Relevant bibliographies by topics / Giuditta

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Academic literature on the topic 'Giuditta'

Author: Grafiati
Published: 29 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Giuditta"

1

Lücker, Arno. "Wanst auf dem Vulkan." Opernwelt 63, no. 2 (2022): 8–9. http://dx.doi.org/10.5771/0030-3690-2022-2-008.

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Yakovenko, Yulia Yu. "“La Giuditta” Oratorio by Benedetto Marcello." Университетский научный журнал, no. 70 (2022): 92–96. http://dx.doi.org/10.25807/22225064_2022_70_92.

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Ryszka-Komarnicka, Anna. "Italian 17th- and 18th-Century Dramatic Works with Music, Written for the Clothing and Profession Ceremonies, with Special Reference to Compositions Based on the Book of Judith*." Musicology Today 17, no. 1 (December 1, 2020): 45–59. http://dx.doi.org/10.2478/muso-2020-0004.

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Abstract Late 16th- and early 17th-century Italian theatrical works (with or without music) based on the Book of Judith are perceived as associated with women, who acted as their performers (in female monasteries), dedicatees, or patrons. This paper considers the reasons for the loosening of such ties in the Baroque genres of dialogue and oratorio, which evolved in the circles of religious and lay congregations, in which women were either marginalised or altogether excluded. The link between women and the oratorio genre was thus maintained only in the case of the so-called palace oratorios. Oratorios did not gain a solid footing in the music life of female religious orders, either. Their presence mainly made itself felt in the space suspended between the monastic and secular worlds, namely, in the context of the ceremonies of clothing and profession, which were celebrated with performances of cantatas, dialogues, or oratorios. A survey of such repertoire from the 17th and 18th centuries has revealed an astonishing wealth of subjects and approaches: allegorical works, saints’ lives, Old Testament stories praising parents who offered their children up to God, happy weddings, or the deeds of extraordinary women. The Book of Judith occupies an important place among the latter subjects, which emphasised the fides and fortitudo of those entering monastic life. Existing works (such as Metastasio's Betulia) were also sometimes used. Some texts were written specially for such occasions, and they demonstrate individual qualities. Metastasio's solemn and exalted model was followed even in such small-scale pieces as the Florentine componimento sacro Giuditta of 1750. The rappresentazione La Giuditte (1621) depicts the strength of faith not only of Judith herself, but also (contrary to the Biblical account) – of the Bethulian society as an allegory of Bologna and its inhabitants. Comic elements were smuggled into the Paduan oratorio Giuditta (1735). To sum up, dramatic works with music based on the Book of Judith, written for the ceremonies of women entering the monastery, which have hitherto remained marginal to academic research, represent a promising field for further studies.
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Stallknecht, Michael. "ZEITENGEWITTER." Opernwelt 65, no. 2 (2024): 12–15. http://dx.doi.org/10.5771/0030-3690-2024-2-012.

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Die Wiener Volksoper setzt sich mit der eigenen Vergangenheit im Nationalsozialismus auseinander, das Theater Ulm entdeckt die Harmlosigkeit von Franz Lehárs «Giuditta» – und Regensburg mit «Der Prinz von Schiras» das Operettenwunderkind Joseph Beer VON MICHAEL STALLKNECHT
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Valoroso, Antonella. "Adelaide Ristori e la spada di Giuditta." Italianist 39, no. 3 (September 2, 2019): 315–31. http://dx.doi.org/10.1080/02614340.2019.1679452.

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Refini, Eugenio. "Giuditta, Armida e il velo della seduzione." Italian Studies 68, no. 1 (March 2013): 78–98. http://dx.doi.org/10.1179/0075163412z.00000000034.

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Frantzen, Torstein. "Giuditta Cordero-Moss: Internasjonal privatrett på formuerettens område." Lov og Rett 53, no. 08 (October 14, 2014): 502–5. http://dx.doi.org/10.18261/issn1504-3061-2014-08-06.

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Nielsen, Peter Arnt. "Giuditta Cordero-Moss: Internasjonal privatrett på formuerettens område." Tidsskrift for Rettsvitenskap 127, no. 03-04 (December 3, 2014): 442–45. http://dx.doi.org/10.18261/issn1504-3096-2014-03-04-06.

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Cornaz, Marie. "L'oratorio "La Giuditta" de Benedetto Marcello: decouverte d'une source inconnue." Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 50 (1996): 129. http://dx.doi.org/10.2307/3687040.

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Martiny, Dieter. "Cordero-Moss, Giuditta: International Commercial Contracts. Applicable Sources and Enforceability. Cambridge 2014." Rabels Zeitschrift für ausländisches und internationales Privatrecht 81, no. 2 (2017): 473. http://dx.doi.org/10.1628/003372517x14912063552167.

