Готові списки джерел за темами / Intermezzi

Добірка наукової літератури з теми "Intermezzi"

Автор: Grafiati
Опубліковано: 4 червня 2021
Оновлено: 18 лютого 2022

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Зміст

  1. Статті в журналах
  2. Дисертації
  3. Книги
  4. Частини книг
  5. Тези доповідей конференцій

Статті в журналах з теми "Intermezzi":

1

RICE, JOHN. "The Roman intermezzo and Sacchini's La contadina in corte." Cambridge Opera Journal 12, no. 2 (July 2000): 91–107. http://dx.doi.org/10.1017/s0954586700000914.

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The origins of the Roman intermezzo, an important and influential sub-genre of Italian comic opera, can be traced back to the 1730s, when the composer and librettist Benedetto Micheli wrote several two-part intermezzi for the Teatro Valle and other theaters in Rome for performance during the intermissions of spoken plays. The Valle cultivated the intermezzo with particular consistency during the next six decades, presenting works by many distinguished composers, including Sacchini, Paisiello, and Cimarosa. Sacchini's La contadina in corte, on a libretto derived from Giacomo Rust's three-act comic opera of the same title, may serve as a good example of the Roman intermezzo.
2

Howell, Tim. "Brahms, Kierkegaard and Repetition: Three Intermezzi." Nineteenth-Century Music Review 10, no. 1 (June 2013): 101–17. http://dx.doi.org/10.1017/s1479409813000050.

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Schoenberg's ideas about ‘Brahms the progressive’ involve the close study of the composer's use of ‘developing variation’ technique, yet Brahms's music also contains a high incidence of repetition. In 1843, the Danish philosopher Søren Kierkegaard published a book called Repetition under the pseudonym, ‘Constantin Constantius’. As an encryption of his underlying philosophy, this pseudonym encapsulates both the constant nature of repetition – and its more subtle element of change. Thus stasis and dynamism, similarity and difference, are equally (and visibly) represented here. Kierkegaard's ideas find resonance within the late Brahms piano miniatures (for instance in the Drei Intermezzi, op. 117) where highly compressed formal structures exhibit differing kinds of repetitive processes. The temporal quality of repetition – the fact that experiencing the ‘same’ thing can only occur later on in time – makes this device more dynamic than it may at first appear. Such a view of repetition sits alongside Schoenberg's notion of ‘developing variation’ – the endless reshaping of a basic shape – but although they may have underlying connections, each is articulated in a different way. Studies of developing variation in Brahms are confined to pitch structures, interval patterns and rhythmic shapes, whereas considerations of repetition need to embrace issues of temporality, narrative and motion. Drawing upon Kierkegaard's philosophical distinction between re-experiencing something, rather than experiencing it again, allows repetition to become a catalyst for change. It may help to explain the expressive expansiveness of Brahms's structurally controlled late piano works.
3

Bye, Antony, Emma Johnson, Malcom Martineau, RPO, and Groves. "Stanford: Clarinet Concerto; Three Intermezzi Finzi: Clarinet Concerto; Five Bagatelles." Musical Times 134, no. 1799 (January 1993): 46. http://dx.doi.org/10.2307/1002649.

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4

Newman, Karen. "The Politics of Spectacle: La Pellegrina and the Intermezzi of 1589." MLN 101, no. 1 (January 1986): 95. http://dx.doi.org/10.2307/2905518.

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5

Gaakeer, A. M. P. (Jeanne). "‘A Person’s a Person, No Matter How Small’: enige literaire intermezzi." Boom Strafblad 1, no. 1 (May 2020): 4–6. http://dx.doi.org/10.5553/bsb/266669012020001001002.

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6

Milhous, Judith. "WHAT ARE YOU READING?" Theatre Survey 51, no. 2 (October 18, 2010): 291–94. http://dx.doi.org/10.1017/s0040557410000359.

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What might one read for an opera course? I teach an occasional survey that looks at opera in the context of theatre. It is intended to demystify opera for those who have no experience of it but also to explore some nooks and crannies that even fans might not know well. The general layout is chronological, but local production schedules may mean that we start out of order or that there are interruptions. My concern is that students be somewhat prepared when they go to see an opera on the syllabus. Rather than choose warhorses for their own sake, I seek out pieces that offer historical, political, or aesthetic choices that are surprising to many students. Thus, with John Adams's Nixon in China, we also read three plays about Madame Mao. With the intermezzi presented as part of the Medici wedding festivities of 1598, we read one of the plays the intermezzi graced, Bargagli's La pellegrina; for the production process, we read excerpts from James M. Saslow's wonderful 1996 book about the wedding, and so on. I change the overall content to accommodate available productions and to keep the course interesting for me and (I hope) for students. Since I keep an eye out for books that might be useful, this essay combines things I have actually read with things I will consider for the syllabus the next time I teach it.
7

Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (July 2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.

