Готові списки джерел за темами / Madam Butterfly

Добірка наукової літератури з теми "Madam Butterfly"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 29 січня 2023

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Статті в журналах з теми "Madam Butterfly"

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Basri, Hasan. "Social condition of japanense geisha as reflectd in short story Madame Butterfly by John Luther Long." COMMICAST 2, no. 1 (February 2, 2021): 15. http://dx.doi.org/10.12928/commicast.v2i1.2731.

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Анотація:
In this undergraduate thesis, the writer discusses short story Madam Butterfly written by John Luther Long. This study is aimed: (1) to describe the Geisha social life condition in Japanese society as reflected in Madame Butterfly (2) to describe the social class in Japanese society in 1903s as reflected in Madam Butterfly. In doing this research, the writer uses descriptive qualitative method which refers to description of things, characters, meaning and symbols. There are two types of data in this study.The findings of the research show that Geisha in Japan through Cho Cho San the main character in Madame Butterfly was a reflection of Geisha’s life condition in Japanese society. The writer conclude that Social condition of Geisha in Japan in 1930s are an entertainer because they are has been train for accompany all of the guests. Serve the drink, singing, dancing and playing music instrument were the Geisha’s job while accompany the guest. The guest also did some flirting to the Geisha. In 1930s American missionary and American Navy enter Japan for some mission, there are also American people who married Japanese girl. Beside the Geisha social life condition, there are two class in Japanese society that exist in 1903s Kazoku (Nobleman) and Heinin (Proletar). The social class in Japan in that time is very contrast between the Nobleman and Ploretar. Madam Butterfly include to high class people because of she married to a foreigner because according to Japanese, if they married a foreigner it can rise their social status.
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TATAR KIRILMIŞ, İlknur. "Postkolonyalizmi Masal Üzerinden Söyleme Dönüştürmek: “Masal” ve “Madam Butterfly Ölmeyi Reddederse”." Dil ve Edebiyat Araştırmaları/Journal of Language and Literature Studies 19, no. 19 (March 21, 2019): 139–58. http://dx.doi.org/10.30767/diledeara.542596.

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3

KYSLA, Svitlana. "The image of Chio-Chio-San from the opera “Madam Butterfly” in the context of Joacchino Puccini’s opera search." Humanities science current issues 2, no. 37 (2021): 21–26. http://dx.doi.org/10.24919/2308-4863/37-2-4.

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4

Ward-Griffin, Danielle. "As Seen on TV: Putting the NBC Opera on Stage." Journal of the American Musicological Society 71, no. 3 (2018): 595–654. http://dx.doi.org/10.1525/jams.2018.71.3.595.

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This article examines the relationship between opera on television and opera on the stage in America in the 1950s and 1960s. Using the NBC Opera (1949–64) as a case study, I trace both what television borrowed from the operatic stage and what television sought to bring to the stage in a relationship envisioned by producers as symbiotic. Focusing on the NBC's short-lived touring arm, which produced live performances of Madam Butterfly, The Marriage of Figaro, and La traviata for communities across America in 1956–57, I draw upon archival evidence to show how these small-scale stage productions were recalibrated to suit a television-watching public. Instead of relying on the stylized presentation and grand gestures typical of major opera houses, the NBC touring performances blended intimate television aesthetics with Broadway typecasting and naturalistic direction. Looking beyond the NBC Opera, I also offer a new model for understanding multimedial transfer in opera, one in which the production style of early television opera did not simply respond to the exigencies of the screen, but rather sought to transform the stage into a more intimate—and supposedly more accessible—medium in the mid-twentieth century.
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5

Groos, Arthur. "Return of the native: Japan inMadama Butterfly/Madama Butterflyin Japan." Cambridge Opera Journal 1, no. 2 (July 1989): 167–94. http://dx.doi.org/10.1017/s0954586700002950.

