramatic qualities of Owen Wingrave arediscussed through a close study of Piper's libretto and we witness the genesis of a libretto written by Australian novelist Patrick White and submitted to Britten with the hope of a future collaboration. The volume uncovers the generally hostile reception Britten's operas received in Paris until around the 1990s. Britten's status as 'outsider' in both the USA and in his own country when he returned in 1942 is discussed.

Britten, Benjamin, --- Criticism and interpretation. --- Britten, Edward Benjamin --- Britten, Benjamin --- Britten, Benjamin E. --- MUSIC / History & Criticism. --- 20th Century. --- Benjamin Britten. --- Collaboration. --- Influences. --- Life. --- Music. --- Opera. --- Owen Wingrave. --- Paris. --- Patrick White. --- Second World War. --- Shostakovich. --- Verdi. --- Work.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

E. M. Forster first encountered Billy Budd in 1926. Some twenty years later, he embarked on a collaboration with Benjamin Britten and Eric Crozier, adapting Melville's novella for the opera stage. The libretto they produced poignantly reaffirms the Forsterian creed of salvation through personal relationships. This study presents an extensive exploration of Forster's involvement in the interpretation, transformation and re-creation of Melville's text. It situates the story of the Handsome Sailor in the wider context of Forster's literary oeuvre, his life, and his life writings. In detailed readings, Billy Budd becomes a lens through which the themes, patterns and leitmotifs of Forsterian thought and creative imagination are brought into focus. A close re-examination of the libretto sketches serves to shed new light on the collaborative process in which Melville's story was changed to fit an archetypal array of plot and character types that is central to Forster's own storytelling.

Libretto. --- Literature --- History and criticism. --- Melville, Herman, --- Forster, E. M. --- Britten, Benjamin, --- Storytelling --- Opera --- Melville --- Forster --- Britten --- Novella --- Benjamin Britten --- Billy Budd (opera) --- E. M. Forster --- Herman Melville --- Homosexuality --- Libretto

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

E. M. Forster first encountered Billy Budd in 1926. Some twenty years later, he embarked on a collaboration with Benjamin Britten and Eric Crozier, adapting Melville's novella for the opera stage. The libretto they produced poignantly reaffirms the Forsterian creed of salvation through personal relationships. This study presents an extensive exploration of Forster's involvement in the interpretation, transformation and re-creation of Melville's text. It situates the story of the Handsome Sailor in the wider context of Forster's literary oeuvre, his life, and his life writings. In detailed readings, Billy Budd becomes a lens through which the themes, patterns and leitmotifs of Forsterian thought and creative imagination are brought into focus. A close re-examination of the libretto sketches serves to shed new light on the collaborative process in which Melville's story was changed to fit an archetypal array of plot and character types that is central to Forster's own storytelling.

Libretto. --- Literature --- Storytelling --- Opera --- Melville --- Forster --- Britten --- Novella --- Benjamin Britten --- Billy Budd (opera) --- E. M. Forster --- Herman Melville --- Homosexuality --- Libretto --- History and criticism. --- Melville, Herman, --- Forster, E. M. --- Britten, Benjamin,

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

An intimate and readable account, filled with interesting and amusing anecdotes, of a highly creative period in English musical history.

Music publishing --- Music --- Music trade --- Publishers and publishing --- Music printing --- History --- History and criticism. --- Publishing --- Foss, Hubert J., --- Foss, Dora. --- Foss, Dora --- Arthur Bliss. --- Benjamin Britten. --- British music. --- Constant Lambert. --- Henry J. Wood. --- James Joyce. --- Leopold Stokowski. --- Michael Tippett. --- Percy Scholes. --- Peter Warlock. --- Ralph Vaughan Williams. --- Roger Quilter. --- Thomas Hardy. --- Walter de la Mare. --- William Walton.