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JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No. 2); Capriccio (Study No. 1); Aubade (Study No. 4); Tenebrae; Scrunch (Study No. 8); Evening Harmonies (Study No. 7). Tamami Honma (pno). Metier MSV CD92071.
8

Rietveld, ABM, and John D. Macfarlane. "Oefening Baart Kunst—“Exercise Bears (Gives Birth To) Art”: Symposium for and by the Allied Health Professions of the NVDMG, Medisch Centrum Haaglanden, Den Haag, February 5, 2011." Medical Problems of Performing Artists 26, no. 2 (June 1, 2011): 108–13. http://dx.doi.org/10.21091/mppa.2011.2017.

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On Saturday, February 5th, 2011, the Dutch Performing Arts Medicine Association (Nederlandse Vereniging voor Dans- en MuziekGeneeskunde, NVDMG) organized a Symposium for and by allied health care professionals, held in the Medisch Centrum Haaglanden (MCH, Medical Centre of The Hague). Allied health care professionals, such as physiotherapists, manual therapists, Mensendieck therapists, speech therapists, and foot therapists, form a vital and indispensable link in the chain of healthcare and cure for dancers, musicians, and singers. The intention of the symposium was to highlight the practical and experience-related approach of allied health care providers, both in the presentations and in the artistic intermezzi. Apart from the exchange of knowledge and experience, there was ample opportunity for informal contact, facilitating and stimulating the formation of an interdependent network of allied health care providers specialized and/or interested in dance, music, and singing in The Netherlands.
9

Quinziano, Franco. "Ecos cervantinos en los escenarios italianos del XVIII. Baretti y Corsetti: dos modelos de apropiación e inversión." Cuadernos de Estudios del Siglo XVIII, no. 26 (October 27, 2017): 111. http://dx.doi.org/10.17811/cesxviii.26.2016.111-135.

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RESUMENLa presencia del Quijote en los escenarios italianos del XVIII constituye aún un campo parcialmente abonado por la crítica. Las diversas recreaciones cervantinas del período nos hablan de una importante presencia y recepción de temas y motivos en la cultura italiana, siendo estas piezas —no sólo las óperas serias o bufas, sino también las composiciones cómicas breves— verdaderas canteras aún por explorar. En dicha perspectiva se examinan dos intermezzi de clara derivación quijotesca, Don Chisciotte a Venezia (Baretti) y Don Chisciotte nella selva di Alcina (Corsetti), en los que la figura del caballero andante, implantado en ambientes festivos y carnavalescos, es despojada de toda dignidad literaria, al tiempo que se percibe una inversión en la configuración de su perfil moral. Ambas piezas confirman este proceso de apropiación e inversión en el que se plasman nuevas reencarnaciones del famoso hidalgo, recargando las tintas sobre los componentes satíricos y paródicos, a través de un proceso de reelaboración textual en el que la comicidad se desplaza hacia ámbitos decididamente grotescos y caricaturescos.PALABRAS CLAVEQuijote, recreaciones cervantinas, teatro musical, siglo XVIII, Baretti, Corsetti. TITOLOPresenze cervantine negli scenari italiani del Settecento. Baretti e Corsetti: due modelli di appropriazione e inversioneSOMMARIOLa presenza e ricezione del Quijote negli scenari italiani del Settecento costituisce ancora un campo parzialmente affrontato dalla critica. I diversi rifacimenti del periodo per il teatro musicale ci parlano di una importante presenza e ricezione di temi e motivi cervantini nella cultura italiana, essendo questi componimenti —non solo le opere serie o buffe, ma anche i sottogeneri comici e giocosi brevi— vere e proprie miniere da esplorare. In questa prospettiva lo studio esamina due brevi libretti di chiara derivazione chisciottesca, Don Chisciotte a Venezia (Baretti) e Don Chisciotte nella selva di Alcina (Corsetti), in cui la figura del cavalliere errante, inserito in ambienti festivi e carnavaleschi, è spogliata di ogni dignità letteraria, al tempo che si profila un processo di rovesciamento e inversione del suo profilo morale. Questi due intermezzi confermano un singolare processo di appropriazione e di rovesciamento rispetto al romanzo cervantino, in cui si plasmano nuove reincarnazioni del celebre protagonista, enfatizzando gli elementi satirici e parodici attraverso un processo di rielaborazione testuale in cui la comicità si sposta verso contesti decisamente grotteschi.PAROLE CHIAVIDon Chisciotte, rifacimenti cervantini, teatro musicale, Settecento, Baretti, Corsetti.
10

