Songs & Sonnets to Ophelia
Author | : Jake Heggie |
Publisher | : |
Total Pages | : 30 |
Release | : 1999 |
Genre | : Songs (High voice) with piano |
ISBN | : |
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Author | : Jake Heggie |
Publisher | : |
Total Pages | : 30 |
Release | : 1999 |
Genre | : Songs (High voice) with piano |
ISBN | : |
Author | : Theodora Goss |
Publisher | : Mythic Delirium Books |
Total Pages | : 126 |
Release | : 2020-04-10 |
Genre | : Poetry |
ISBN | : |
“The collection you hold in your hands is otherworldly, it is elegant, it is delicate. It is graceful, it is exquisite and ethereal. It is full of flowers and fairies and a piercing, thorny longing.” —from the introduction by Catherynne M. Valente A Mythopoeic Award finalist Songs for Ophelia gathers together eighty of Theodora Goss's otherworldly poems which lead the reader, as though under a spell, through the unfolding of the seasons and into the realm of pure magic. "Willows, dancing maidens, gypsies, mothers, lovers, daughters, magic animals, living waters, and transformations of all kinds abound in these gorgeous poems. With her formal prosody, her fairytale subjects, and her insights on love and loss and longing, Goss manages, Janus-like, to look back to the Victorians and inward at the heart of a modern woman with intelligence and grace." —Delia Sherman Cover art by Virginia Lee
Author | : Frederick William Sternfeld |
Publisher | : Psychology Press |
Total Pages | : 392 |
Release | : 2005 |
Genre | : Literary Criticism |
ISBN | : 9780415353274 |
First published in 1963. When originally published this book was the first to treat at full length the contribution which music makes to Shakespeare's great tragedies, among them Hamlet, Othello, and King Lear. Here the playwright's practices are studied in conjunction with those of his contemporaries: Marlowe and Jonson, Marston and Chapman. From these comparative assessments there emerges the method that is peculiar to Shakespeare: the employment of song and instrumental music to a degree hitherto unknown, and their use as an integral part of the dramatic structure.
Author | : Deanne Williams |
Publisher | : Springer |
Total Pages | : 414 |
Release | : 2012-04-09 |
Genre | : Literary Criticism |
ISBN | : 1137016469 |
This collection of new essays is the first to explore the rich afterlife of one of Shakespeare's most recognizable characters. With contributions from an international group of established and emerging scholars, The Afterlife of Ophelia moves beyond the confines of existing scholarship and forges new lines of inquiry beyond Shakespeare studies.
Author | : Sophia Bennett |
Publisher | : Stripes Publishing |
Total Pages | : 400 |
Release | : 2017-03-09 |
Genre | : |
ISBN | : 9781847158109 |
When Mary Adams sees Millais’ depiction of the tragic Ophelia, a whole new world opens up for her. Determined to find out more about the beautiful girl in the painting, she hears the story of Lizzie Siddal – a girl from a modest background, not unlike her own, who has found fame and fortune against the odds. Mary sets out to become a Pre-Raphaelite muse, too, and reinvents herself as Persephone Lavelle. But as she fights her way to become the new face of London’s glittering art scene, ‘Persephone’ ends up mingling with some of the city’s more nefarious types and is forced to make some impossible choices. Will Persephone be forced to betray those she loves, and even the person she once was, if she is to achieve her dreams?
Author | : Leslie C. Dunn |
Publisher | : Cambridge University Press |
Total Pages | : 278 |
Release | : 1994 |
Genre | : Music |
ISBN | : 9780521585835 |
As a material link between body and culture, self and other, the voice has been endlessly fascinating to artists and critics. Yet it is the voices of women that have inspired the greatest fascination, as well as the deepest ambivalence, because the female voice signifies sexual otherness as well as sexual and cultural power. Embodied Voices explores cultural manifestations of female vocality in the light of current theories of subjectivity, the body and sexual difference. The fourteen essays collected here examine a wide spectrum of discourses, including myth, literature, music, film, psychoanalysis, and critical theory. Though diverse in their critical approaches, the essays are united in their attempt to articulate the compelling yet problematic intersections of gender, voice, and embodiment as they have shaped the textual representation of women and women's self-expression in performance.
