Дисертації з теми "Madam Butterfly"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-20 дисертацій для дослідження на тему "Madam Butterfly".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте дисертації для різних дисциплін та оформлюйте правильно вашу бібліографію.
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.
Повний текст джерелаLi, 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.
Повний текст джерелаCho, 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.
Повний текст джерелаChan, 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.
Повний текст джерелаHara, 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.
Повний текст джерелаHorton, Marvin Darius. "Butterfly, butterfly : ideals, intrigue and cross-cultural contacts." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1074532.
Повний текст джерелаDepartment of English
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.
Повний текст джерелаBamford, Nick. "Emancipating Madame Butterfly : intention and process in adapting and queering a text." Thesis, Bournemouth University, 2016. http://eprints.bournemouth.ac.uk/24746/.
Повний текст джерелаBeverloo, 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.
Повний текст джерелаSacco, Laure-Hélène. "L'opéra à l'épreuve du cinéma." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030106.
Повний текст джерелаThe "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
Means, Michael M. "Adaptive Acts: Queer Voices and Radical Adaptation in Multi-Ethnic American Literary and Visual Culture." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5773.
Повний текст джерелаLyne, Sandra Anne. "Madame Butterfly and men of empire: stereotyping and trauma in 20th century novels." Thesis, 2017. http://hdl.handle.net/2440/111433.
Повний текст джерелаThesis (Ph.D.) -- University of Adelaide, School of Humanities, 2017.
mei, chiu huang ya, and 邱黃雅美. "Chiu Yu Lang a s "Madame Butterfly"." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/59157431899484571400.
Повний текст джерела東吳大學
音樂學系
92
Madam Chiu Yu Lang has had 30 years of on-stage performance experience and enjoys international fame. She has participated in numerous performances, and most excels at "Madame Butterfly". This paper hopes to make use of Madam Chiu''s valuable experience in order to better equip performers of "Madame Butterfly" with approches of their own. This paper discusses , which is the most famous aria in Puccini''s "Madame Butterfly", for the purpose of understanding Puccini''s life and the background and styles of his work. This paper also walks you through the ups and downs of the renowned vocal musician - Madam Chiu Yu Lang during her years of further studies. Through precise fine-tuning by Madam Chiu, one can truly appreciate the skills involved in refining the performing of this song. Madam Chiu thoroughly analyzes this temperamental song in terms of its speed change, tone control, breath and timbre adjustment, as well as the creation of ambience. All these factors contribute to increased understanding and room for performance versatility for a performer. Finally, I hope the study of < Un bel di vedremo> can take the skills of vocal performers to the next level.
Pu, Hsiao-tzu, and 蒲孝慈. "the research is the four Arias of the opera《Madama Butterfly》." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/77721100025305753572.
Повний текст джерела東吳大學
音樂學系
96
The topic of this research is the four Arias of the opera 《Madama Butterfly》written by Giacomo Puccini. Before singing, a singer must have some understanding to the background of the composer’s creation, the style of his music, the structure of the music and ways of applying skills. To further understand this Aria, ones have to be aware of the impact of realism on operas in 19th century. The life of composer Giacomo Puccini and his composing stytle also need to be understood in studying his music the content of the opera《Madama Butterfly》 and musical characteristics of Arias. From the basic elements of the musical structures of the singing style, one can compare the differences among singing interpretation to this Aria by different singers: Maria Callas、Mirella Freni and Renata Scotto. And in turn one comes to know how to better express composer artistical styles.
Lou, Kai-Hou, and 婁凱豪. "From Binarism to Diversity: Identities and Power Relations in Giocomo Puccini’s Madama Butterfly and David Henry Hwang’s M. Butterfly." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/62138400918938708148.