Macenka, S. Р. "Literary Portrait of Fanny HenselMendelssohn (in Peter Härtling’s novel “Dearest Fenchel! The Life of Fanny Hensel‑Mendelssohn in Etudes and Intermezzi”)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 195–212. http://dx.doi.org/10.34064/khnum2-17.13.

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Background. Numerous research conferences and scholarly papers show increased interest in the creativity of German composer, pianist and singer of the 19th century Fanny Hensel-Mendelssohn. What is particularly noticeable is that her life and creativity are subject of non-scholarly discussion. Writers of biographical works are profoundly interested in the personality of this talented artist, as it gives them material for the discussion of a whole range of issues, in particular those pertaining to the phenomena of female creativity, new concepts of music and history of music with emphasis on its communicative character, correlation between music and gender, establishment of autobiographical character of musical creativity, expression and realization of female creativity under conditions of burgher society. Additional attention is paid to family constellations: Robert and Clara Schumann, brother and sister Felix Mendelssohn Bartholdy and Fanny Hensel-Mendelssohn. A very close relationship between Felix Mendelssohn and Fanny HenselMendelssohn opens a new perspective on the dialogical history of music, i. e. the reconstruction of music pieces based on close personal and critical contact in the Mendelssohn family. All these ideas, which researchers started articulating and discussing only recently, found their artistic expression in the biographical novel “Dear Fenchel! The Life of Fanny Hensel-Mendelssohn in Etudes and Intermezzi” («Liebste Fenchel! Das Leben der Fanny Hensel-Mendelssohn in Etüden und Intermezzi», 2011) by the German writer Peter Härtling (1933–2017). Peter Härtling was attracted to the image of Fanny Hensel primarily because she was working in the Romantic aesthetics, which the writer considered the backbone of his own creativity. While working on the novel about Fanny Hensel, Peter Härtling was constantly reading her diaries and listening to her music as well as the music by her brother Felix Mendelssohn. He discovered “a fascinating composer” who was creating music “bravely” through improvisation, even more so, who improvised her own life in a similar fashion. Her “courageous steps” into “female reality” struck the biography writer. Objectives. The research aims at studying the literary image of Fanny Hensel using the ideas of contemporary music scholars regarding creativity of this still little researched artist. Literary reflection of the life and creativity of musician based on combination of fiction and real life is a productive addition to her creative image. Methods. Since the research is centered on the image of a female composer, in many respects it is following the theoretical premises of music gender studies. The complexity of literary recreation to the personality and creativity of composer in the novel was required the sophisticated narrative situation and structure, that justifies the use of narratology as a method of literary criticism’ analysis. Results. Peter Härtling is a well-known master of biographical novel, who has his own creative concept of re-construction the life story of famous artists. When creating a biographical novel, the writer walks on the verge of reality and fiction, rediscovering and creating. The artistic element serves the purpose of amplification and image-creation; it helps to reveal distinctive properties, characteristics and elements of personality of the biographic novel hero. Gaps in documented materials help the narrator behave freely, give a chance for open associations and subjective vision. When outlining the personality lineaments, the narrator follows chronology of the most important events. Yet, plot development in an autobiographical novel is based on separate motifs. Certain life stages and events of a person’s life are depicted in detail in specific chapters and are shown more accurately within the general plot. By running ahead and looking back, the narrator makes it clear that he is above the narrative situation and arranges the depicted events according to the principle of their development. The narrator plays the role of an accompanying of a person portrayed, helping the writer approach to latter in order to understand him. Peter Härtling defines the key narrative principle in the following way: the narration is centered on the relationship of the talented brother and sister, as well as the motives of a mothering care and self-assertion, which are creating the backdrop for the biography of Fanny Mendelssohn. As such, we can see the ways that helped a talented young woman stand against her competitor-brother and get out of his shadow. The author claims that since childhood, the brother and the sister got along with the help of music and it was music that created a tie between them. The novel pays close attention to their discussions of music and the Sunday concerts, which took place at their house. As it is known from letters, it was very important for Felix Mendelssohn to include music into private communication forms. Researchers emphasizes that it made hard for him to be involved in social processes, in which such form of communication was impossible. Based on what Felix Mendelssohn himself said, it is possible to conclude that he was making an opposition between private musical communication as “the world of music” and social music life “as the world of musicians”. Fanny Hensel was not the embodiment of “detached musical practice” of autonomous art for him; on contrary, her creativity was directly linked to real life. Inside the bourgeois home and amid “private circulation of texts”, Fanny Hensel’s music was directly connected to communication, holidays and family rituals, in which the roles of music performer and music listener were “not cemented”, presupposing active inclusion of “amateurs” into music. Private musical practice meant the successful musical communication, the direct communication in music, which was not possible in anonymous publicness. Composer individuality had a chance of growing without being stripped of meaning and understanding. Inside the burgher house and within her immediate circle, Fanny Hensel was the symbol of “illusion of non-detached music”. Peter Härtling attests to autobiographical character of Fanny Hensel’s musical writing. Conclusions. Peter Härtling’s novel shows a cultural change, which stipulated an extended understanding of music as a dynamic process of human activity in a specific, historically varied cultural field. In this respect, Fanny Hensel’s literary portrait touches upon important aspects of female music creativity, actualizing its achievements in contemporary cultural space. Approaching the talented artist in literature is a special combination of art and life, fictitious and real, past and present.
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Статті в журналах Дисертації Книги