Author | : Caridad Svich |
Publisher | : Lulu.com |
Total Pages | : 159 |
Release | : 2008-09-01 |
Genre | : Fiction |
ISBN | : 0615249183 |
"Previously published in the anthology Performed the here and now: an introduction to contemporary theater and performance edited by Chris Danowski ... and also in the independent literary journal CallReview (issue #2, 2004)"--T.p. verso.
Author | : Inge van Rij |
Publisher | : Cambridge University Press |
Total Pages | : 216 |
Release | : 2006-11-02 |
Genre | : Music |
ISBN | : 0521835585 |
A detailed analysis of the songs of Johannes Brahms.
Author | : Erin Minear |
Publisher | : Routledge |
Total Pages | : 338 |
Release | : 2016-04-08 |
Genre | : Literary Criticism |
ISBN | : 1317063724 |
In this study, Erin Minear explores the fascination of Shakespeare and Milton with the ability of music-heard, imagined, or remembered-to infiltrate language. Such infected language reproduces not so much the formal or sonic properties of music as its effects. Shakespeare's and Milton's understanding of these effects was determined, she argues, by history and culture as well as individual sensibility. They portray music as uncanny and divine, expressive and opaque, promoting associative rather than logical thought processes and unearthing unexpected memories. The title reflects the multiple and overlapping meanings of reverberation in the study: the lingering and infectious nature of musical sound; the questionable status of audible, earthly music as an echo of celestial harmonies; and one writer's allusions to another. Minear argues that many of the qualities that seem to us characteristically 'Shakespearean' stem from Shakespeare's engagement with how music works-and that Milton was deeply influenced by this aspect of Shakespearean poetics. Analyzing Milton's account of Shakespeare's 'warbled notes,' she demonstrates that he saw Shakespeare as a peculiarly musical poet, deeply and obscurely moving his audience with language that has ceased to mean, but nonetheless lingers hauntingly in the mind. Obsessed with the relationship between words and music for reasons of his own, including his father's profession as a composer, Milton would adopt, adapt, and finally reject Shakespeare's form of musical poetics in his own quest to 'join the angel choir.' Offering a new way of looking at the work of two major authors, this study engages and challenges scholars of Shakespeare, Milton, and early modern culture.
Author | : Joseph M. Ortiz |
Publisher | : Cornell University Press |
Total Pages | : 279 |
Release | : 2011-02-14 |
Genre | : Literary Criticism |
ISBN | : 0801461405 |
Music was a subject of considerable debate during the Renaissance. The notion that music could be interpreted in a meaningful way clashed regularly with evidence that music was in fact profoundly promiscuous in its application and effects. Subsequently, much writing in the period reflects a desire to ward off music’s illegibility rather than come to terms with its actual effects. In Broken Harmony Joseph M. Ortiz revises our understanding of music’s relationship to language in Renaissance England. In the process he shows the degree to which discussions of music were ideologically and politically charged. Offering a historically nuanced account of the early modern debate over music, along with close readings of several of Shakespeare’s plays (including Titus Andronicus, The Merchant of Venice, The Tempest, and The Winter’s Tale) and Milton’s A Maske, Ortiz challenges the consensus that music’s affinity with poetry was widely accepted, or even desired, by Renaissance poets. Shakespeare more than any other early modern poet exposed the fault lines in the debate about music’s function in art, repeatedly staging disruptive scenes of music that expose an underlying struggle between textual and sensuous authorities. Such musical interventions in textual experiences highlight the significance of sound as an aesthetic and sensory experience independent of any narrative function.