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Traditionally, the history of Ancient Greek literature ends with Antiquity: after the fall of Rome, the literary works in ancient Greek generally belong to the domain of the Byzantine Empire. However, after the Byzantine refugees restored the knowledge of Ancient Greek in the west during the early humanistic period (15th century), Italian scholars (and later their French, German, Spanish colleagues) started to use Greek, a purely literary language that no one spoke, for their own texts and poems. This habit persisted with various ups and downs throughout the centuries, according to the development of Greek studies in each country. The aim of this anthology - the first one of this kind - is to give a selective overview of this kind of humanistic poetry in Ancient Greek, embracing all major regions of Europe and trying to concentrate on remarkable pieces of important poets. The ultimate goal of the book is to shed light on an important and so far mostly neglected aspect of the European heritage.
This is the first book-length study of the rich operatic repertory written and performed in France during the last two decades of the nineteenth century. Steven Huebner gives an accessible and colorful account of such operatic favorites as Manon and Werther by Massenet, Louise by Charpentier, and lesser-known gems such as Chabrier's Le Roi malgré lui and Chausson's Le Roi Arthus.
An examination of the female opera singer during the nineteenth and twentieth centuries.
The textual monuments of Greco-Roman antiquity, as is well known, were a staple of Europe’s educated classes since the Renaissance. That the Reformation ushered in a new understanding of human fate and history is equally a commonplace of modern scholarship. The present study probes attitudes towards Greek antiquity by of a group of Lutheran humanists. Concentrating on Philipp Melanchthon, several of his colleagues and students, and a broader Melanchthonian milieu, a Lutheran understanding of Pagan and Christian Greek antiquity is traced in its sixteenth century context, positing it within the framework of Protestant universal history, pedagogical concerns, and the newly made acquaintance with Byzantine texts and post-Byzantine Greeks – demonstrating the need to historicize Antiquity itself in Renaissance studies and beyond.
This book is a novel attempt to understand humanism as a socially meaningful cultural idiom in late Renaissance East Central Europe. Through an exploration of geographical regions that are relatively little known to an English reading public, it argues that late sixteenth-century East Central Europe was culturally thriving and intellectually open in the period between Copernicus and Galileo. Humanism was a dominant cluster of shared intellectual practices and cultural values that brought a number of concrete benefits both to the social-climber intellectual and to the social elite. Two exemplary case studies illustrate this thesis in substantive detail, and highlight the ambivalences and difficulties court humanists routinely faced. The protagonists Johannes Sambucus and Andreas Dudith, both born in the Kingdom of Hungary, were two of the major humanists of the Habsburg court, central figures in cosmopolitan networks of men of learning and characteristic representatives of an Erasmian spirit that was struggling for survival in the face of confessionalisation. Through an analysis of their careers at court and a presentation of their self-fashioning as savants and courtiers, the book explores the social and political significance of their humanist learning and intellectual strategies.
Opera Acts explores a wealth of new historical material about singers in the late nineteenth century and challenges the idea that this was a period of decline for the opera singer. In detailed case studies of four figures - the late Verdi baritone Victor Maurel; Bizet's first Carmen, Célestine Galli-Marié; Massenet's muse of the 1880s and 1890s, Sibyl Sanderson; and the early Wagner star Jean de Reszke - Karen Henson argues that singers in the late nineteenth century continued to be important, but in ways that were not conventionally 'vocal'. Instead they enjoyed a freedom and creativity based on their ability to express text, act and communicate physically, and exploit the era's media. By these and other means, singers played a crucial role in the creation of opera up to the end of the nineteenth century.
The 1889 Exposition universelle in Paris is famous as a turning point in the history of French music, and modern music generally. This book explores the ways in which music was used, exhibited, listened to, and written about during the Exposition universelle. It also reveals the sociopolitical uses of music in France during the 19th century.
"Jann Pasler's remarkable Composing the Citizen reaches well beyond what any book concerned with music in society has ever attempted. Concentrating on France of the Third Republic, from the 1870s through the early 1900s, she demonstrates convincingly how music--whether new, old, popular, or élite, whether performed at institutions of state (such as the Opéra), the Folies Bergère, concert halls, or the zoo--helped to redefine what it meant to be French under evolving political circumstances. Equally adept in the languages of history, sociology, political science, reception history, and music analysis, Pasler establishes music's cultural significance and implicitly illuminates the role it can still play in countries like the United States."--Philip Gossett, The University of Chicago and University of Rome, La Sapienza "Composing the Citizen offers nothing less than a new paradigm for the study of musical cultures. Rather than forcing French music into the moulds developed for the Austro-German canon, Pasler simply studies the social uses of music in fin-de-siècle France. Her painstaking archival research allows her to present an astonishingly detailed account of musical practices, tastes, and activities; new names and genres come to the fore to engage in a variety of dynamic artistic scenes most of us never knew--or only thought we did by virtue of having read Proust. A masterwork of a scholar at the very peak of her career."--Susan McClary, MacArthur Fellow 1995 and author of Georges Bizet: Carmen and Modal Subjectivities: Self-Fashioning in the Italian Madgrigal "Utilité publique: a common-sense republican notion of sweeping consequence. In this greatly anticipated volume Jann Pasler uses it as touchstone, showing how and why musical life so mattered in Third-Republic France: layer after layer of it, in a journey that takes us past the Opéra and Conservatoire to the pops concerts, department stores, the zoo, the world's fairs, the overseas colonies. Companionable as a well-worn Baedeker, seductive as Roger Shattuck's The Banquet Years, this exquisitely styled and paced achievement is also a compelling read."--D. Kern Holoman, author of Berlioz and The Société des Concerts du Conservatoire, 1828-1967
Heroism, art, and new media : France and identity formation. Unifying the French nation : Savorgnan de Brazza and the Third Republic / Edward Berenson ; New media, source-bonding, and alienation : listening at the 1889 Exposition Universelle / Annegret Fauser ; Debussy and the making of a musicien français : Pelléas, the press, and World War I / Barbara L. Kelly ; A bas Wagner! : the French press campaign against Wagner during World War I / Marion Schmid -- Canon, style, and political alignment. D'Indy's Beethoven / Steven Huebner ; Messidor : republican patriotism and the French revolutionary tradition in Third Republic opera / James Ross ; The symphony and national identity in early twentieth-century France / Brian Hart ; Transcending the word? : religion and music in Gauguin's quest for abstraction / Debora Silverman ; Jolivet's search for a new French voice : spiritual otherness in Mana (1935) / Deborah Mawer -- Regionalism. Rameau in late nineteenth-century Dijon : memorial, festival, fiasco / Katharine Ellis ; Becoming Alsatian : anti-German and pro-French cultural propaganda in Alsace, 1898-1914 / Detmar Klein ; National identity and the double border in Lorraine, 1870-1914 / Didier Francfort.
A distinctive history of the traditions of reading and life in the Renaissance library, as seen in the texts of Renaissance intellectuals