Дисертації з теми "Intermezzi":

1

Heinrich, David Klinger Max. "Max Klinger's Intermezzi : a critical analysis /." Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09ARM/09armh469.pdf.

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2

Maluf, Shireen. "Paths not taken : structural-harmonic ambiguities in selected Brahms Intermezzi." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23342.

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One of the remarkable features of Brahm's B-flat major Intermezzo for piano, Op. 76, no. 4 is the ambiguity of its tonal definition. The work disclosed a contrapuntal tension between its fundamental structural-harmonic organization, which is based on an incomplete harmonic progression (V7-I), and its more remote intermediary tonal areas, which Brahms implies throughout the Intermezzo but to which he never wholly commits.
The aim of this investigation is to illustrate how tonal ambiguity is achieved though recurrent "incompletions" of the expected (or at least the more likely) harmonic progressions. The thesis undertakes a detailed study of Brahms' Intermezzo, Op. 76, no. 4, in B-flat major, with additional reference to the openings of Opp. 118, no. 1 (A minor); 118, no. 6 (E-flat minor); 119, no. 1 (B minor); 117, no. 2 (B-flat minor) and 76, no. 8 (C major). The study combines a Schenkerian linear-reductive approach with observations based on phenomenology--after Leonard Meyer and David Lewin--and narrative, after Edward T. Cone.
3

Halbrštátová, Lada. "Intermezzo - Centrum pro rodiče a děti." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2016. http://www.nusl.cz/ntk/nusl-240276.

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Abstract The main purpose of creating this object was to create a place where people having bad living situation will meet people who live regular lives. This is the reason why two floors were projected. The first floor is designed for social activities whereas the second floor is a housing part with apartments. The advantage of irregular but compact shape of the building is perfect connection between its functional parts. The object does not have any basement and it is placed in a little slopy bulit-up surroundings on the crossing of Tyršova and U Distance streets in Letohrad town. On the first floor there is a main entrance, a coffee, massages, a recreation hall, an art working-room, a gym, changing rooms, administration and the technological background of the object. The second floor does not cover a whole area of the first floor. Apartments, laundry room and drying room are situated here. One of the apartments here is projected as barrier-free as well as whole first floor. Both floors are connected by central staircase with shape of „U“ and an elevator. Roofing of the object is realized by single layered flat roof with classic layer order. The gym is roofed by a flat roof held by glued laminated girders. The construction was projected with regard to synergy of all used materials and systems. The chosen solution of object with two floors (both above the terrain) makes the building pretty marked when looking at it’s location, however it makes the place more integrated and uniform.
4

Olivier, Ryan K. "Musica speculativa| An exploration of the multimedia concert experience through theory and practice part I| Imaginary cognition| Interpreting the Topoi of intermedia electroacoustic concert works part II| Musica speculativa| A multimedia concert work in five movements and three intermezzi." Thesis, Temple University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3703038.

