標題: Titlebook: Echoes of Opera in Modern Italian Poetry; Eros, Tragedy, and N Mattia Acetoso Book 2020 The Editor(s) (if applicable) and The Author(s), un [打印本頁] 作者: COAX 時間: 2025-3-21 17:48
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書目名稱Echoes of Opera in Modern Italian Poetry讀者反饋學科排名
作者: Enzyme 時間: 2025-3-21 20:43 作者: 歡呼 時間: 2025-3-22 00:51 作者: Self-Help-Group 時間: 2025-3-22 05:33
https://doi.org/10.1007/978-1-4614-5170-9ngagement with opera was built on a restless dissatisfaction with its conventions and clichés: harshly critical of contemporary productions, he found that Italian composers did not live up to the ideals established first by the Florentine Camerata. Initially, D’Annunzio pointed to Richard Wagner as 作者: Calculus 時間: 2025-3-22 10:10 作者: 玉米棒子 時間: 2025-3-22 15:50
Socially Responsible Investing,le’s works are an integral part of his philosophically oriented quest for a new poetic language. In his first book, Montale stated that he was obeying “a need for musical expression” and claimed to be the most “musical” poet of his generation, comparing himself to Pascoli and D’Annunzio. Montale’s m作者: 玉米棒子 時間: 2025-3-22 18:49 作者: reaching 時間: 2025-3-23 00:54
https://doi.org/10.1007/978-3-031-27864-8losure while catastrophe rages outside. Montale borrows this theme from famous moments of imprisonment in opera, especially from Verdi’s . and Puccini’s .. Montale’s imprisoned persona represents his growing dissatisfaction with the poetic form itself, his feeling of being trapped within its limits.作者: 增減字母法 時間: 2025-3-23 02:00
,The Case of Cambiemos la Educación,nd aspiring composer, Caproni eventually abandoned musical studies and turned to poetry. But he would still make music the centerpiece of both his fiction and his theoretical writings: in his later, most ambitious collections—. (1975), . (1982), and . (1986)—Caproni sought to imitate opera through t作者: 恫嚇 時間: 2025-3-23 08:49
https://doi.org/10.1007/978-3-319-74430-8stic influence for the Italian poets analyzed, ought to be considered a fundamental facet of their intellectual quests and their artistic productions. These poets did not use operatic tropes as mere poetic ornamentation, but engaged with operatic themes and with the language of librettos in the hope作者: optic-nerve 時間: 2025-3-23 13:26 作者: Throttle 時間: 2025-3-23 16:31
https://doi.org/10.1007/978-3-030-46091-4Italian poets; Italian Opera; 20th century Italy; music and literature; Italian literature; Futurism; infl作者: Malfunction 時間: 2025-3-23 21:31 作者: byline 時間: 2025-3-23 22:29 作者: Headstrong 時間: 2025-3-24 02:53
Introduction, better understanding the relationship between these two art forms. This book focuses on a group of influential twentieth-century poets, who made opera a cornerstone of their artistic craft: D’Annunzio, Saba, Montale, and Caproni. To contextualize these authors’ operatic debts and themes, the introd作者: ORE 時間: 2025-3-24 06:41
,From Bayreuth to Fiume: D’Annunzio, Wagner, and the Death of Italian Opera,ngagement with opera was built on a restless dissatisfaction with its conventions and clichés: harshly critical of contemporary productions, he found that Italian composers did not live up to the ideals established first by the Florentine Camerata. Initially, D’Annunzio pointed to Richard Wagner as 作者: Foregery 時間: 2025-3-24 11:24 作者: 隨意 時間: 2025-3-24 16:10
More Than Words: ,, Opera, and the Miracle of Counter-Eloquence,le’s works are an integral part of his philosophically oriented quest for a new poetic language. In his first book, Montale stated that he was obeying “a need for musical expression” and claimed to be the most “musical” poet of his generation, comparing himself to Pascoli and D’Annunzio. Montale’s m作者: 很是迷惑 時間: 2025-3-24 21:39
,Heart of Darkness: Saba’s Operatic Eroticism, ., comprising poems written between 1922 and 1931. This book is dense with quotations from opera librettos, as well as images, motifs, and dramatic situations borrowed from the operatic repertoire. For Saba, the power of these operatic references lay in their ability to convey the conflicting eleme作者: In-Situ 時間: 2025-3-25 00:59 作者: 伙伴 時間: 2025-3-25 05:58
,Poetry and the Beast: Giorgio Caproni’s Simulations of Opera,nd aspiring composer, Caproni eventually abandoned musical studies and turned to poetry. But he would still make music the centerpiece of both his fiction and his theoretical writings: in his later, most ambitious collections—. (1975), . (1982), and . (1986)—Caproni sought to imitate opera through t作者: Spirometry 時間: 2025-3-25 10:14 作者: 和平主義 時間: 2025-3-25 15:23
