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This volume is a reference source to literature in the English language throughout the world. It provides a survey of the world-wide literary tradition of this area, and offers explanations of genres, movements, critical terms and literary concepts.
Biographical sketches of the composers and critical interpretations of their productions accompany these summaries of eighty-seven famous operas
Although many opera dictionaries and encyclopedias are available, very few are devoted exclusively to operas in a single language. In this revised and expanded edition of Operas in English: A Dictionary, Margaret Ross Griffel brings up to date her original work on operas written specifically to an English text (including works both originally prepared in English, as well as English translations). Since its original publication in 1999, Griffel has added nearly 800 entries to the 4,300 from the original volume, covering the world of opera in the English language from 1634 through 2011. Listed alphabetically by letter, each opera entry includes alternative titles, if any; a full, descriptive title; the number of acts; the composer’s name; the librettist’s name, the original language of the libretto, and the original source of the text, with the source title; the date, place, and cast of the first performance; the date of composition, if it occurred substantially earlier than the premiere date; similar information for the first U.S. (including colonial) and British (i.e., in England, Scotland, or Wales) performances, where applicable; a brief plot summary; the main characters (names and vocal ranges, where known); some of the especially noteworthy numbers cited by name; comments on special musical problems, techniques, or other significant aspects; and other settings of the text, including non-English ones, and/or other operas involving the same story or characters (cross references are indicated by asterisks). Entries also include such information as first and critical editions of the score and libretto; a bibliography, ranging from scholarly studies to more informal journal articles and reviews; a discography; and information on video recordings. Griffel also includes four appendixes, a selective bibliography, and two indexes. The first appendix lists composers, their places and years of birth and death, and their operas included in the text as entries; the second does the same for librettists; the third records authors whose works inspired or were adapted for the librettos; and the fourth comprises a chronological listing of the A–Z entries, including as well as the date of first performance, the city of the premiere, the short title of the opera, and the composer. Griffel also include a main character index and an index of singers, conductors, producers, and other key figures.
This classic collection features 25 tales shaped by gothic's mood of menace and the macabre. In addition to the world-famous title novel, the anthology includes Horace Walpole's The Castle of Otranto, which launched the gothic novel craze, as well as stories by H. P. Lovecraft, Edgar Allan Poe, Mary Shelley, Arthur Machen, Louisa May Alcott, E. T. A. Hoffmann, J. Sheridan Le Fanu, and Vernon Lee.
Who doesn't dream of writing a novel while holding on to a day job? Robert J. Ray and coauthor Bret Norris can help readers do just that, with this proven practical and accessible step-by-step guide to completing a novel in just a year's worth of weekends. The Weekend Novelist shows writers of all levels how to divide their writing time into weekend work sessions, and how to handle character, scene, and plot. This new, revised version is far more skills-based than its predecessor, and includes both classic and contemporary literature models, contains a sample "Novel in Progress," and at the end offers readers the choice to rewrite their novel, draft a memoir, or turn their rough draft into a screenplay. Readers for a decade have been instructed and inspired by The Weekend Novelist. This new edition will help many more strive to realize their writing potential. • Offers a practical, structured approach to finishing a novel • Ray has taught more than 10,000 students over 25 years and continues to teach new classes that attract new readers to his books
From the original libretto of Andrew Lloyd Webber's world-famous, multi-award-winning musical that has been playing continuously around the world for over 33 years comes this fully authorized graphic novel adaptation. In 1881 the cast and crew of a new production, Hannibal, are terrorized by the Phantom of the Opera, a mysterious, hideously disfigured man who lives beneath the Paris Opera House. Hopelessly in love and obsessed with one of the chorus singers, the Phantom will stop at nothing to make her the star of the show, even if that means murder.
This volume takes an interdisciplinary approach to studying a wide range of subjects associated with the creation, performance and reception of 'opera' in varying social and historical contexts from the eighteenth to the twentieth centuries. Each essay addresses migrations between genres, cultures, literary and musical works, modes of expression, media of presentation and aesthetics. Although the directions the contributions take are diverse, they converge in significant ways, particularly with the rebuttal of the notion of the singular nature of the operatic work. The volume strongly asserts that works are meaningfully transformed by the manifold circumstances of their creation and reception, and that these circumstances have an impact on the life of those works in their many transformations and on a given audience's experience of them. Topics covered include transformations of literary sources and their migration into the operatic genre; works that move across geographical and social boundaries into different cultural contexts; movements between media and/or genre as well as alterations through interpretation and performance of the composer's creation; the translation of spoken theatre to lyric theatre; the theoretical issues contingent on the rendering of 'speech' into 'song'; and the transforming effects of aesthetic considerations as they bear on opera. Crossing over disciplinary boundaries between music, literary studies, history, cultural studies and art history, the volume enriches our knowledge and understanding of the operatic experience and the works. The book will therefore appeal to those working in the field of music, literary and cultural studies, and to those with a particular interest in opera and musical theatre.
Letters and journals form the basis for this illuminating account of the lives of the women of the Wordsworth, Coleridge and Southey households. It tells the story of their passionate attachments, petty jealousies, the deaths of children, the realities of chronic ill health and barbaric medical practice, and the suppression of their own talents.
From Oscar Wilde's witty observation in Lady Windermere's Fan that 'I can resist everything except temptation', to Zsa Zsa Gabor's admission that 'I know nothing about sex, because I was always married', and by way of Woody Allen's numerous bon mots to the anonymous definition of psychiatry as being 'the care of the id by the odd', Connie Robertson has woven together a hilarious, stimulating and thought-provoking collection of the best humorous quotations which will provide the reader with much to ponder over long after the book has been put aside.The Wordsworth Book of Humorous Quotations will delight the browser and the simply curious while also providing the student, journalist and after-dinner speaker with a wealth of valuable material.