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Musica Speculativa is a final project in two parts in which I explore, through both theory and practice, the role of metaphors in our understanding of reality with special attention given to the use of visual representation in multimedia concert works that employ electroacoustics. Part I, entitled, "Imaginary Cognition: Interpreting the Topoi of Intermedia Electroacoustic Concert Works," explores how metaphors play a core role in our musical experience and how aural metaphors can be enhanced by and ultimately interact with visual metaphors to create a contrapuntal intermedia experience. Part II, "Musica Speculativa: A Multimedia Concert in Five Movements and Three Intermezzi," for mezzo-soprano, flute, B-flat bass clarinet, violin, cello, piano, a percussionist performing an array of lightning bottles, a dancer with a gesture-sensing wand, and a technologist operating interactive audio and video processing, focuses on the medieval philosophy of Musica Speculativa and how it relates to our current understanding of the world.

In part I explore the heightened experience of metaphorical exchange through the utilization of multimedia. The starting point is the expansion of visual enhancement in electroacoustic compositions due to the widespread availability of projection in concert halls and the multimedia expectations created through 21st-century Western culture. With the use of visual representation comes the potential to map musical ideas onto visual signs, creating another level of cognition. The subsequent unfolding of visual signifiers offers a direct visual complement and subsequent interaction to the unfolding of aural themes in electroacoustic compositions. The paper surveys the current research surrounding metaphorical thematic recognition in electroacoustic works whose transformational processes might be unfamiliar, and which in turn create fertile ground for the negotiation of meaning. The interaction of media and the differences created among the various signs within the music and the visual art create a heightened concert experience that is familiar to and in many ways expected by contemporary listeners.

Composers such as Jaroslaw Kapuscinski have sought to use multimedia as a means to enhance the concert experience, giving movement to the acousmatic presence in their electroacoustic works. In turn, these works create a concert experience that is more familiar to the 21st-century audience. Through examining Kapuscinski's recent work, Oli's Dream, in light of cognitive research by Zbikowski (1998 & 2002), topic theory by Agawu (1991 & 2009), and multimedia research by Cook (1998), I propose a theory for analyzing contrapuntal meaning in multimedia concert works.

The themes explored in Part I, regarding the use of metaphor to interpret both visual and aural stimuli, ultimately creating a metaphor for a reality never fully grasped due to the limits of human understanding, are further explored artistically in the multimedia concert work, Musica Speculativa. The medieval philosophy of Musica Speculativa suggests that music as it is understood today (musica instrumentalis) is the only tangible form of the metaphysical music ruling human interactions (musica humana) and ordering the cosmos (musica mundana). I found the concept of Musica Speculativa to be a fitting metaphor for how music and art allude to our own perception of reality and our place within that world. The project as a whole re-examines the concept of Musica Speculativa in light of our current technological landscape to gain a deeper understanding of how we interact with the world around us.

5

SHELLARD, CARLOS ANDREAS DE ARAUJO. "THE NOMAD DICTIONARY: A CARTOGRAPHY OF INTERMEZZO." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=24769@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O presente trabalho tem como objetivo formular reflexões acerca de aspectos e modulações do conceito e da prática do nomadismo, relacionando-os às viagens no mundo contemporâneo. Uma travessia de oito meses de duração, realizada pelo autor no ano de 2011 através de alguns países da África e Ásia, serve de fio condutor do trabalho. Impressões, experiências e acontecimentos vividos vão-se construindo, em contraponto a citações literárias afins de viajantes, exploradores, romancistas, historiadores e poetas e intercalando-se a formulações teóricas de autores como Deleuze e Guattari, no Tratado de Nomadologia, Michel Onfray em Teoria da viagem e Michel Maffesoli em Sobre o nomadismo.
This work aims to elaborate reflections about the various aspects and modulations of the concept and practice of nomadism, relating them to travel in the contemporary world. An eight months trip, undertaken by the author in 2011 in some countries in Africa and Asia, serves as a foundation to the work. Impressions, personal experiences and events will be discussed and contrasted with quotes by travelers, explorers, novelists, historians and poets. Interspersing these, there will be theoretical formulations of authors such as Deleuze and Guattari, in Treatise on Nomadology, Michel Onfray in Theory of Travel , and Maffesoli in About Nomadism.
6

Håkansson, Sofi. "The [Post]industrial Intermezzo : - The Wave, Ripple and Current." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-171038.

