Love Poems for Lucrezia Bendidio

Love Poems for Lucrezia Bendidio

Author: Torquato Tasso

Publisher:

Published: 2011

Total Pages: 237

ISBN-13: 9781599102627

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"Presents Tasso's 120 love poems for Lucrezia Bendidio for first time in English with verse translations and original Italian on facing pages. Introduction outlines the poems' arrangements and analyzes key themes. Includes detailed notes by both Tasso and Wickert, plus bibliography and indexes"--Provided by publisher.


Torquato Tasso

Torquato Tasso

Author: Johann Wolfgang von Goethe

Publisher: Manchester University Press

Published: 1979

Total Pages: 116

ISBN-13: 9780719007200

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This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.


The Essential Goethe

The Essential Goethe

Author: Johann Wolfgang von Goethe

Publisher: Princeton University Press

Published: 2018-06-12

Total Pages: 1051

ISBN-13: 0691181047

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First published by Wordsworth Editions 1999 and 2007. First published by Princeton University Press in 2016.


The Presence of Camões

The Presence of Camões

Author: George Monteiro

Publisher: University Press of Kentucky

Published: 2014-10-17

Total Pages: 202

ISBN-13: 0813156866

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Of the great epic poets in the Western tradition, Luis Vaz de Camões (c. 1524- 1580) remains perhaps the least known outside his native Portugal, and his influence on literature in English has not been fully recognized. In this major work of comparative scholarship, George Monteiro thus breaks new ground, focusing on English-language writers whose vision and expression have been sharpened by their varied responses to Camões. Introduced to English readers in 1655, Camões's work from the beginning appealed strongly to writers. The young Elizabeth Barrett's Camonean poems, for example, inspired Edgar Allan Poe to appropriate elements from Camões. Herman Melville's reading of Camões bore fruit in his career-long borrowings from the Portuguese poet. Longfellow, T.W. Higginson, and Emily Dickinson read and championed Camões. And Camões as epicist and love poet is an éminence grise in several of Elizabeth Bishop's strongest Brazilian poems. Southern African writers have interpreted and reinterpreted Adamastor, Camões's Spirit of the Cape, as both a symbol of a dangerous and mysterious Africa and an emblem of European imperialism. Recognizing the presence of Camões leads Monteiro to provocative rereadings of such texts as Dickinson's "Master" letters, Poe's "Raven," Melville's late poetry, and Bishop's Questions of Travel.


Liszt and the Symphonic Poem

Liszt and the Symphonic Poem

Author: Joanne Cormac

Publisher: Cambridge University Press

Published: 2017-10-26

Total Pages: 381

ISBN-13: 1316857859

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Franz Liszt was preoccupied with a fundamental but difficult question: what is the content of music? His answer lay in his symphonic poems, a group of orchestral pieces intended to depict a variety of subjects drawn from literature, visual art and drama. Today, the symphonic poems are usually seen as alternatives to the symphony post-Beethoven. Analysts stress their symphonic logic, thereby neglecting their 'extramusical' subject matter. This book takes a different approach: it returns these influential pieces to their original performance context in the theatre, arguing that the symphonic poem is as much a dramatic as a symphonic genre. This is evidenced in new analyses of the music that examines the theatricality of these pieces and their depiction of voices, mise-en-scène, gesture and action. Simultaneously, the book repositions Liszt's legacy within theatre history, arguing that his contributions should be placed alongside those of Mendelssohn, Berlioz and Wagner.