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By all accounts the premiere of Puccini'sMadama Butterflyat the Metropolitan Opera on 11 February 1907 was a triumphant success, with the presence of the composer adding special lustre to the brilliant performance of a distinguished cast. Amidst the general acclamation, however, a foreign visitor named Jihei Hashiguchi raised a dissenting voice in a letter to a local newspaper:I can say nothing for the music ofMadama butterfly. Western music is too complicated for a Japanese. Even Caruso' celebrated singing does not appeal very much more than the barking of a dog in faraway woods.
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Earnest, Steve. "Madama Butterfly (review)." Theatre Journal 56, no. 4 (2004): 701–3. http://dx.doi.org/10.1353/tj.2004.0158.

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Dineen, Phillip Murray. "Madama Butterfly (review)." Notes 63, no. 1 (2006): 173–74. http://dx.doi.org/10.1353/not.2006.0084.

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Shorr, Norman, and Martin K. Fallor. "“Madame Butterfly” Procedure." Ophthalmic Plastic & Reconstructive Surgery 1, no. 4 (1985): 229–35. http://dx.doi.org/10.1097/00002341-198501040-00003.

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GREENWALD, HELEN M. "Picturing Cio-Cio-San: House, screen, and ceremony in Puccini's Madama Butterfly." Cambridge Opera Journal 12, no. 3 (November 2000): 237–59. http://dx.doi.org/10.1017/s0954586700002378.

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Анотація:
I propose that certain ‘Japanese’ elements of Puccini's Madama Butterfly have cultural analogues that support a reading of the opera as more profoundly authentic than has usually been argued. My discussion begins with the house, the most basic scenic component of the opera, and develops via a number of interrelated issues: the Japanese home as the center of the life cycle, Puccini's choice of the home as his single set, and finally, Butterfly's ‘Vigil’ as the central event in an unfolding home-based life-cycle that raises issues of ritual and ceremony corresponding to values of the geisha culture.
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Oktenberg, Adrian, Yukiko Tanaka, Elizabeth Hanson, Hiroko Morita Malatesta, and Janice Mirikitani. "No More Madame Butterfly." Women's Review of Books 5, no. 5 (February 1988): 12. http://dx.doi.org/10.2307/4020199.

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Дисертації з теми "Madam Butterfly"

1

Li, Chun-hoi Benjamin, and 李俊海. "Madame butterfly and orientalism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952732.

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Li, Chun-hoi Benjamin. "Madame butterfly and orientalism." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B22535305.

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Cho, Chul Hyung. "Madame Chrysanthème : the opera and its relationship to Madame Butterfly /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11430.

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Chan, Wai-mun. "Re-appropriating identity : the case of Madame Butterfly and M. Butterfly /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19668697.

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Hara, Kunio. "Puccini's use of Japanese melodies in Madama Butterfly." Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1060955367.

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Horton, Marvin Darius. "Butterfly, butterfly : ideals, intrigue and cross-cultural contacts." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1074532.

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Анотація:
Madame Butterfly is analyzed as a cultural icon. Puccini s Madaina Butterfly and the Butterfly icon, i.e. the submissive Oriental beauty who cannot live after her Western lover betrays her, permeate Western stereotypes of Eastern culture. Through this mindset, miscommunication develops. This concept was popularized in David Henry Hwang's play M. Butterfly, which builds upon Puccini's opera. Through the character's misperceptions of each other, the opera's tragic ending is repeated in Hwang's play after the French diplomat Gallimard realizes that his ideal woman is actually a male spy. Traditions regarding homosexuality and cross-dressing help Song to create Gallimard's feminine ideal. The theater contributes through tan and onnagata roles where men are trained to create perfect feminine illusions. These stereotypes are problematic because they do not allow for the complexities that exist in the theater, on film, and in actual events. Through increased sensitivity and awareness, individuals can see past the stereotypes to see other's complexities.
Department of English
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HARA, KUNIO. "PUCCINI'S USE OF JAPANESE MELODIES IN MADAMA BUTTERFLY." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1060955367.