Повний текст джерела國立彰化師範大學
英語研究所
92
Abstract People’s views on gender, race, and culture experience change through different times and spaces. Under the interweaving of different times and spaces, different genders, races, and cultures produce different ideas and values. The view on the sexes in the traditional society reveals the sexism—the superiority of men and the inferiority of women. Men are the only and whole concern for women. Women must accept men’s dominations willingly. In sexual orientation, heterosexuality is the gender norm. The other sexual orientations such as homosexuality and bisexuality are the deviations. In race, Western races are the spokesmen of supremacy, and Eastern races are inferior to them. Moreover, in culture, Western cultures are regarded as advanced and the leaders among the world cultures. However, people’s views on Eastern cultures are old and exotic. As time goes by, under the influence of the idea of global village, the interactions among countries are frequent in modern time. People’s views on gender, race, and culture also change. Instead, the ideas of the equality between two sexes, the diversity of sexual orientations, the union of races, and the interaction of multiple cultures are encouraged. Traditional and modern views on gender, race, and culture can be found through the reading of Madama Butterfly and M. Butterfly. Through the interactions among characters, and the analysis of identities and power relations, the change from binarism to diversity sheds light.
"Puccini's treatment of the heroines' death in La bohème, Tosca and Madama Butterfly." 1998. http://library.cuhk.edu.hk/record=b5896304.
Повний текст джерелаThesis (M.Phil.)--Chinese University of Hong Kong, 1998.
Includes bibliographical references (leaves 123-126).
Abstract also in Chinese.
Chapter 1 --- Introduction --- p.1
Chapter 2 --- La boheme (Mimi) --- p.7
Chapter 3 --- Tosca (Tosca) --- p.26
Chapter 4 --- Madama Butterfly (Cio Cio San) --- p.45
Chapter 5 --- Conclusion --- p.62
Appendix --- p.68
Bibliography --- p.123
Shih, Chin-Nung, and 施金農. "The Musical Borrowings and Cultural Implications in Puccini''s Madama Butterfly." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/90301545305592651124.
Повний текст джерела國立臺北藝術大學
音樂學系博士班
104
Abstract This dissertation mainly explores the musical borrowings and cultural implications in Puccini’s Madama Butterfly. This study has found that Puccini used fourteen musical borrowings in the opera, including the national anthem of USA, “the Star-Spangled Banner”, two Chinese folk songs, and eleven Japanese folk songs. Puccini took into account the specific historical background and cultural contexts of these musical borrowings. He imbedded these melodies into the opera with a variety of textures but maintained most of the musical borrowings to a recognizable degree. The purposes of the musical borrowings are to show the associations and empathy with the art of geisha and character of Cho-Cho San as well as symbolize Japanese nationality, identity and the cultural conflicts from the East to the West. In this dissertation, I analyze the text, the devices and the structure of the musical borrowings with the focus on the content and the extent of the correlation between these borrowings and the new musical context. If a listener knows the hidden text of a quoted folk song or other metaphors in the lyrics, then he or she can understand the rich cultural implications in the opera. The last chapter of the dissertation focuses on the reception and criticism of Madama Butterfly. It contains the reception of Miura Tamaki, the first internationally renowned native Japanese Madama Butterfly as well as outsiders’ and insiders’ receptions of her. It also examines the reason why she was recognized by Puccini as an “ideal Madama Butterfly” in 1920, and the criticisms of musicologists with regard to this opera. The results of this dissertation show that Puccini had made effective use of musical borrowings to powerfully arouse the historical association of the opera with Japanese cultural implications. This is the main reason why Madama Butterfly has been one of the most popular and successful Italian operas. My dissertation reflects Barthes’s claim, “the death of the author”, which leaves the interpretation of a text to the readers (interpreters) over the composer (the interpreted). Therefore it stands for my understanding and interpretation of Madama Butterfly.
Chen, An-Ni, and 陳安妮. "An Interpretation of Cho-Cho-San’s Four Arias from Madama Butterflyby Giacomo Puccini." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/94397832663534300521.
Повний текст джерелаWoo, Mi Seong. "Gendered geography between East and West Madame Butterfly narrative as the dominant representation of Asian woman in the West /." 1997. http://catalog.hathitrust.org/api/volumes/oclc/39656739.html.
Повний текст джерелаChang, Hua-mei. "Madame Butterfly's sisters a materialist feminist examination of Asian female characters on the American stage /." 1993. http://catalog.hathitrust.org/api/volumes/oclc/28744341.html.
Повний текст джерелаTypescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 73-79).