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New Theatre Quarterly 77: Volume 20, Part 1
Provides an international forum where theatrical scholarship and practice can meet.
The ^AOxford Handbook of the Operatic Canon
The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by looking at how it evolved from a market entirely driven by novelty to one of the most arthritically canonic art forms still in existence.
Digital Scenography in Opera in the Twenty-First Century
Digital Scenography in Opera in the Twenty-First Century is the first definitive study of the use of digital scenography in Western opera production. The book begins by exploring digital scenography’s dramaturgical possibilities and establishes a critical framework for identifying and comparing the use of digital scenography across different digitally enhanced opera productions. The book then investigates the impacts and potential disruptions of digital scenography on opera’s longstanding production conventions, both on and off the stage. Drawing on interviews with major industry practitioners, including Paul Barritt, Mark Grimmer, Donald Holder, Elaine J. McCarthy, Luke Halls, Wendall K...
Political Aesthetics
Providing a gateway to a new history of modern aesthetics, this book challenges conventional views of how art's significance developed in society. The 18th century is often said to have involved a radical transformation in the concept of art: from the understanding that it has a practical purpose to the modern belief that it is intrinsically valuable. By exploring the ground between these notions of art's function, Karl Axelsson reveals how scholars of culture made taste, morals and a politically stable society integral to their claims about the experience of nature and art. Focusing on writings by two of the most prolific men of letters in the 18th century, Joseph Addison (1672–1719) and the third Earl of Shaftesbury (1671–1713), Axelsson contests the conviction that modern aesthetic autonomy reoriented the criticism and philosophy originally prompted by these two key figures in the history of aesthetics. By re-examining the political relevance of Addison and Shaftesbury's theories of taste, Axelsson shows that first and foremost they sought to fortify a natural link between aesthetic experience and modern political society.
The Vintage
Nauplia, huddled together on the edge of its glittering bay, and grilled beneath the hot stress of the midsummer noon, stood silent as a city of the dead. Down the middle of the main street, leading up from the quay to the square, lay a scorching ribbon of sunshine, and the narrow strips of shadow, sharp cut and blue, spoke of the South. Along one side of the square ran the barracks of the Turkish garrison of occupation, two-storied buildings of brown stone, solid but airless, and faced with a line of arcade. These contained the three companies of men who were stationed in the town itself, less fortunate in this oven of heat than the main part of the garrison who held the airier fortress of Palamede behind, overlooking the plain from a height of five hundred feet.