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7

Mohr, Lutz. "Eine nordische Macht wird Nachfolger – das Brandenburger Intermezzo und danach …" Lutz Mohr, 2017. https://slub.qucosa.de/id/qucosa%3A7963.

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8

Nedorostová, Klára. "J.Brahms - Drobné klavírní skladby s přihlédnutím k intermezzům." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79435.

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this master´s thesis J. Brahms - small piano pieces deals with last piano compositions, especially with the opus 117. The work is divided into sic chapters. In the first one I outline the author´s life and his most important compositions. Then I concentrate on the value and sense of the term piano within the author´s work, also on the Brahms´ characteristic musical expression. I present the complex overview of the production dedicated to the instrument as well, of which the petite forms are focused on in more detail. Three intermezzi, op. 117 is dealt with the most widely, and I describe its particular compositions in detail. The thesis is closed by a chapter dedicated to the very last Brahms´ piano pieces.
9

Smykowski, Adam. "Heinrich Heines Lyrisches Intermezzo in Vertonungen von Robert Schumann und Robert Franz /." Frankfurt am Main ; Bern ; Paris : P. Lang, 2002. http://catalogue.bnf.fr/ark:/12148/cb388348041.

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Campos, Luana Pereira Brant. "Hibridizações no cinema digital : Peter Greenaway no espaço intermezzo e nas potências do falso." reponame:Repositório Institucional da UnB, 2009. http://repositorio.unb.br/handle/10482/4283.

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Анотація:
Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Artes Visuais, Programa de Pós-Graduação em Arte, 2009.
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A presente pesquisa tem como objetivo investigar as transformações ocorridas na estética cinematográfica com a inserção da tecnologia digital. Através da análise do filme Tulse Luper Suitcases, de Peter Greenaway, pretende-se observar em que medida o cinema realizado com a tecnologia digital hibridizase com o vídeo e com a televisão, incorporando procedimentos estéticos destes meios. O solo teórico sobre o qual esta pesquisa se sustenta é a filosofia de Gilles Deleuze. Utiliza-se o conceito de potências do falso para se investigar como o cinema de Peter Greenaway, ao trabalhar as imagens em camadas, rompe com o ideal de verdade, priorizando conceitos como simultaneidade e multiplicidade. O conceito de intercessores também mostrase bastante relevante em nosso trabalho, na medida em que permite identificar a tecnologia digital como um elemento externo que atua como produtor de novos conceitos na imagem em movimento. _________________________________________________________________________________ ABSTRACT
The goal of this present research is to investigate the transformations occurred in the movie aesthetic with the insertion of the digital technology. Through the analysis of the movie Tulse Luper Suitcases, by Peter Greenaway, its intended to observe in what measure the movie produced with the digital technology hybridizes with the video and the television, incorporating aesthetic procedures from these means. The theoretical soil which this research is sustained is the philosophy from Gilles Deleuze. It is used the concept of fake potencies to investigate how the movie made by Peter Greenaway, when working the images in layers, break with the truth ideal, putting concepts as simultaneity and multiplicity as priorities. The concept of intercessors also shows itself pretty relevant in our work, as it allows identifying the digital technology as an external element that acts as a new concept producer in moving images.
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Книги з теми "Intermezzi":

1

Zamberlan, Davide. Intermezzi. Latina: Tunué, 2005.

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2

Mamlok, Ursula. Five intermezzi: Guitar solo. New York: C.F. Peters, 1992.

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3

Carlo. Intermezzi e farsette per musica. Venezia: Marsilio, 2008.

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4

Croce, Benedetto. Cultura e vita morale: Intermezzi polemici. Napoli: Bibliopolis, 1993.

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5

Vinci, Leonardo. Flacco e Servilia: Enrichetta e don Chilone : intermezzi. [Calabria]: A.M.A. Calabria, 1994.

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6

Härtling, Peter. Liebste Fenchel!: Das Leben von Fanny Mendelssohn-Hensel erzählt in Etüden und Intermezzi. Köln: Kiepenheuer & Witsch, 2011.

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7

Serafini, Jacopo. Il fiorito oblio: Opera in tre atti, due intermezzi, un prologo e un epilogo. Napoli: Pagano, 2002.

