TY - JOUR TI - Une «Illumination Qui Montre Le Vide» Les Glaces Du Grand Balcon AU - Henneton, Diane T2 - Francofonia DA - 2011/// PY - 2011/// VL - 60 SP - 45–58 ER - TY - JOUR TI - Une 'illumination qui montre le vide': Les Glaces du Grand Balcon DA - 2011/// PY - 2011/// ER - TY - CHAP TI - Talk Dirty to Me: Probing Sexuality in Albert Drach’s Untersuchung an Mädeln AU - Gross, R.V. T2 - Contested Passions A2 - Ruthner, Clemens A2 - Whitinger, Raleigh PY - 2011/// SP - 349–358 PB - Camden House ER - TY - ER - TY - JOUR TI - "New Tales of Mr. Braggadocio” (Xin faluo xiansheng tan) AU - Nianci, Xu AU - Isaacson, N. T2 - Renditions DA - 2011/// PY - 2011/// VL - 77&78 SP - 15–38 M3 - Translation ER - TY - JOUR TI - "The Passengers and the Creator” (Chengke yu chuangzaozhe) AU - Song, Han AU - Isaacson, N. T2 - Renditions DA - 2011/// PY - 2011/// VL - 77&78 SP - 144–172 M3 - Translation ER - TY - CONF TI - Educating Globally Competent Engineers AU - McConnell, James AU - Koehler, Brian C2 - 2011/// C3 - ASEE conference DA - 2011/// ER - TY - CHAP TI - The Mambo Kings Play Songs of Love AU - Jaimes, H. T2 - Cuba: People, Culture, History PY - 2011/// PB - Detroit: Charles Scribner's Sons SN - 9780684316819 ER - TY - BOOK TI - Kafka for the Twenty-First Century AU - Corngold S., AU - Gross, R. V. DA - 2011/// PY - 2011/// PB - Rochester, N.Y.: Camden House SN - 1571134824 ER - TY - JOUR TI - Dialect standardization in Merida, Yucatan: The case of /bdg/ AU - Michnowicz, Jim T2 - Revista Internacional de Linguistica Iberoamericana DA - 2011/// PY - 2011/// VL - 18 SP - 191-212 ER - TY - CHAP TI - Lucan''s Poetic Geographies: Center and Periphery in Civil War Epic AU - Myers, Micah T2 - Brill''s Companion to Lucan PY - 2011/// PB - Boston: Brill SN - 789004167865 ER - TY - JOUR TI - Attila, the novel: Flaubert and the origins of literary modernity AU - Rollins, Y. B. T2 - French Review DA - 2011/// PY - 2011/// VL - 85 IS - 1 SP - 166-167 ER - TY - JOUR TI - The Racial Ruse: On blackness and blackface comedy in Fin-de-Siecle Germany AU - Wipplinger, J. T2 - German Quarterly DA - 2011/// PY - 2011/// VL - 84 IS - 4 SP - 457-476 ER - TY - BOOK TI - Baudelaire, Emerson and the French-American connection: Contrary affinities AU - Marchi, Dudley M. DA - 2011/// PY - 2011/// PB - New York: Peter Lang, SN - 9781433114427 ER - TY - JOUR TI - Unsettling Opera: Staging Mozart, Verdi, Wagner, and Zemlinsky AU - Gross, Ruth V. T2 - SEMINAR-A JOURNAL OF GERMANIC STUDIES AB - Reviewed by: Unsettling Opera: Staging Mozart, Verdi, Wagner, and Zemlinsky Ruth V. Gross David J. Levin . Unsettling Opera: Staging Mozart, Verdi, Wagner, and Zemlinsky. U of Chicago P: Chicago, 2007. 254 pp. US$ 35 (cloth). ISBN-13: 978-0-226-477522-6. A night at the opera these days, especially in European houses, is not merely an amusing diversion. With the advance of what has come to be known as "Regieopera," even operas once considered "light-hearted romps" are now staged in ways that often force the audience to deal with interpretations that are, at best, provocative and, at worst, wrongheaded. David J. Levin, in his intelligent and challenging book, analyzes and describes some of the developments in opera productions of the last fifty years and boldly argues that for the survival of opera in the future, unsettling stagings are essential. Levin starts from the premise — one contrary to the norm — that opera in performance is itself an "unsettled" art form. By the very fact that when produced, it is a work on stage that touches on a number of different and competing modes of expression and artistic systems, opera is unruly. When opera performances have been the subjects of study, up until now, the questions raised have been mostly of a historical nature, for example: has the production observed performance practices? or what were the social conditions under which the operas were written or first performed? Only a handful of musicologists before Levin have concerned themselves with questions about how the nature of performance might change the understanding of the opera text itself, and these few have simply asked the question rather than providing a real exegesis on the subject. Levin's book begins a new field of inquiry: mapping the intersection of contemporary developments in opera production and contemporary critical concerns in opera studies. Levin, who for many years worked as a dramaturge at opera houses in Germany and the United States, provides the reader with examples of staged productions that, for the most part, radically reexamine and reconceptualize the underlying operatic texts in such a way that, in the best cases, they uncover new explanations of the works. This is the kind of "unsettling" experience Levin wishes for opera goers. Unlike many opera critics, Levin believes that radical and innovative readings of canonical operas, like the ones he discusses in chapters 2-5 of his book, are a promising development and bode well for the future of operatic art. The chapters of his book, as the subtitle suggests, deal with each of four important and familiar operas in the standard repertoire by four different major composers — Wagner's Die Meistersinger von Nürnberg, Mozart's and Lorenzo Da Ponte's Le nozze di Figaro, Mozart's Die Entführung aus dem Serail, and Verdi's Don Carlos; the last chapter [End Page 388] deals with a seldom performed opera by a lesser-known composer, Alexander von Zemlinsky's Der König Kandaules. Levin