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Bamford, Nick. "Emancipating Madame Butterfly : intention and process in adapting and queering a text." Thesis, Bournemouth University, 2016. http://eprints.bournemouth.ac.uk/24746/.

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I have long had an interest in reworking iconic love stories from the romantic world of opera into contemporary, gay contexts, with the intention of demonstrating the similarities as well as the differences between homosexual and heterosexual relationships. I have not been satisfied with my attempts thus far, and so, as I adapt the story made famous by Puccini in Madama Butterfly, I want to readdress and to improve my practice to ensure that the resulting screenplay speaks authentically to a 21st century audience whilst still echoing its forebear. Using this creative practice, this PhD extends into the process of adaptation Dallas J. Baker’s (2011) concept of ‘queered practice-­‐led research’. It begins with an historical case-­‐study of the genealogy of the story that became Madama Butterfly and its descendants, looking for the intentions of the creators of each version. Through this process I seek to identify the essence of the story – its ‘genetic identity’ in terms of both theme and plot – from which I will create my new version. Crucially, the thesis is written from my perspective as a practitioner, and maintains focus on my intention in embarking on the adaptation project. The thesis continues with reflection on my practice in writing the adapted screenplay, exploring the effect of the changes I have made, the most significant being making the central relationship homosexual. It examines how that queering process fundamentally alters the story in far more respects than simply the gender and sexuality of the central characters, and suggests that it liberates the story. In conclusion it reflects on how my research has informed my practice, and my practice my research, and assesses how the additional freedoms afforded by queering the story have liberated it, and have enhanced my practice as a screenwriter.
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Beverloo, Sebastian. "Damn Pinkerton, and all such as he! : Om orientalism i Madame Butterfly." Thesis, Stockholms universitet, Avdelningen för musikvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-108227.

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Sebastian Beverloo: "Damn Pinkerton, and all such as he! – Om orientalism i Madame Butterfly." Exa- mensarbete på kandidatnivå i musikvetenskap, Institutionen för musik- och teatervetenskap, Stockholms universitet, ht 2014. Orientalism är teorin att Väst, genom representation i konsten, har förmedlat en ofördelaktig bild av Ori- entens folk, seder och bruk. Begreppet förklarar de estetiska strömningar som följde med den ostindiska handeln och den europeiska kolonialismen. Problemen som teorin om kulturell orientalism sätter fingret på innefattar olika aspekter av representation; hur orientalerna (redan det ett problematiskt begrepp i sig) har gestaltats i konsten. Ett av de centrala problemen är att etnicitet lyfts fram före individualitet: en orien- talisk man är i första hand orientalisk, och bara i andra hand man. Det här arbetet problematiserar repre- sentationen av rollpersonerna i den kvartett av verk, som jag kallar för Madame Geisha-berättelsen (Lotis Madame Chrysanthème (1887), Longs Madame Butterfly (1898), Belascos Madame Butterfly (1900), Puc- cinis Madama Butterfly (1904-7)). Mer specifikt undersöks hur den japanska kvinnan gestaltas genom alla de fyra verken – i synnerhet med hänsyn till relationen mellan japansk kvinnlighet och västerländsk man- lighet. Ett av huvudproblemen är att centralfiguren i berättelsen är en japansk kvinna, trots att ingen av de inblandade författarna var varken japansk eller en kvinna. Verken studeras sida vid sida och jämförs utifrån orientalistiska och genusrelaterade problem. En del av undersökningen ägnas även åt Butterflys påstaådda verkliga ursprung.
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Sacco, Laure-Hélène. "L'opéra à l'épreuve du cinéma." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030106.

