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Edited by Delphine Vincent

Les lettres de Charles Gounod à la duchesse Colonna, sculptrice de renom sous le pseudonyme de Marcello, sont d’un immense intérêt. De caractère intime, elles offrent également des informations sur les projets du compositeur (dont un opéra inachevé d’après l’histoire de Francesca da Rimini), les détails matériels de son activité, son manque d’inspiration, ainsi que sur ses conceptions esthétiques et philosophiques. Entre la création de Roméo et Juliette en 1867 et la fuite de Gounod en Angleterre en 1870, les deux amis partagent leurs joies et leurs préoccupations tant artistiques que personnelles. Cet échange épistolaire enrichit considérablement la compréhension de la personnalité humaine et créatrice de Gounod, ainsi que de son milieu culturel.

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Edited by Mariacruz Castro Ricalde, Mauricio Díaz Calderón and James Ramey

"It was a great night for Mexico, as usual." Donald Trump's words about Alejandro González Iñárritu on Oscars’ night 2014 were a preview of his now-notorious attitude toward Mexicans: "He´s walking away with all the gold? Was it that good? I don´t hear that. It was certainly a big night for them." Although the future president’s comments were offensive, for scholars interested in transnational film and literature, his words were themselves pure gold. For they raise questions about "nation" as a category of representation. When we invoke "Mexican cinema," for example, we imply that some kind of "national cinema" exists – but what is a national cinema? Is the cinema made in the US a national cinema in the same way as that of Mexico’s? And is a film made by a foreigner in Mexico part of Mexican cinema? What does it mean for a film or a literary work to cross a border? And are borders to be defined in geographical terms only, or can they also be cast in terms of gender, sexual orientation, race, or language itself? This book, in short, reflects on the implications of the term "transnational" in relation to film and literature conceived – in any way, shape, or form – as "Mexican."

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Musical Identities and European Perspective

An Interdisciplinary Approach

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Edited by Ivana Perković and Franco Fabbri

This book focuses on the relationship between identity and music in Europe from different angles. It takes two basic categories into account: identities in music and music in identities. The authors provide studies on identity construction in different historical and geographical contexts. They also evaluate the discourse of popular music in Europe and analyze various topics related to complex and changing concepts of identity, whether it is about an individual composer, issues of style or musical work itself.

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Bild, Affekt, Inventio

Zur «Johannespassion» Johann Sebastian Bachs

Benedikt Schubert

Auf Grundlage dreier Zentralbegriffe aus der Musikanschauung der ersten Hälfte des 18. Jahrhunderts (Bild, Affekt, Inventio) unternimmt der Autor eine Neuinterpretation der «Johannespassion» Johann Sebastian Bachs. Konsequent wird dafür zudem erstmalig versucht, eine Synthese aus Quellen der Musikästhetik und der Frömmigkeitspraxis der Zeit herzustellen. Dies führt in der Tat zu einer gänzlich neuen Sicht auf das exemplarisch untersuchte Werk und zur Rekonstruktion vieler jener Ideen, welche das Textverständnis der Zeit nahelegen.

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Re-Place

Irish Theatre Environments

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Lisa FitzGerald

What role does nature play in the cultural world of the theatre? Is the auditorium not a natural environment, and how can theatre and nature aesthetics co-exist in the productive expression of performance? Re-Place: Irish Theatre Environments proposes a new way of thinking about Irish theatre: one that challenges established boundaries between nature and culture and argues for theatre performances to be seen as conceptual ecological environments. Broadening the scope of theatre environments to encompass radiophonic and digital spaces, Re-Place is a timely interrogation of how we understand performance history. This book examines the work, both as text and in production, of three canonical Irish playwrights, J. M. Synge, Samuel Beckett and Brian Friel, and looks at how theatre documentation can further the idea of a natural performance environment. The questions under consideration extend Irish theatre history into the field of the environmental humanities and draw on new materialist discourse to offer exciting and innovative ways to approach performance.

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Emergency Noises

Sound Art and Gender

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Irene Noy

Art history traditionally concentrates on the visual. Sound has either been ignored or has been appreciated in a highly selective manner within a different discipline: music. This book is about recent attempts by artists trained in (West) Germany to provoke listening experiences to awaken the senses. Their work is revolutionary in artistic terms and in what it reveals about human relations, especially concerning issues of gender.

