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Record Nr. |
UNISA990005663240203316 |
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Autore |
KLAGES, Ludwig |
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Titolo |
1: Philosophie / Ludwig Klages |
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Pubbl/distr/stampa |
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Descrizione fisica |
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Disciplina |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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2. |
Record Nr. |
UNINA9910788893803321 |
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Autore |
Baues Hans J. <1943-> |
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Titolo |
Geometry of loop spaces and the cobar construction / / by H.J. Baues |
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Pubbl/distr/stampa |
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Providence, Rhode Island : , : American Mathematical Society, , [1980] |
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©1980 |
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ISBN |
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Descrizione fisica |
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1 online resource (194 p.) |
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Collana |
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Memoirs of the American Mathematical Society, , 0065-9266 ; ; number 230 |
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Disciplina |
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Soggetti |
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Loop spaces |
Cobar construction (Topology) |
Functor theory |
Complexes, Semisimplicial |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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"Volume 25 ... first of 3 numbers." |
Includes index. |
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Nota di bibliografia |
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Nota di contenuto |
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""Contents""; ""Introduction""; ""Prologue""; ""Chapter I: The bar and |
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cobar constructions""; ""Â 1 The geometric bar construction""; ""Â 2 The geometric cobar construction for simplicial spaces""; ""Â 3 The algebraic bar and cobar constructions""; ""Appendix 1: The cobar construction of Adams""; ""Appendix 2: Loop spaces of projective spaces""; ""Â 4 Adjunction and strongly homotopy multiplicative maps""; ""Chapter II: A model theorem for loop spaces""; ""Â 1 Realization of functors""; ""Appendix: DI categories with retractions""; ""Â 2 A model theorem for loop spaces"" |
""Â 3 Approximation of path spaces""""Â 4 Proof of the model theorem""; ""Chapter III: On the desuspension of model functors""; ""Â 1 Abstract complexes""; ""Â 2 Model functors and their desuspension by cellular strings""; ""Appendix: Reduced model functors and iterated loop spaces""; ""Â 3 Cellular strings in the simplex""; ""Â 4 Cellular strings in the cube""; ""Â 5 Simplicial subdivision of cubes and cubical subdivision of parallelohedra""; ""Â 6 Cellular strings in products of simplices""; ""Â 7 Cellular strings in the parallelohedron C[sup(n)] ""; ""Chapter IV: Applications"" |
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3. |
Record Nr. |
UNINA9910783666503321 |
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Autore |
Parker Roger <1951-> |
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Titolo |
Remaking the song [[electronic resource] ] : operatic visions and revisions from Handel to Berio / / Roger Parker |
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Pubbl/distr/stampa |
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Berkeley, Calif., : University of California Press, c2006 |
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ISBN |
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1-282-35765-4 |
9786612357657 |
0-520-93178-5 |
1-59875-946-9 |
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Descrizione fisica |
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1 online resource (178 p.) |
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Collana |
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Disciplina |
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Soggetti |
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Operas |
Music - Philosophy and aesthetics |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Front matter -- Contents -- Preface And Acknowledgments -- 1. |
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Remaking The Song -- 2. Of Andalusian Maidens And Recognition Scenes: Crossed Wires In Il Trovatore And La Traviata -- 3. Ersatz Ditties: Adriana Ferrarese's Susanna -- 4. In Search Of Verdi -- 5. Berio's Turandot: Once More The Great Tradition -- 6. Sudden Charms: The Progress Of An Aria -- Notes -- Index |
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Sommario/riassunto |
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Opera performances are often radically inventive. Composers' revisions, singers' improvisations, and stage directors' re-imaginings continually challenge our visions of canonical works. But do they go far enough? This elegantly written, beautifully concise book, spanning almost the entire history of opera, reexamines attitudes toward some of our best-loved musical works. It looks at opera's history of multiple visions and revisions and asks a simple question: what exactly is opera? Remaking the Song, rich in imaginative answers, considers works by Handel, Mozart, Donizetti, Verdi, Wagner, Puccini, and Berio in order to challenge what many regard as sacroscant: the opera's musical text. Scholarly tradition favors the idea of great operatic texts permanently inscribed in the canon. Roger Parker, considering examples ranging from Cecilia Bartoli's much-criticized insistence on using Mozart's alternative arias in the Marriage of Figaro to Luciano Berio's new ending to Puccini's unfinished Turandot, argues that opera is an inherently mutable form, and that all of us-performers, listeners, scholars-should celebrate operatic revisions as a way of opening works to contemporary needs and new pleasures. |
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