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Le film d’opéra correspond à la rencontre de deux formes d’art ayant chacune ses propres règles de mise en scène. Il nécessite de concilier les exigences de l’opéra et celles du cinéma, mais prétend aussi favoriser leur enrichissement mutuel. Notre réflexion porte sur la pertinence, du point de vue créatif, de cette rencontre. Elle vise à mettre en évidence les risques, les enjeux et les intérêts artistiques du film d’opéra. Le corpus revêt une dimension franco-italienne : il se compose de cinq films produits par Daniel Toscan du Plantier (Don Giovanni de Joseph Losey, Carmen de Francesco Rosi, La Bohème de Luigi Comencini, Madame Butterfly de Frédéric Mitterrand, Tosca de Benoît Jacquot) et de deux autres, non produits par lui : La Traviata et Otello de Franco Zeffirelli, qui appartiennent à cette même « vague » du film d’opéra. L’étude s’intéresse tout d’abord à la politique culturelle du producteur Daniel Toscan du Plantier, grâce à qui ce genre cinématographique s’est développé de façon significative dans les années 1980, afin de définir le contexte de création de ses films, de comprendre son engagement en faveur de ce genre artistique et son intérêt tout particulier pour la culture italienne. Notre analyse tend par la suite à évaluer les difficultés techniques ainsi que les libertés créatives qu’engendre le passage à l’écran. L’écriture cinématographique de l’opéra implique des concessions sur le plan de la réalisation et nécessite un positionnement entre les deux esthétiques, mais elle permet aussi une lecture nouvelle et originale de l’opéra. Nous évaluons à la fois les exigences résultant de l’articulation opéra-cinéma et les solutions apportées par les réalisateurs pour répondre à ces contraintes, bien souvent musicales. La réflexion se concentre dans la seconde partie sur l’aboutissement de cette union, tout d’abord à travers l’analyse de l’interprétation visuelle de la musique fournie par les réalisateurs pour chacun des films du corpus, selon une approche thématique. Elle montre comment l’image mobile transcrit la musique, comment l’écriture cinématographique traduit visuellement la partition et peut accroître la dimension émotive. Enfin, elle s’intéresse à la réception de ces films en France et en Italie, en vue de mesurer l’accueil reçu par chacun auprès de la critique, partagée entre démocratisation de l’opéra et vulgarisation de l’art lyrique
The "opera film" corresponds to the encounter between two art forms envolving specific staging rules. It combines the requirements of opera and cinema alike whilst endeavouring to promote their mutual enrichment. In this dissertation I analyse the relevance of this encounter from a creative point of view. I intend to highlight the risks, stakes and artistic appropriateness of the opera film. The body of works has a Franco-italian dimension: it includes five films produced by Daniel Toscan du Plantier (Joseph Losey's Don Giovanni, Francesco Rosi's Carmen, Luigi Comencini's La Bohème, Frédéric Mitterrand's Madama Butterfly and Benoît Jacquot's Tosca) as well as two other films which he did not produced: La Traviata and Otello, by Franco Zeffirelli, also belong to this opera film "wave". First of all, I examine Daniel Toscan du Plantier's cultural policy as a producer. Indeed, it was thanks to him that this cinematic genre flourished significantly in the 1980s. I aim to define the creative context of these films and to understand his commitment towards their promotion as well as his genuine interest for Italian culture. I then move on to analysing the technical difficulties as well as the creative licence which results from screen adaptation. On the one hand, the cinematographic writing of opera implies concessions in staging and requires a position be taken in respect of aesthetics, cinematographic and opera. On the other hand, it also triggers a new and original reading of opera. I assess the requirements which result from the opera-cinema articulation and the solutions, often musical, proposed by films directors confronted to these constraints. In Part II I focus on the achievements of this union, first by thematically analysing each director's the visual interpretation of music provided in the films included in the body of works. I argue that the moving image transcribes music, that cinematographic writing translates the music score visually and that it can enhance the emotional dimension. Finally, I examine the response to these films in France and in Italy, especially through the critics divided between the democratisation of opera and the vulgarisation of lyric art
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Книги з теми "Madam Butterfly"

1

Starcrossed: A biography of Madam Butterfly. Norwalk: EastBridge, 2003.

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2

Puccini, Giacomo. Madam Butterfly: An opera in two acts. [New York]: Pagoda Books/Simon & Schuster, 1987.

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Puccini, Giacomo. Madam Butterfly: A Japanese tragedy : an opera in two acts. London: G. Ricordi, 1990.

