The first English translation of Bizet's letters and journals from his stay in Italy, with explanatory texts from one of the leading authorities on the composer's life and music.
Today Georges Bizet is most immediately recognized as the composer of the acclaimed opera Carmen. One of the most frequently performed operas for over a century, Carmen explores concepts such as the femme fatale and murderous jealousy with vivacity, color, and a wealth of melody. Yet it is only one act in Bizet's story. In Bizet, renowned musicologist Hugh Macdonald goes beyond the composer's most famous opera to take an in-depth look at his entire life and oeuvre. In so doing, Macdonald identifies a number of previously unknown pieces by Bizet, assembling the first comprehensive catalogue of the composer's work. Incorporating these little-known pieces with a thorough reading of primary sources, Macdonald considers the latest in Bizet scholarship to create a complete biography of the composer. Revealing the true extent of Bizet's work as arranger and transcriber, Macdonald sheds light on the composer's complex relationships with his contemporaries, and traces the strange misrepresentation of Bizet's work by French publishers and opera houses in the 1880s, when Carmen rose to worldwide popularity ten years after the composer's early death. The first biography of Bizet in the Master Musicians series in nearly four decades, Bizet will be essential reading for students and scholars of nineteenth-century opera, as well as for Carmen devotees and opera fans.
The Nature of God explores a perennial problem in the philosophy of religion. Drawing upon developments in philosophy, most notably those in philosophical logic, Edward R. Wierenga examines the traditional divine attributes of omnipotence, omniscience, eternity, timelessness, immutability, and goodness. His philosophically defensible formulations of the nature of God are in accord with the views of classical theists. The author provides an account of each of the divine attributes by stating in contemporary terms what such classical theists as Augustine, Anselm, and Aquinas wrote about the nature of God; he then seeks to determine whether one can defend the ascription of traditional divine attributes to God against philosophical objections.Clearly written and comprehensive, The Nature of God contains a wealth of illuminating and original material on a central topic in the philosophy of religion
This work, written from a neo-Pyrrhonian perspective, is an examination of contemporary theories of knowledge and justification. It takes ideas primarily found in Sextus Empiricus's Outlines of Pyrrhonism, restates them in a modern idiom, and then asks whether any contemporary theory of knowledge meets the challenges they raise. The first part, entitled "Gettier and the Problem of Knowledge," attempts to rescue our ordinary concept of knowledge from those philosophers who have assigned burdens to it that it cannot bear. Properly understood, Fogelin shows that the concept of knowledge is unproblematic. The second part of this study, called "Agrippa and the Problem of Justification," examines Agrippa's contribution to Pyrrhonism, a systematic reduction of its procedures which came to be known as the "Five Modes Leading to the Suspension of Belief." These modes present a completely general procedure for refuting any claim a dogmatist might make. Though largely unnoticed, there is, according to Fogelin, an uncanny resemblance between problems posed by Agrippa's "Five Modes" and those that contemporary epistemologists address under the heading of a theory of justification. Fogelin examines the strongest contemporary theories of justification--in both foundationalist and anti-foundationalist forms. The conclusion is that recent philosophical writings on justification have made no significant progress in responding to the Pyrrhonian problems these writings have addressed.
A word-by-word translation in English and IPA, and annotated guides to the dialogue and recitative versions of the opera, this book is a complete reference for anyone studying or producing Bizet's Carmen. It provides all the material necessary for practical use by singers, conductors, coaches, stage directors, opera producers, students and teachers. - from the publisher's notes.
Carmen in Diaspora is a cultural history of Carmen adaptations set in African diasporic contexts. It explores the phenomenon of the connection between the story of Carmen, which originally appeared in Prosper Mérimée's eponymous 1845 novella and came to prominence through Georges Bizet's 1875 opera, with prolific popular recreations in African diasporic settings. The source texts for Carmen not only suggest nineteenth-century French negotiations of Blackness via the Romani community, but also provide provocative frameworks through which to examine conceptions of Black womanhood and self-determination in the twentieth and twenty-first centuries. Through analyses of Mérimée and Bizet, the Harlem Renaissance novels The Blacker the Berry (1929), Banjo (1929), and Romance in Marseille (2020); the U.S. movie musicals Carmen Jones (1954) and Carmen: A Hip Hopera (2001); the Senegalese and South African feature films Karmen Geï (2001) and U-Carmen eKhayelitsha (2005), respectively; and the Cuban-set stage musical Carmen la Cubana (2016), Carmen in Diaspora examines how these works illuminate the cultural currents of the nineteenth-century European context in which the character was born. The book also interrogates social categories, particularly gender, race, and sexuality, in contemporary Europe, North America, Africa, and the Caribbean. Carmen is Diaspora is an adaptation study that emphasizes connections formed through the transposition rather than imposition of European culture as it considers how artists have brought - and continue to bring - new energy, vision, and life to the story of opera's most famous character.
More than any other nation, Italy -- from its imperial past to its subordinate present, from its colonial forays to its splendid isolation -- embodies the myriad and contradictory historical forms of nationhood. This volume covers a range of subjects drawn from Italy and abroad to study Italian national identity. Whether considering opera or Ninja Turtles, the essays reveal how cultural identity is constructed and manipulated -- an issue made urgent by the influx of African, Indochinese, and Eastern European immigrants into Italy today. Topics include exile, nationalism, and imagined communities, Italy's colonial "unconscious", and Mussolini's adventures in North Africa.
A transnational history of the performance, reception, translation, adaptation and appropriation of Bizet's Carmen from 1875 to 1945. This volume explores how Bizet's opera swiftly travelled the globe, and how the story, the music, the staging and the singers appealed to audiences in diverse contexts.
A unified treatment of conditionals based on epistemological principles rather than the semantical principles in vogue over recent decades. This book by distinguished philosopher Nicholas Rescher seeks to clarify the idea of what a conditional says by elucidating the information that is normally transmitted by its utterance. The result is a unified treatment of conditionals based on epistemological principles rather than the semantical principles in vogue over recent decades. This approach, argues Rescher, makes it easier to understand how conditionals actually function in our thought and discourse. In its concern with what language theorists call pragmatics—the study of the norms and principles governing our use of language in conveying information—Conditionals steps beyond the limits of logic as traditionally understood and moves into the realm claimed by theorists of artificial intelligence as they try to simulate our actual information-processing practices. The book's treatment of counterfactuals essentially revives an epistemological approach proposed by F. P. Ramsey in the 1920s and developed by Rescher himself in the 1960s but since overshadowed by the now-dominant possible-worlds approach. Rescher argues that the increasingly evident liabilities of the possible-worlds strategy make a reappraisal of the older style of analysis both timely and desirable. As the book makes clear, an epistemological approach demonstrates that counterfactual reasoning, unlike inductive inference, is not a matter of abstract reasoning alone but one of good judgment and common sense.