000			03652cam a2200409Ki 4500
001			ocn960642783
003			OCoLC
005			20240726105019.0
008			161013s2016 mdu ob 001 0 eng d
040			_aNT _beng _erda _epn _cNT _dOCLCO _dYDX _dEBLCP
020			_a9781421420639 _q((electronic)l(electronic)ctronic)
050	0	4	_aML1705 _b.M634 2016
049			_aMAIN
245	1	0	_aModernism and opera /edited by Richard Begam and Matthew Wilson Smith.
260			_aBaltimore : _bJohns Hopkins University Press, _c(c)2016.
300			_a1 online resource.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
490	0		_aHopkins studies in modernism
504			_a2
520	8		_aAt first glance, modernism and opera may seem like strange bedfellows-the former hostile to sentiment, the latter wearing its heart on its sleeve. And yet these apparent opposites attract: many operas are aesthetically avant-garde, politically subversive, and socially transgressive. From the proto-modernist strains of Richard Wagner's Parsifal through the twenty-first-century modernism of Kaija Saariaho's L'amour de loin, the duet between modernism and opera, at turns harmonious and dissonant, has been one of the central artistic events of modernity. Despite this centrality, scholars of modernist literature only rarely venture into opera, and music scholars generally return the favor by leaving literature to one side. But opera, that grand cauldron of the arts, demands that scholars, too, share the stage with one another. In Modernism and Opera, Richard Begam and Matthew Wilson Smith bring together musicologists, literary critics, and theater scholars for the first time in a mutual endeavor to trace certain key moments in the history of modernism and opera.
505	0	0	_aCover; Half-title; Title Page; Copyright Page; Dedication; Contents; Acknowledgments; Introduction; I: World War I and Before: Crises of Gender and Theatricality; 1. Laughing at the Redeemer: Kundry and the Paradox of Parsifal; 2. Maeterlinck, Debussy, and Modernism; 3. Echoes of the Self: Cosmic Loneliness in Bartók's Duke Bluebeard's Castle; II: Interwar Modernism: Movement and Countermovement; 4. The Great War and Its Aftermath: Strauss and Hofmannsthal's "Third-Way Modernism"; 5. Adorno's Shifting Wozzeck
505	0	0	_a6. Many Modernisms, Two Makropulos Cases: Capek, Janáček, and the Shifting Avant-Gardes of Interwar Prague7. Schoenberg, Modernism, and Degeneracy; 8. Gertrude Stein, Minimalism, and Modern Opera; III: Opera after World War II: Tensions of Institutional Modernism; 9. Stravinsky, Auden, and the Midcentury Modernism of The Rake's Progress; 10. Gloriana and the New Elizabethan Age; 11. One Saint in Eight Tableaux: The Untimely Modernism of Olivier Messiaen's Saint François d'Assise; 12. Saariaho's L'Amour de Loin: Modernist Opera in the Twenty-First Century; Contributors; Index; A; B; C; D; E; F
505	0	0	_aGH; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; X; Y; Z
530			_a2 _ub
650		0	_aOpera _y20th century.
650		0	_aModernism (Music)
655		1	_aElectronic Books.
700	1		_aBegam, Richard, _d1950- _e5
700	1		_aSmith, Matthew Wilson, _e5
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1220075&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hML _m2016 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c86059 _d86059
902			_a1 _bCynthia Snell _c1 _dCynthia Snell