Mozart's wife, Constanze, for one, with a devoted heart but a feisty spirit, is unabashedly fascinated by the elegant and understanding Casanova."--BOOK JACKET.
Part I. Clouds of feeling: excerpt audio recordings. Imagining excerpts; Rhetorics of seduction; Demons and dandies; All too human -- Part II. Invented works : complete audio records. The visual stage; Cruel laughter; Dancing in time -- Part III. Partial visions : video recordings. Zooming in, gazing back; Trauma retold; Libertines punished.
In this interdisciplinary anthology, essays study the relationship between the imagination and images both material and mental. Through case studies on a diverse array of topics including photography, film, sports, theater, and anthropology, contributors focus on the role of the creative imagination in seeing and producing images and the imaginary.
Mozart's Don Giovanni is an operatic masterpiece full of iconic and mythical tensions that still resonate today. The work redefines the terms of power, seduction, and morality, and the resulting conflict between the aesthetic and the ethical is deeply rooted in the Enlightenment and romanticism. The Don Giovanni Moment is the first book to examine the aesthetic and moral legacy of Mozart's opera in the literature, philosophy, and culture of the nineteenth century. The prominent scholars in this collection address the opera's impact on the philosophical visions of Kierkegaard, Goethe, and Williams and its influence on the literary and dramatic works of Pushkin, Hoffmann, Mörike, Byron, Wagner, Strauss, and Shaw. Through a close and careful analysis of Don Giovanni's literary and philosophical reception and its many appropriations, rewritings, and retellings, these contributors treat the opera as a vantage point from which theory and philosophy can reconsider romanticism's central themes. As lively and passionate as the opera itself, these essays continue the spirited debate over the meaning and character of Don Giovanni and its powerful legacy. Together they prove that Mozart's brilliant artistic achievement is as potent and relevant today as when it was first performed two centuries ago.
Who wants to champion the figure of Don Giovanni in the time of Harvey Weinstein and #MeToo? Don Giovanni is a rapist, murderer, serial seducer, and a liar. Can he ever be held up as a role model or seen as a figure to be enjoyed? This is the task that the eminent Italian historian and lifelong feminist, Luisa Passerini, sets for herself in In Defense of Don Giovanni. As she developed the long arc of her distinguished career, Don Giovanni surprisingly became not only her role model but also a secret object of research.Taking her method from oral history, Passerini creates a series of characters with whom she discusses the forms and incarnations of the myth of Don Giovanni across time, from its first appearance in early medieval Spain and Commedia dell'Arte to its many European variations and its transposition to the colonial and postcolonial world in the Middle East, the Americas, and Africa. Pivoting round Don Giovanni's best known incarnation in Mozart's opera, Passerini and he interlocutors meet in different locations from Venice and Bern to Paris and Turin. They discuss plays, films, and operas and talk about art, novels, and psychoanalytic interpretations of the myth while also sharing their own life stories, in which Don Giovanni often plays a part that is, by turns, destructive, mischievous, and full of the joy of life. From his early beginnings in the Iberian Peninsula to recent analysis of the sexuality of colonial conquest and postcolonial revenge and return, Don Giovanni shape-shifts between rapacious hypermasculinity, comic trickster, and morally vacuous loser whose annoyingly persistent nemesis Don Ottavio emerges as an alternative and ultimately better object of desire. As she tracts Don Giovanni's image across the world and through the centuries, however, Passerini comes to see that it also plays another role, that of mirror, in which women can see themselves emerge as individuals with their own life force. -- back cover.
First published in 1985. What sort of poem is Don Juan, and how does it maintain its momentum through its long and often struggling narrative? These are the questions that Bernard Beatty proposes in this subtle and elegant discussion of Byron’s masterwork. The legend of Don Juan was entrenched in European literature and other arts long before it came under Byron’s hands, yet Byron’s treatment of the story is often almost unrecognisably far from its forebears. Beatty indicates how deeply Byron has assimilated his predecessors in order to produce his own work. The sustained argument of this book raises questions of interest not only to students of Byron but of comedy in general, as well as of the place of religious motifs in apparently secularised modes.