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4

Puccini, Giacomo. Madame Butterfly. 2nd ed. Arles: Actes Sud ; Opera de Marseille, 1994.

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5

1945-, Honey Maureen, Cole Jean Lee, and Watanna Onoto 1879-1954, eds. Madame Butterfly. New Brunswick, N.J: Rutgers University Press, 2002.

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6

Mitterrand, Frédéric. Madame Butterfly. Paris: Éditions Plume, 1995.

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Puccini, Giacomo. Madama Butterfly. Milano: Leonardo arte, 2001.

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8

Giacosa, Giuseppe. Madama Butterfly. Milano: Leonardo arte, 2001.

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9

1858-1924, Puccini Giacomo, Illica Luigi 1857-1919, Giacosa Giuseppe 1847-1906, and Belasco David 1853-1931, eds. Madama Butterfly. New York: Black Dog & Leventhal Publishers, 1998.

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10

Rhein, Deutsche Oper am. Madama Butterfly. Düsseldorf: Deutsche Oper am Rhein, 1997.

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Частини книг з теми "Madam Butterfly"

1

Erkens, Richard, and Riccardo Pecci. "Madama Butterfly." In Puccini-Handbuch, 251–64. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05441-8_23.

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Bamford, Nick. "Emancipating Madame Butterfly." In Queer/Adaptation, 17–31. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05306-2_2.

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Rimer, J. Thomas. "One Legacy of Madame Butterfly." In Revenge Drama in European Renaissance and Japanese Theatre, 217–35. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611283_10.

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Thien, Danielle. "The migration of Madama Butterfly." In Opera in Translation, 195–216. Amsterdam: John Benjamins Publishing Company, 2020. http://dx.doi.org/10.1075/btl.153.10thi.

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Groos, Arthur. "Madama Butterfly Between East and West." In Giacomo Puccini and His World, edited by Arman Schwartz and Emanuele Senici, 49–84. Princeton: Princeton University Press, 2016. http://dx.doi.org/10.1515/9781400884063-005.

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Anderson, Mark. "John Luther Long’s Madame Butterfly and Imperial Domesticity." In Japan and the Specter of Imperialism, 15–45. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230100985_2.

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Shen, Qinna. "Implicating Buddhism in Madame Butterfly's Tragedy." In East Asian-German Cinema, 27–58. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003157540-3.

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Goldberg, Steven H. "Sliding Walls and Glimpses of the Other in Puccini's Madama Butterfly." In Opera on the Couch, 108–19. London: Routledge, 2022. http://dx.doi.org/10.4324/9781032271408-9.

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Steadman-Jones, Richard. "The depiction of the non-native speaker in two versions of the Madame Butterfly story." In Dialect and Literature in the Long Nineteenth Century, 162–78. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315576954-10.

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Colombo, Giorgio Fabio, Masabumi Suzuki, and Dai Yokomizo. "“That May Be Japanese Law … but Not in My Country!” Marriage, Divorce, and Private International Law in Giacomo Puccini’s Madama Butterfly." In Law and Opera, 65–77. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-68649-3_5.

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Тези доповідей конференцій з теми "Madam Butterfly"

1

Bamford, Nick. "From Madame Butterfly to Miss Saigon: Political and Practical Uses and Abuses of A Story." In 2nd Annual International Conference on Journalism & Mass Communications (JMComm 2013). Global Science and Technology Forum, 2013. http://dx.doi.org/10.5176/2301-3710_jmcomm13.01.

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Liu, Yu. "Take Madame Butterfly’s Heroine as an Example to Discuss Puccini’s Characterization Characteristics and Causes." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.034.

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"A Comparative Study on the Construction of Oriental Female Music Images in Chinese and Western Opera——Take Madame Butterfly and Canal Ballads as examples." In 2020 3rd International Conference on e-Education, e-Business and Information Management. Clausius Scientific Press, 2020. http://dx.doi.org/10.23977/eeim2020004.

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