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Examines the way in which Sophocles' play "Oedipus Tyrannus" and its hero, Oedipus, King of Thebes, were probably received in their own time and place, and relates this to twentieth-century receptions and interpretations, including those of Sigmund Freud.
Providing a clear journey through centuries of European, North and South American, African and Asian forms of theatre and performance, this introduction helps the reader think critically about this exciting field through fascinating yet plain-speaking essays and case studies.
Explores the fascinating career of Maurice E. Bandmann and his global theatrical circuit in the early twentieth century.
In contrast to the role traditionally fulfilled by secular rulers, the pope has been perceived as an individual person existing in a body subject to decay and death, yet at the same time a corporeal representation of Christ and the Church, eternity and salvation. Using an array of evidence from the eleventh through the fifteenth centuries, Agostino Paravicini- Bagliani addresses this paradox. He studies the rituals, metaphors, and images of the pope's body as they developed over time and shows how they resulted in the expectation that the pope's body be simultaneously physical and metaphorical. Also included is a particular emphasis on the thirteenth century when, during the pontificate of Boniface VIII (1294-1303), the papal court became the focus of medicine and the natural sciences as physicians devised ways to protect the pope's health and prolong his life. Masterfully translated from the Italian, this engaging history of the pope's body provides a new perspective for readers to understand the papacy, both historically and in our own time.
A collection of letters by Meyerbeer, the operatic composer who died in 1864. Critics have recently re-evaluated his work, recognizing his musical craftmanship, his dramatic sense and his influence on later operatic composers. The editors also edited Letters and Diaries of Meyerbeer.
But these operas are far more than imitations: they show an apprehension of convention and genre that is nothing less than a dismantling of accepted formulas, and a highly original reconstruction of them."--Jacket.
Professor Fulcher argues that French grand opera was a subtly used tool of the state.
In recent years, historians across the world have become increasingly interested in transnational and global approaches to the past. However, the debates surrounding this new border-crossing movement have remained limited in scope as theoretical exchanges on the tasks, responsibilities and potentials of global history have been largely confined to national or regional academic communities. In this groundbreaking book, Dominic Sachsenmaier sets out to redress this imbalance by offering a series of new perspectives on the global and local flows, sociologies of knowledge and hierarchies that are an intrinsic part of historical practice. Taking the United States, Germany and China as his main case studies, he reflects upon the character of different approaches to global history as well as their social, political and cultural contexts. He argues that this new global trend in historiography needs to be supported by a corresponding increase in transnational dialogue, cooperation and exchange.