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Dissertations / Theses on the topic "Giuditta"

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Campalto, Alessandra <1993&gt. "Evoluzione dell'immagine biblica di Giuditta tra il XVIII e il XX secolo." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14710.

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In questo lavoro si è voluto analizzare l’evoluzione che ha subito il personaggio biblico di Giuditta tra i secoli XVIII e XX. Personalità ambigua che da sempre ha ispirato la creatività degli artisti europei ma le cui caratteristiche, nei secoli, hanno subito notevoli cambiamenti. La sua storia viene narrata nel Libro di Giuditta contenuto all’interno della Bibbia cristiana cattolica. Osservando le opere pittoriche eseguite in questo lasso di tempo e il contesto culturale in cui sono state prodotte è emerso che, nonostante tre secoli siano un breve arco temporale, il soggetto esaminato ha subito diverse mutazioni. Per quanto sia stata constatata una diminuzione della produzione di opere pittoriche raffiguranti suddetto soggetto non è stato possibile catalogarle tutte ma si è reso necessario scegliere un gruppo di esse che permettesse di comprendere com’è cambiato il modo di rappresentare Giuditta. L’analisi ha rivelato che nel XVIII secolo risulta ancora centrale il rapporto con Dio in quanto senza il sostegno divino Giuditta non sarebbe stata in grado di portare a termine la sua missione patriottica: decapitare il condottiero nemico Oloferne per liberare Betulia dall’assedio dell’esercito assiro. Nel secolo seguente si assiste a una progressiva scomparsa degli elementi iconografici che, tradizionalmente, identificano la giovane vedova ebrea. I pittori tendono a focalizzarsi maggiormente sul personaggio di Giuditta facendone emergere il lato seduttivo che le ha permesso d’ingannare Oloferne. Nel XX secolo, infine, si assiste a un’ulteriore e fondamentale trasformazione di Giuditta che nelle opere di Gustav Klimt e Franz von Stuck diviene una spietata assassina vendicatrice. Questa sorprendente mutazione avviene a seguito della pubblicazione della tragedia di Friedrich Hebbel, Giuditta. Tragedia in cinque atti, e del successivo saggio di Sigmund Freud Il tabù della verginità che trae ispirazione da come viene presentata la personalità di Giuditta nella tragedia dello scrittore tedesco.
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Authier, Catherine. "De Tancrède à Norma, la construction d'une diva internationale : Giuditta Pasta (1797-1865)." Versailles-St Quentin-en-Yvelines, 2009. http://www.theses.fr/2009VERS037S.