Harry White examines the influence of music in the development of the Irish literary imagination from 1800 to the present day. He identifies music as a preoccupation which originated in the poetry of Thomas Moore early in the nineteenth century. He argues that this preoccupation decisively influenced Moore's attempt to translate the 'meaning' of Irish music into verse, and that it also informed Moore's considerable impact on the development of European musical romanticism, as in the music of Berlioz and Schumann. White then examines how this preoccupation was later recovered by W.B. Yeats, whose poetry is imbued with music as a rival presence to language. In its readings of Yeats, Synge, Shaw and Joyce, the book argues that this striking musical awareness had a profound influence on the Irish literary imagination, to the extent that poetry, fiction and drama could function as correlatives of musical genres. Although Yeats insisted on the synonymous condition of speech and song in his poetry, Synge, Shaw and Joyce explicitly identified opera in particular as a generic prototype for their own work. Synge's formal musical training and early inclinations as a composer, Shaw's perception of himself as the natural successor to Wagner, and Joyce's no less striking absorption of a host of musical techniques in his fiction are advanced in this study as formative (rather than incidental) elements in the development of modern Irish writing. Music and the Irish Literary Imagination also considers Beckett's emancipation from the oppressive condition of words in general (and Joyce in particular) through the agency of music, and argues that the strong presence of Mendelssohn, Chopin and Janácek in the works of Brian Friel is correspondingly essential to Friel's dramatisation of Irish experience in the aftermath of Beckett. The book closes with a reading of Seamus Heaney, in which the poet's own preoccupation with the currency of established literary forms is enlisted to illuminate Heaney's abiding sense of poetry as music.
Published as a tribute to the late Stanley Sadie, these eleven essays look at compositional and performance matters, consider new archival research and provide an overview of work since the bicentenary in 1991.
Insight and Imagination explores the primacy of the self in organizational research, consulting, and management/leadership. Contesting the radical dichotomy between "objective" and "subjective" understanding, and the devaluation of the latter, Professor Howard F. Stein argues that the imagination of the observer, informed by his or her unconscious, can lead to a greater understanding of the psychological reality of the workplace and in turn to better informed problem solving. Insight emerges from the disciplined use of the imagination rather than its repudiation. The book brings countertransference to center stage as a tool for understanding the emotional experience of organizational life and for formulating interventions. One often neglected use of the imagination is the capacity to not have to know beforehand what one needs to learn-what poet John Keats called "negative capability." Insight and Imagination proposes the use of the humanities as a means of expanding and deepening one's access to the inner life of organizations. The author draws from the art created by others and from his own poetry written and often used during an organizational consultation. Among the specific contexts discussed in this book are the experience of organizational downsizing; helping organizations to grieve after change and loss; recognizing "red herrings" in organizational decision making; the language of organizational change; recognizing hidden agendas in meetings; and reflective practice in organizational life. Book jacket.
Arthurian legend and cruise ship gossip entwine in this “profoundly touching, comic novel” by the celebrated author of A Dance to the Music of Time (Chicago Tribune). Aboard the Alecto, prolific romance author Valentine Beals ruminates on the ship’s most seemingly incongruous couple: a graceful, ethereal, virginal dancer named Barberina Rookwood and her lover, Saul Henchman, a crippled, emasculated war hero and photographer. Fancifully, Beals imagines Henchman to be the reembodiment of one of the most mysterious Arthurian legends, the Fisher King—the maimed and impotent ruler of a barren country of whom Perceval failed to ask the right questions. A myth with many permutations—and a blurred borderland between them—the Fisher King legend dovetails the various explanations Powell offers from his competing narrators as to why a talented young dancer would forsake her art to care for a feeble older man. Ostensibly a novel about gossip on a cruise ship, The Fisher King is much more: a highly stylized narrative infused with Greek mythology, legend, and satire.