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  3. Opera and society in Italy and France from Monteverdi to Bourdieu

Opera and society in Italy and France from Monteverdi to Bourdieu

Victoria Johnson, Jane F. Fulcher and Thomas Ertman c2007 © Cambridge University Press
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Series
  • Cambridge Studies in Opera
ISBN(s)
  • 9780511321931 (ebook)
  • 9780521856751 (hardcover)
Subject
  • Dance & Performance History
Citable Link

  • Table of Contents

  • Stats

  • Frontmatter
  • List of illustrations (page xi)
  • List of tables (page xii)
  • List of musical examples (page xiii)
  • Notes on contributors (page xv)
  • Foreword (Craig Calhoun, page xxi)
  • Acknowledgments (page xxxii)
  • Introduction: Opera and the academic turns (Victoria Johnson, page 1)
  • I The Representation of Social and Political Relations in Operatic Works
    • Introduction to Part I (Jane F. Fulcher, page 29)
    • 1 Venice's mythic empires: Truth and verisimilitude in Venetian opera (Wendy Heller, page 34)
    • 2 Lully's on-stage societies (Rebecca Harris-Warrick, page 53)
    • 3 Representations of le peuple in French opera, 1673-1764 (Catherine Kintzler, page 72)
    • 4 Women's roles in Meyerbeer's operas: How Italian heroines are reflected in French grand opera (Naomi André, page 87)
    • 5 The effect of a bomb in the hall: The French "opera of ideas" and its cultural role in the 1920s (Jane F. Fulcher, page 115)
  • II The Institutional Bases for the Production and Reception of Opera
    • Introduction to Part II (Thomas Ertman, page 135)
    • 6 State and market, production and style: An interdisciplinary approach to eighteenth-century Italian opera history (Franco Piperno, page 138)
    • 7 Opera and the cultural authority of the capital city (William Weber, page 160)
    • 8 "Edizioni distrutte" and the significance of operatic choruses during the Risorgimento (Philip Gossett, page 181)
    • 9 Opera in France, 1870-1914: Between nationalism and foreign imports (Christophe Charle. Translated by Jennifer Boittin, page 243)
    • 10 Fascism and the operatic unconscious (Michael P. Steinberg and Suzanne Stewart-Steinberg, page 267)
  • III Theorizing Opera and the Social
    • Introduction to Part III (Victoria Johnson, page 291)
    • 11 On opera and society (assuming a relationship) (Herbert Lindenberger, page 294)
    • 12 Symbolic domination and contestation in French music: Shifting the paradigm from Adorno to Bourdieu (Jane F. Fulcher, page 312)
    • 13 Rewriting history from the losers' point of view: French Grand Opera and modernity (Antoine Hennion. Translated by Sarah Boittin, page 330)
    • 14 Conclusion: Towards a new understanding of the history of opera? (Thomas Ertman, page 351)
  • Bibliography (page 364)
  • Index (page 395)
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