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Qui est Giuditta Pasta ? Pourquoi faire le choix d'étudier la destinée d'une artiste lyrique de la première moitié du XIXe siècle ? Giuditta Pasta est une immense chanteuse lyrique du XIXe siècle, particulièrement intéressante dans la mesure où elle rencontra un succès extraordinaire mais suscita aussi de violentes critiques, en tant qu'artiste très controversée. La cantatrice possédait en effet un timbre rauque, sourd et voilé, un organe apparemment rebelle aux exigences de l'art lyrique. En revanche, le talent théâtral de la Pasta fut une révélation pour ses contemporains, sa capacité unique à vivre ses personnages et à s'imprégner de leurs sentiments ne cessant jamais d'étonner le public. Aucune autre chanteuse n'a fait une impression aussi significative sur Stendhal, Talma ou Bellini, qui créera pour elle les rôles d'Amina, de Beatrice et surtout de Norma. C'est la nouvelle passion qu'éprouvent les Parisiens pour la voix, dans les années 1820-1830, qui justifie aussi l'intérêt de cette étude, la carrière de Giuditta Pasta nous permettant d'essayer de comprendre l'histoire d'un phénomène essentiel et passionnant du XIXe siècle : la naissance des premières divas. Elle faisait partie des artistes qui eurent une résonance immense en Europe, en dépassant le statut d'interprète. Par l'ampleur de son œuvre, et l'impact qu'elle eut sur sa génération, elle représente un phénomène culturel essentiel de son époque. Quel est le processus qui a conduit Giuditta Pasta à devenir une grande diva internationale ? Comment a-t-elle construit sa carrière, comment devient-on une artiste lyrique à la renommée immense, extrêmement riche et considérée dans la première moitié du XIXe siècle ? Il semble indéniable que l'artiste ait su tirer parti avec une intelligence particulière d'un certain contexte historique et musical en s'inscrivant dans un triple système esthétique, économique et médiatique qui lui a permis de construire son œuvre et de devenir « la Pasta ». Dans une perspective d'histoire culturelle, cette recherche tente de saisir la carrière internationale qu'a pu avoir Giuditta Pasta, à une époque charnière de mutations essentielles sur le plan théâtral et musical mais aussi économique et historique
Who was Giuditta Pasta and why choose to study the fortune of an opera singer of the first half of the nineteenth-century? Giuditta Pasta was a great, yet controversial, operatic artist of the nineteenth-century, who met with both extraordinary success and violent criticism. Indeed, she had a husky, muffled voice, with a catch, and a vocal organ that was seemingly rebellious in face of the demands of the operatic art. However her theatrical talent was a revelation for her contemporaries and her unique ability to bring life to a character and immerse herself in their emotions never ceased to amaze her spectators. No other singer had such a significant impact upon figures such as Stendhal, Talma and Bellini; the latter created the roles of Amina, Beatrice, and more particularly Norma, specifically for her. The Parisians' newfound passion for vocal music in the 1820's and 1830's is a further reason for the value of this topic. Indeed, studying Giuditta Pasta's career allows us to reach a better understanding of the history of a fascinating and central phenomenon of the nineteenth-century: the birth of the first divas. Giuditta Pasta was among these artists who had great resonance in Europe, thus moving beyond the status of mere performers. The volume of her work, coupled with the impact that she had upon her generation, make la Pasta an essential cultural phenomenon of her time. What process led to her becoming a great international diva? How did she build her career? How did one become a rich and famous opera singer, held in high esteem, in the first half of the nineteenth-century? It is clear that this artist contrived to make intelligent use of a particular historical and musical context, on the aesthetic, financial and media fronts, in such a way as to enable her to build the ensemble of her work and become « la Pasta ». From the perspective of cultural history, this study seeks to understand Giuditta Pasta's international career at this pivotal time of important change, not only on a theatrical and musical level, but also in historical and economic terms
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Radeff, Giuditta [Verfasser], and Domenico [Akademischer Betreuer] Cosentino. "Geohistory of the Central Anatolian Plateau southern margin (southern Turkey) / Giuditta Radeff. Betreuer: Domenico Cosentino." Potsdam : Universitätsbibliothek der Universität Potsdam, 2014. http://d-nb.info/1058741004/34.

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Mirizio, Giuditta <1989&gt. "Amministrare e comunicare in Egitto tra III e II secolo a.C.: antigrapha e archetipi nella documentazione papiracea." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amsdottorato.unibo.it/8629/1/Mirizio-Giuditta-Tesi.pdf.

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La necessità di comunicazione e di trasporto all'interno dell'Egitto, una terra in cui la differenziazione regionale era particolarmente significativa, era di estrema urgenza per il buon funzionamento della vita economica e sociale della sua popolazione. La documentazione papirologica rappresenta un vasto e ricco repertorio da sfruttare per ottenere una panoramica focalizzata sul sistema di trasferimento dei messaggi. La comunicazione tra gli uffici che regolavano e strutturavano il transito delle informazioni era essenziale per mantenere operativo il sistema. Lo scopo della mia indagine è quello di includere la serie di attestazioni di antigraphon nel senso di un documento che ci è stato preservato perché in origine racchiuso come "copia" in un altro, solitamente una comunicazione ufficiale tra due corrispondenti, destinata a raggiungere un terzo destinatario.
The need of communication and of transport inside Egypt, a land where the regional differentiation was particularly significant, was of extreme urgency for the good functioning of the economic and social life of its population. The papyrological documentation represents a huge and rich repertoire to be exploited to achieve an overview focalized on the system of transferring messages. The communication between the offices that regulated and structured the transit of information was essential to maintain the system operative. The purpose of my investigation is to include the series of attestations of antigraphon in the sense of a document which has been preserved to us because it was originally enclosed as “copy” in another one, usually an official communication between two correspondents, destined to reach a third recipient.
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Zorzetto, Riccardo <1986&gt. "Valutazione di conformità e applicabilità del DSS “DESYRE” per l’analisi di rischio sanitario per i siti contaminati attraverso il confronto con il software GIUDITTA." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/2590.

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Books on the topic "Giuditta"

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Dell'Anno, Alessandro. Giuditta. Montebelluna, TV: Amadeus, 1989.

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P, Biscottini, and Museo diocesano (Milan Italy), eds. Sandro Botticelli: La Giuditta. Cinisello Balsamo, Milano: Silvana, 2008.

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P, Biscottini, and Museo diocesano (Milan Italy), eds. Sandro Botticelli: La Giuditta. Cinisello Balsamo, Milano: Silvana, 2008.

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Vecchia, Flavio Dalla. Giuditta: Introduzione, traduzione e commento. Cinisello Balsamo (Milano): San Paolo, 2019.

