En Travesti addresses the ways in which opera empowers women by challenging conventional gender hierarchies. Terry Castle, Helene Cixous, Lowell Gallagher and Elizabeth Wood are among the contributors. Includes 20 musical examples.
This book sheds new light on the interconnections between identity, gender and geographical displacement. At its centre are Brazilian travesti migrants, assigned as male at birth but later seeking to convey the aesthetic attributes of women by repeatedly performing a minutely-studied type of femininity. Despite the fact that they have been migrating between Brazil and Europe for more than forty years, very little is know about them, especially in the English-speaking world. This work therefore fills a significant lacuna in our understandings of sexualities, bodies and trans issues, whilst rejecting hegemonic terms such as 'transsexual' and 'transgender' in favour of the specificity of the travesti. What it presents is an ethnographical study of their bodily and geographic-spatial migrations, analysing how they become travestis through the gendered modification of their bodies, their involvement in sex work, and the transnational migrations to Europe that many of them make. Examining their lives in both Brazil and Europe, it also analyses how their migrations influence the construction of their subjectivities. Drawing on extensive fieldwork in Brazil and Barcelona, this exciting book will appeal to all those interested in gender, sexuality and transgender issues.
In this stirring memoir by a member of the first generation of LGBTQ+ activists in Italy, Porpora Marcasciano tells her story and shares the struggles and accomplishments of her fellow activists who achieved so much in the 1970s yet suffered devastating losses during the AIDS epidemic of the 1980s. AntoloGaia offers an insider’s look at the beginnings of the gay liberation movement in Italy and reveals how it was intimately intertwined with other forms of left-wing activism. At the same time, it powerfully conveys the queer joy of a young person from a small village first encountering the vibrant sexual minority communities of Naples, Bologna, and Rome. As Marcasciano starts to embrace her trans identity, she meets the famous anthropologist Pino Simonelli, who introduces her to Naples’s unique femminielli subculture and gives her the name Porporino, which she later shortens to Porpora. In keeping with this story of gender, sexual, and political discovery, AntoloGaia is the first piece of Italian life-writing to use gender-neutral and mixed-gender language.
Winner of the 2007 Otto Kinkeldey Award from the American Musicological Society and the 2007 Deems Taylor Award from the American Society of Composers, Authors, and Publishers. Divas and Scholars is a dazzling and beguiling account of how opera comes to the stage, filled with Philip Gossett’s personal experiences of triumphant—and even failed—performances and suffused with his towering and tonic passion for music. Writing as a fan, a musician, and a scholar, Gossett, the world's leading authority on the performance of Italian opera, brings colorfully to life the problems, and occasionally the scandals, that attend the production of some of our most favorite operas. Gossett begins by tracing the social history of nineteenth-century Italian theaters in order to explain the nature of the musical scores from which performers have long worked. He then illuminates the often hidden but crucial negotiations opera scholars and opera conductors and performers: What does it mean to talk about performing from a critical edition? How does one determine what music to perform when multiple versions of an opera exist? What are the implications of omitting passages from an opera in a performance? In addition to vexing questions such as these, Gossett also tackles issues of ornamentation and transposition in vocal style, the matters of translation and adaptation, and even aspects of stage direction and set design. Throughout this extensive and passionate work, Gossett enlivens his history with reports from his own experiences with major opera companies at venues ranging from the Metropolitan and Santa Fe operas to the Rossini Opera Festival at Pesaro. The result is a book that will enthrall both aficionados of Italian opera and newcomers seeking a reliable introduction to it—in all its incomparable grandeur and timeless allure.
Embodying Voice: Singing Verdi, Singing Wagner articulates the process of developing an operatic voice, explaining how and why the training of such a voice is as complex and sophisticated as it is mysterious. This book illustrates how putting together a voice, embodying a sound, and creating a character are vital to an audience’s emotional involvement and enjoyment. Moreover, it addresses an imbalance of power between the opera director and the orchestra conductor – ultimately, it is the communicative power of the singer’s voice that brings life to an opera, a fact well known by Verdi and Wagner. Embodying Voice highlights the singer’s creative agency to be co-creator of the composer’s music. It explores the ways in which vocal performance is constructed and controlled, connecting layers of mind and bodily engagement that allow operatic singers to achieve expression beyond the text itself. Further reading, listening, and performance lists are provided at the end of each chapter, complemented by musical examples throughout.
What happens when the study of French is no longer coterminous with the study of France? French Civilization and Its Discontents explores the ways in which considerations of difference, especially colonialism, postcolonialism, and race, have shaped French culture and French studies in the modern era. Rejecting traditional assimilationist notions of French national identity, contributors to this groundbreaking volume demonstrate how literature, history, and other aspects of what is considered French civilization have been shaped by global processes of creolization and differentiation. This book ably demonstrates the necessity of studying France and the Francophone world together, and of recognizing not only the presence of France in the Francophone world but also the central place occupied by the Francophone world in world literature and history.