has chosen the specific productions he discusses on the basis of their being widely available on DVDs, so that the reader can also become a spectator of these performances and be unsettled by them firsthand. Because Wagner's Die Meistersinger von Nürnberg is my favourite opera, I was particularly curious about what Levin had to say about this work. Because what we might call "controversial" or more figurative stagings of this opera are not available on the commercial DVD market, Levin decided to compare the way each of two conventional and literal productions staged part of act III, the scene in which Wagner conceptualized a scene of performance — Beckmesser's delivery of the Meisterlied composed by Walther von Stolzing but drafted in Hans Sachs's hand. Levin's interest is in how this scene is then conceptualized in the two conventional productions. One of the directors has staged the scene to reveal the motivation for a gesture that Wagner himself had not explained in his text, and this touch is evidence for Levin that, even within conventionality, there can be streaks of wit and innovation that illuminate and explain what may previously have been invisible or overlooked. On a small scale, this is... DA - 2011/7// PY - 2011/7// DO - 10.1353/smr.2011.0026 VL - 47 IS - 3 SP - 388-389 SN - 0037-1939 ER - TY - JOUR TI - Dramas of culture: Theory, history, performance AU - Witt, M. A. F. T2 - Comparative Literature Studies AB - Book Review| June 01 2011 Dramas of Culture: Theory, History, Performance Froman, Wayne Jeffrey; John Burt FosterJr.,eds. Dramas of Culture: Theory, History, Performance. Lanham, MD: Lexington Books, 2009. 257 pp. Cloth $60.00, paper $27.95. Mary Ann Frese Witt Mary Ann Frese Witt North Carolina State University Mary Ann Frese Witt is a professor emerita in the Department of Foreign Languages and Literatures at North Carolina State University. She was editor of The Comparatist from 2005–2007. Her recent books include The Search for Modern Tragedy: Aesthetic Fascism in Italy and France (2001) and, as editor and contributor, Nietzsche and the Rebirth of the Tragic (2007). She has published widely on modern European drama and dramatic theory, especially on Pirandello and Genet. Her present research interest involves a reconsideration of metatheater in the seventeenth and twentieth centuries. (maryannfrese@aol.com) Search for other works by this author on: This Site Google Comparative Literature Studies (2011) 48 (2): 263–266. https://doi.org/10.5325/complitstudies.48.2.0263 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Mary Ann Frese Witt; Dramas of Culture: Theory, History, Performance. Comparative Literature Studies 1 June 2011; 48 (2): 263–266. doi: https://doi.org/10.5325/complitstudies.48.2.0263 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectivePenn State University PressComparative Literature Studies Search Advanced Search The text of this article is only available as a PDF. Copyright © 2011 by The Pennsylvania State University. All rights reserved.2011The Pennsylvania State University Article PDF first page preview Close Modal You do not currently have access to this content. DA - 2011/// PY - 2011/// DO - 10.5325/complitstudies.48.2.0263 VL - 48 IS - 2 SP - 263-266 ER - TY - BOOK TI - Ventanas sobre el Atlantico: Estados Unidos-Espana durante el postfranquismo (1975-2008) AU - Mari, Jorge AU - Trabanco, Carlos Ardavin DA - 2011/// PY - 2011/// PB - Valencia : Universidad Politecnica de Valencia SN - 9788437080314 ER - TY - JOUR TI - TARGET: GARCIA LORCA. NEW CINEMATOGRAPHIC AND TELEVISION INQUISITIONS ON POET'S LIFE, WORK AND DEATH AU - Mari, Jorge T2 - ARBOR-CIENCIA PENSAMIENTO Y CULTURA AB - This essay, “Objetivo: Garcia Lorca. Nuevas inquisiciones cinematograficas y televisivas sobre la vida, obra y muerte del poeta”, explores several representations of Federico Garcia Lorca in Spanish film and TV productions of recent decades. The focus on the figure of the author rather than on the adaptations of his plays favors the analysis of the representation of two, closely intertwined processes: that of literary creation-how the creative process is portrayed, and how the artist’s life is seen to intertwine with his work-and that of the cultural construction of the artist, in retrospect, as a historic figure and a cultural icon. This seems a particularly appropriate perspective in the case of Garcia Lorca, whose fame and cultural significance owe as much to the circumstances of his life and death as they do to his plays and poems, and who in recent decades has been vindicated, reinvented, and re-introduced as an emblematic presence and a foundational myth of a contemporary, autonomous Andalucia and a democratic Spain. The article traces all those processes through recent documentaries such as Emilio Ruiz Barrachina’s Lorca, el mar deja de moverse, Magali Negroni’s F.G.L. (1898-1936): Federico cumple 100 anos and Basilio Martin Patino’s “mockumentary” El jardin de los poetas. DA - 2011/// PY - 2011/// DO - 10.3989/arbor.2011.748n2002 VL - 187 IS - 748 SP - 211-222 SN - 0210-1963 KW - Federico Garcia Lorca KW - documentary KW - mockumentary KW - Basilio Martin Patino KW - Spanish Civil War KW - memory KW - Spanish television KW - Andalucian television KW - Spanish cinema ER - TY - BOOK TI - Selected Proceedings of the 5th Workshop on Spanish Sociolinguistics A3 - Michnowicz, J. A3 - Dodswort, R. DA - 2011/// PY - 2011/// PB - Cascadilla Press ER -