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Lavagna, Raffaello. Davide re ; Giuditta e Oloferne. Milano: Massimo, 1986.

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Venturoli, Marcello. La stella di Giuditta: Romanzo. Roma: Newton Compton, 1994.

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Fagioli, Marco. La Giuditta di Bruno Innocenti. Firenze: Aión, 2005.

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Adele, Simonetti, ed. Commentario al libro di Giuditta. Firenze: SISMEL edizioni del Galluzzo, 2008.

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Ronco, Simonetta. Giuditta Bellerio Sidoli: Vita e amori. Genova: Liberodiscrivere, 2010.

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Centro culturale Candiani (Mestre, Italy), ed. Attorno a Klimt: Giuditta, eroismo e seduzione. Venezia: Lineadacqua, 2016.

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Book chapters on the topic "Giuditta"

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Morabito, Sergio. "Die Inszenierungen der Giuditta Pasta: Erzähl- und Bedeutungsstrukturen romantischer Primadonnenopern von Bellini und Romani." In Opernarbeit, 305–32. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04909-4_28.

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Lhâa, Alexandre. "Marcello and Peri's Giuditta (1860)." In The Sword of Judith: Judith Studies Across the Disciplines, 411–30. Open Book Publishers, 2010. http://dx.doi.org/10.11647/obp.0009.23.

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Lhâa, Alexandre. "Marcello and Peri’s Giuditta (1860)." In The Sword of Judith, 411–30. Open Book Publishers, 2010. http://dx.doi.org/10.2307/j.ctt5vjt5x.25.

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Cordero-Moss, Giuditta, and Diego P. Fernández Arroyo. "Private International Law and International Commercial Arbitration – A Dialogue about the Usefulness and Awareness of the Former for the Latter." In Diversity and Integration in Private International Law, 310–24. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447850.003.0019.

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This chapter reproduces a keynote debate that took place at one of the conferences in Edinburgh in the context of the PILIM project. Diego Fernandez Arroyo and Giuditta Cordero-Moss discussed the role of private international law in international commercial arbitration. They discuss the usefulness of conflict rules in arbitration proceedings, among other things where the parties have made a choice of law, examining also the limitations of choice of law clauses.
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Lockhart, Ellen. "Giuditta Pasta and the History of Musical Electrification." In Animation, Plasticity, and Music in Italy, 1770-1830. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520284432.003.0006.

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Chapter 5 traces the theme of human plasticity into Italian aesthetic discourse and opera of the 1820s and 1830s. The echoes of the musical statues of the late Enlightenment can be heard in the reception of performers of Ottocento opera, especially the women. Figures like Maria Malibran and particularly Giuditta Pasta were construed as living statues or artificially animated interlopers from an ancient past. This quality of animatedness was described with a very new kind of imagery within music criticism, one that drew on well-known developments in the nascent scientific field later known as electrobiology.
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"5. Giuditta Pasta and the History of Musical Electrification." In Animation, Plasticity, and Music in Italy, 1770-1830, 133–50. University of California Press, 2019. http://dx.doi.org/10.1515/9780520960060-007.

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Kennerley, David. "Criticising Women’s Voices in the Musical Press." In Sounding Feminine, 84–119. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190097561.003.0004.

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This chapter examines how professional female singers’ voices were described, and critically evaluated, in the music press. It focuses on comparing and contrasting critics’ responses to the voices of Catherine Stephens, Giuditta Pasta, and Eliza Vestris, three very different female singers. It demonstrates how concerns about class, religion, and nationality were instrumental in shaping critical commentary on these women’s voices. It argues that the sound of women’s voices was central to debates between partisans of opera and oratorio, and between advocates of “English” and “Italian” styles of music, methods of singing, and attitudes to gender. In particular, it explores the connections between the range of attitudes to women’s voices encountered in Chapters 1 and 2, and the contrasts in critics’ responses to these three singers’ voices, illustrating the ways in which social divisions over the nature of femininity shaped the development of the musical world.
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"The Evolving European Video Game Software Ecosystem: Giuditta De Prato, Sven Lindmark and Jean-Paul Simon." In The Video Game Industry, 224–46. Routledge, 2012. http://dx.doi.org/10.4324/9780203106495-22.

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Solinas, Francesco. "Artemisia Gentileschi a Napoli. Giuditta e la fantesca nella tenda d’Oloferne del Musée de la Castre a Cannes." In Close Reading, 380–93. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110752762-037.

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"10. Il giuditio della ragione tra la beltà e l’affetto." In The Baroque Libretto. Toronto: University of Toronto Press, 2011. http://dx.doi.org/10.3138/9781442687219-017.

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