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Opera and society in Italy and France from Monteverdi to Bourdieu
Victoria Johnson, Jane F. Fulcher and Thomas Ertman
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Frontmatter
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List of illustrations (page xi)
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List of tables (page xii)
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List of musical examples (page xiii)
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Notes on contributors (page xv)
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Foreword (Craig Calhoun, page xxi)
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Acknowledgments (page xxxii)
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Introduction: Opera and the academic turns (Victoria Johnson, page 1)
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I The Representation of Social and Political Relations in Operatic Works
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Introduction to Part I (Jane F. Fulcher, page 29)
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1 Venice's mythic empires: Truth and verisimilitude in Venetian opera (Wendy Heller, page 34)
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2 Lully's on-stage societies (Rebecca Harris-Warrick, page 53)
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3 Representations of le peuple in French opera, 1673-1764 (Catherine Kintzler, page 72)
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4 Women's roles in Meyerbeer's operas: How Italian heroines are reflected in French grand opera (Naomi André, page 87)
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5 The effect of a bomb in the hall: The French "opera of ideas" and its cultural role in the 1920s (Jane F. Fulcher, page 115)
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II The Institutional Bases for the Production and Reception of Opera
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Introduction to Part II (Thomas Ertman, page 135)
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6 State and market, production and style: An interdisciplinary approach to eighteenth-century Italian opera history (Franco Piperno, page 138)
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7 Opera and the cultural authority of the capital city (William Weber, page 160)
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8 "Edizioni distrutte" and the significance of operatic choruses during the Risorgimento (Philip Gossett, page 181)
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9 Opera in France, 1870-1914: Between nationalism and foreign imports (Christophe Charle. Translated by Jennifer Boittin, page 243)
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10 Fascism and the operatic unconscious (Michael P. Steinberg and Suzanne Stewart-Steinberg, page 267)
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III Theorizing Opera and the Social
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Introduction to Part III (Victoria Johnson, page 291)
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11 On opera and society (assuming a relationship) (Herbert Lindenberger, page 294)
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12 Symbolic domination and contestation in French music: Shifting the paradigm from Adorno to Bourdieu (Jane F. Fulcher, page 312)
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13 Rewriting history from the losers' point of view: French Grand Opera and modernity (Antoine Hennion. Translated by Sarah Boittin, page 330)
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14 Conclusion: Towards a new understanding of the history of opera? (Thomas Ertman, page 351)
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Bibliography (page 364)
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Index (page 395)
Citable Link
Published: c2007
Publisher: Cambridge University Press
- 9780511321931 (ebook)
- 9780521856751 (hardcover)