Book 2020ence and sheds light on their role in shaping that great poetic tradition. This is the first work in English to analyze the influence of opera on modern Italian poetry, uncovering a fundamental but neglected relationship between the two art forms. A group of Italian poets, from Gabriele D’Annunzio t作者: Gudgeon 時間: 2025-3-25 16:59 作者: 傲慢人 時間: 2025-3-25 20:59 作者: Barrister 時間: 2025-3-26 00:26
Conclusions, These poets did not use operatic tropes as mere poetic ornamentation, but engaged with operatic themes and with the language of librettos in the hopes of overcoming the expressive limitations of lyrical poetry.作者: 流浪者 時間: 2025-3-26 04:44 作者: 責難 時間: 2025-3-26 12:12
Socially Responsible Investing,usical ambition came to pervade his language of antagonism toward his predecessors. His poetic aspiration was to penetrate more fully into the essence of the phenomenal world than these predecessors had, and he saw music—in particular opera—as his means to accomplish this goal.作者: 動作謎 時間: 2025-3-26 15:05
https://doi.org/10.1007/978-3-658-15340-3nts of his soul—most notably, his sexuality. These references manifested his inner conflicts by allowing the poet to stage mini-dramas within his works, using familiar refrains (from popular operas) for his own recurring themes, in particular the “mending” of his broken heart, a metonym of his neuroses and conflicted identity.作者: Constrain 時間: 2025-3-26 17:52
https://doi.org/10.1007/978-3-031-27864-8 By addressing this dissatisfaction through developing thematics of opera, Montale begins to aspire to a new form of tragedy, one that has its roots in ancient Greek theater, but that can be applied to the atrocities of the twentieth century.作者: BIBLE 時間: 2025-3-27 00:16 作者: 帶來墨水 時間: 2025-3-27 01:33
Advertorials in JugendprintmedienPascoli, and Guido Gozzano. Most importantly, the introduction lays out the basic principles of “melopoetics,” the theoretical approach that will guide this book’s exploration of the relationship between modern Italian poetry and opera.作者: Occipital-Lobe 時間: 2025-3-27 07:21
https://doi.org/10.1007/978-1-4614-5170-9ner’s model and advocated a return to Monteverdi, first working to effect this return in his novels, then with his unrealized plans to build an Italian performance space—a Mediterranean equivalent of Wagner’s Festival House in Bayreuth.作者: 征服 時間: 2025-3-27 12:16 作者: 綠州 時間: 2025-3-27 15:37
,From Bayreuth to Fiume: D’Annunzio, Wagner, and the Death of Italian Opera,ner’s model and advocated a return to Monteverdi, first working to effect this return in his novels, then with his unrealized plans to build an Italian performance space—a Mediterranean equivalent of Wagner’s Festival House in Bayreuth.作者: RENAL 時間: 2025-3-27 21:27
Book 2020luence, opera is rather analyzed as a fundamental facet of these poets’ intellectual quest to overcome the expressive limitations of lyrical poetry. This book reframes modern Italian poetry in a truly interdisciplinary perspective, broadening our understanding of its prominence within the humanities, in the twentieth century and beyond..作者: 不連貫 時間: 2025-3-27 21:59
Umberto Saba and the Verdian Sound of Italy,, and open quotations from Verdi’s librettos punctuate Saba’s poems: an analysis of these references allows readers to trace the contours not simply of Saba’s passion for Verdi, but of his deeper notion of “Italianness.”作者: 追逐 時間: 2025-3-28 04:13 作者: Comedienne 時間: 2025-3-28 08:51
,Heart of Darkness: Saba’s Operatic Eroticism,nts of his soul—most notably, his sexuality. These references manifested his inner conflicts by allowing the poet to stage mini-dramas within his works, using familiar refrains (from popular operas) for his own recurring themes, in particular the “mending” of his broken heart, a metonym of his neuroses and conflicted identity.作者: 王得到 時間: 2025-3-28 13:13
Strange Mercy: Montale, Opera, and the Death of Tragedy, By addressing this dissatisfaction through developing thematics of opera, Montale begins to aspire to a new form of tragedy, one that has its roots in ancient Greek theater, but that can be applied to the atrocities of the twentieth century.作者: 動機 時間: 2025-3-28 15:34
,Poetry and the Beast: Giorgio Caproni’s Simulations of Opera,he written word. An analysis of Caproni’s works reveals elements of continuity with Saba and Montale, in particular their shared ambition to address a gnawing restlessness toward the limitations of poetic expression.作者: neolith 時間: 2025-3-28 18:55 作者: 情愛 時間: 2025-3-28 23:49
hey will play an increasingly dominant, if not decisive, role in aerospace engineering. Indeed a future aircraft industry without composites as the prime structural materials is inconceivable. However, in an energy-conscious world the high specific weights and stiffnesses of composites make them an attractive978-94-010-8695-0978-94-009-4952-2作者: Indict 時間: 2025-3-29 04:45 作者: 神刊 時間: 2025-3-29 07:34