The main focus of the book is to explore a gendered reading of the unity between the visual and the aural, a strand most prominently expressed within sound art in the period from the beginning of the 1960s to the 1980s. The book juxtaposes sources that have not been considered in conjunction with each other before and questions sound art’s premise: is it a separate field or a novel way of understanding art? The study also opens up sound art to gender considerations, asking if the genre possesses the capacity to disrupt conventional, gendered role models and facilitate alternative possibilities of self-definition and agency across genders. Emergency Noises brings to light the work of underrepresented female artists and explores new intersections of sound, art and gender.

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Talking Shakespeare

Notes from a Journey

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Louis Fantasia

Talking Shakespeare is a collection of essays on Shakespeare’s plays and politics and their impact in the world today. Originally given as provocative talks on Shakespeare at some of the most prestigious universities, conferences, and theatres around the world, they reflect on the author’s more than thirty-year career as a producer, director and educator. The essays provide a unique and personal look into multiple aspects of Shakespeare’s world—and ours.

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Listening and Understanding

The Language of Music and How to Interpret It Translated by Ernest Bernhardt-Kabisch

Constantin Floros

To grasp music in its depth dimension is an art that can be learned and perfected. Categories of formal analysis here play a subordinate role – at least as important it is to be consciously aware of timbres, dynamic processes, musical characters and expressions. Following general reflections about the art of listening, the volume in hand presents exemplary work analyses. The roster of composers introduced extends from Mozart to Bernstein, that of the genres discussed from the piano piece to the opera. A detailed register and a survey of the chief works referred to make this book an indispensable companion for both scholars and laymen.

About the German edition of this book:

«In Floros’ book all these details unite to form a magnificent mosaic. Individual works discussed meet us in an entirely new light, and we begin to decipher the language of music with a different set of tools.»

(Helmut Peters)

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Edited by Gustavo Vicente

The way the body is considered and explored in the performing arts has assumed a growing importance, introducing new questions and cross-cutting perspectives on our understanding of the political, sociological and philosophical relevance of the body today.

This book is a meeting point for these questions, bringing together a set of contributors experienced in examining the body’s presence in live performances. It interweaves several disciplinary outlooks, addressing current theoretical debates on the body relating to the theory of affects, ethics, gender, age, discourse and representation.

Looking at recent practice in Portugal, the volume examines several cases where the body and issues of corporeality raise questions of memory, identity, experience and existence. It opens a rare window onto the distinctive Portuguese post-colonial legacy, which has given rise to an intensified search for new forms of bodily affirmation in the world. In so doing, the book conjures up the transformative power of performing arts today: from body into Being.

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Critique d’art et nationalisme

Regards français sur l’art européen au XIXe siècle

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Edited by Thierry Laugée and Carole Rabiller

En histoire de l’art, la critique est l’un des miroirs identitaires d’une nation, la résultante d’un héritage façonné par les codes sociaux et culturels d’un pays. Elle repose sur des conventions qui lui sont propres et admises, consciemment ou non, par ses auteurs et son public. Les textes de critique d’art français informent par conséquent tout autant sur la culture de l’observateur que sur celle de l’observé.

Ce volume réunit douze études du discours français sur l’art des pays voisins dans un contexte de rivalités ou de compétitions internationales. Par l’analyse de commentaires de salons, de comptes rendus d’expositions ou encore d’ouvrages d’histoire de l’art du XIXe siècle, les contributions interrogent la part de chauvinisme, de protectionnisme ou de géopolitique inhérente aux transferts culturels européens. Que ce soit à travers les notions d’école artistique ou de nation, la critique d’art française est devenue un important vecteur de diffusion des stéréotypes nationaux et des conflits ou alliances au sein de l’Europe. Dès lors, le point de vue du critique sur l’œuvre d’un artiste est un matériau de premier choix pour comprendre les dynamiques identitaires. La réunion de ces études vise ainsi à révéler les dimensions anthropologiques et politiques de la critique d’art française du XIXe siècle permettant d’appréhender le discours sur l’art comme une participation à la conscience collective de la spécificité d’une nation.