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Serafini, Jacopo. Il fiorito oblio: Opera in tre atti, due intermezzi, un prologo e un epilogo. Napoli: Pagano, 2002.

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9

Rossano, Antonio. Piccinni mi ha detto: Biografia a due voci, con intermezzi e un fuor d'opera. Bari: Levante, 2001.

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10

Rossano, Antonio. Piccinni mi ha detto: Biografia a due voci, con intermezzi e un fuor d'opera. Bari: Levante, 2001.

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Частини книг з теми "Intermezzi":

1

Brandl-Risi, Bettina. "Dramaturgien der Unterbrechung und der Diversität: Tableaux, Intermezzi, Nachspiele." In Handbuch Drama, 151–57. Stuttgart: J.B. Metzler, 2012. http://dx.doi.org/10.1007/978-3-476-00512-0_13.

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2

Budde, Ellen. "Inleiding." In Intermezzo, 9–11. Houten: Bohn Stafleu van Loghum, 2007. http://dx.doi.org/10.1007/978-90-313-9574-3_1.

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3

Budde, Ellen. "Voorwerp." In Intermezzo, 38–39. Houten: Bohn Stafleu van Loghum, 2007. http://dx.doi.org/10.1007/978-90-313-9574-3_10.

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Budde, Ellen. "Cadeaus voor jezelf." In Intermezzo, 43–44. Houten: Bohn Stafleu van Loghum, 2007. http://dx.doi.org/10.1007/978-90-313-9574-3_11.

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5

Budde, Ellen. "Mijn gesprekspartner." In Intermezzo, 45–46. Houten: Bohn Stafleu van Loghum, 2007. http://dx.doi.org/10.1007/978-90-313-9574-3_12.

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6

Budde, Ellen. "Drieluik over je mogelijkheden." In Intermezzo, 47–48. Houten: Bohn Stafleu van Loghum, 2007. http://dx.doi.org/10.1007/978-90-313-9574-3_13.

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7

Budde, Ellen. "Voorwerpen uit je tas/zak." In Intermezzo, 49–50. Houten: Bohn Stafleu van Loghum, 2007. http://dx.doi.org/10.1007/978-90-313-9574-3_14.

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Budde, Ellen. "Mijn schatkist." In Intermezzo, 51–52. Houten: Bohn Stafleu van Loghum, 2007. http://dx.doi.org/10.1007/978-90-313-9574-3_15.

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9

Budde, Ellen. "Drieluik met symbolen voor jezelf *." In Intermezzo, 53–54. Houten: Bohn Stafleu van Loghum, 2007. http://dx.doi.org/10.1007/978-90-313-9574-3_16.

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10

Budde, Ellen. "Wat handen kunnen zeggen." In Intermezzo, 55–56. Houten: Bohn Stafleu van Loghum, 2007. http://dx.doi.org/10.1007/978-90-313-9574-3_17.

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Тези доповідей конференцій з теми "Intermezzi":

1

Heilmann, HP, and C. Heilmann. "Neuralgia n. intermedii – case report of a rare differential diagnosis of otalgia." In Abstract- und Posterband – 90. Jahresversammlung der Deutschen Gesellschaft für HNO-Heilkunde, Kopf- und Hals-Chirurgie e.V., Bonn – Digitalisierung in der HNO-Heilkunde. Georg Thieme Verlag KG, 2019. http://dx.doi.org/10.1055/s-0039-1686393.

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2

Silva, Ygor, João Almeida, Gabriel Macedo, and Anibal Bezerra. "Estudo das propriedades óticas de células solares de banda intermediária utilizando o método Split Operator." In MOL2NET 2018, International Conference on Multidisciplinary Sciences, 4th edition. Basel, Switzerland: MDPI, 2018. http://dx.doi.org/10.3390/mol2net-04-05774.

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3

de Almeida, João, Ygor Lacerda, Cassio Henrique, Gabriel Macedo, and Gabriel Marinho. "Fourier Grid Hamiltonian aplicado ao estudo das propriedades ópticas e de transporte de células solares de banda intermediária simuladas computacionalmente usando a linguagem Julia." In MOL2NET 2018, International Conference on Multidisciplinary Sciences, 4th edition. Basel, Switzerland: MDPI, 2018. http://dx.doi.org/10.3390/mol2net-04-05776.

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