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Статті в журналах з теми "Pieve Emanuele"
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ASPDEN, SUZANNE, and STEVEN HUEBNER. "Twenty Years." Cambridge Opera Journal 21, no. 2 (July 2009): 101–3. http://dx.doi.org/10.1017/s0954586710000017.
Повний текст джерелаАнотація:
Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
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McCLARY, SUSAN. "Cambridge Opera Journal at Twenty." Cambridge Opera Journal 21, no. 2 (July 2009): 105–9. http://dx.doi.org/10.1017/s0954586710000029.
Повний текст джерелаАнотація:
Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
3
GOSSETT, PHILIP. "Source Studies and Opera History." Cambridge Opera Journal 21, no. 2 (July 2009): 111–18. http://dx.doi.org/10.1017/s0954586710000030.
Повний текст джерелаАнотація:
Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
4
ROSAND, ELLEN. "Il ritorno a Seneca." Cambridge Opera Journal 21, no. 2 (July 2009): 119–37. http://dx.doi.org/10.1017/s0954586710000042.
Повний текст джерелаАнотація:
Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
5
KRAMER, LAWRENCE. "Wagner's Gold Standard: Tannhäuser and the General Equivalent." Cambridge Opera Journal 21, no. 2 (July 2009): 139–58. http://dx.doi.org/10.1017/s0954586710000054.
Повний текст джерелаАнотація:
Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
6
PARLY, NILA. "Flying a Wagner Kite: Subjunctive Performances of a Rheingold Scene Based on a Dramaturgical Sketch by Carolyn Abbate." Cambridge Opera Journal 21, no. 2 (July 2009): 159–80. http://dx.doi.org/10.1017/s0954586710000066.
Повний текст джерелаАнотація:
Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
7
WHITTALL, ARNOLD. "New Opera, Old Opera: Perspectives on Critical Interpretation." Cambridge Opera Journal 21, no. 2 (July 2009): 181–98. http://dx.doi.org/10.1017/s0954586710000078.
Повний текст джерелаАнотація:
Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
8
ABBATE, CAROLYN. "… And in Response." Cambridge Opera Journal 21, no. 2 (July 2009): 199–201. http://dx.doi.org/10.1017/s095458671000008x.
Повний текст джерелаАнотація:
Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
9
Hyde, Andrew, Russell A. Miller, and Emanuel V. Towfigh. "Making Open Access Viable Economically." German Law Journal 21, no. 6 (September 2020): 1129–33. http://dx.doi.org/10.1017/glj.2020.75.
Повний текст джерелаАнотація:
AbstractThe Editors-in-Chief have decided that we will provide our much-cherished readers with an editorial every so often as a way of sharing insights from the “machine room” where so much of the thinking and work is done to publish the German Law Journal. We want to let you in on the ideas that are on our minds, share with you our observations, and include you in the conversations we are having that might be of interest to you. We begin this tradition with this issue, Volume 21 – Number 6. Andrew Hyde, a member of the editorial team with which the Journal has partnered at Cambridge University Press, as well as Russell A. Miller and Emanuel V. Towfigh, two of the Journal’s co-Editors-in-Chief, open our From the Headquarters Essay with a piece on the Journal’s experiences with and its further plans for making open-access (OA) publishing economically viable. Related to that theme, we also want to share news with you about the introduction of a voluntary article processing charge this fall. Finally, we want to draw your attention to a videos and podcasts service we will start to produce to accompany the scholarship published in the Journal as a way of promoting our authors’ work and expanding access to their ideas. If you are interested only in these latter initiatives, you can also read the short section in the GLJ Instructions for Authors.
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Schultze, Brigitte. "Translational and intermedial diversification: Michail Ju. Lermontov’s “Maskarad” (1835) in Czech (1929–2008)." Zeitschrift für Slawistik 56, no. 2 (January 2011). http://dx.doi.org/10.1524/slaw.2011.0017.
Повний текст джерелаАнотація:
AbstractLargely unobserved by philological research, the Czech culture has shown far above average receptiveness to a number of Russian dramatists, among them M. Ju. Lermontov. While the English speaking world keeps waiting for a translation of the canonic version of “Maskarad” (1835), there have been three independent Czech translations of this play – by František Táborský (1929), František Píšek (1941) and Emanuel Frynta (1951). Comparative analysis of these translations out of which two have been staged proves to forward the interpretation of this complex piece of dramatic literature (“a problem of interpretation forever”, Frynta). A discussion of several Czech theatre productions of “Maskarad” between 1941 and 2008 reveals historical and cultural context, but also impressive cases of actualization in all of these productions.
Дисертації з теми "Pieve Emanuele"
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SOLIMANDO, ANNA RACHELE. "Il paesaggio delle aree agricole periurbane. Strumenti e progetti di tutela e valorizzazione." Doctoral thesis, 2010. http://hdl.handle.net/2158/592728.
Повний текст джерела