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1. |
Record Nr. |
UNINA9910826164203321 |
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Autore |
Bacciagaluppi Claudio |
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Titolo |
Artistic disobedience : music and confession in Switzerland, 1648-1762 / / by Claudio Bacciagaluppi |
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Pubbl/distr/stampa |
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Leiden ; ; Boston : , : Brill, , [2017] |
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©2017 |
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ISBN |
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Descrizione fisica |
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1 online resource (279 pages) : illustrations |
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Collana |
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St Andrews studies in reformation history, , 2468-4317 |
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Disciplina |
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Soggetti |
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Church music - Switzerland - 17th century |
Church music - Switzerland - 18th century |
Church music - Catholic Church |
Church music - Protestant churches |
Reformation - Switzerland |
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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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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Preliminary Material -- Introduction -- Music in the Confessional Age -- Approaching the Other -- The Book Market -- The ‘Collegia Musica’ -- Conclusions: Music as an Agent of Toleration? -- Appendix: Transcription of Archival Documents -- References -- Index. |
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Sommario/riassunto |
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In Artistic Disobedience Claudio Bacciagaluppi shows how music practice was an occasion for cross-confessional contacts in 17th- and 18th-century Switzerland, implying religious toleration. The difference between public and private performing contexts, each with a distinct repertoire, appears to be of paramount importance. Confessional barriers were overcome in an individual, private perspective. Converted musicians provide striking examples. Also, book trade was often cross-confessional. Music by Catholic (but also Lutheran) composers was diffused in Reformed territories mainly in the private music societies of Swiss German towns (collegia musica). The political and pietist influences in the Zurich and Winterthur music societies encouraged forms of communication that are among the acknowledged common roots of European Enlightenment. |
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2. |
Record Nr. |
UNINA9910817497203321 |
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Titolo |
Homer in performance : rhapsodes, narrators, and characters / / edited by Jonathan L. Ready and Christos C. Tsagalis |
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Pubbl/distr/stampa |
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Austin : , : University of Texas Press, , [2018] |
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©2018 |
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ISBN |
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Edizione |
[First edition.] |
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Descrizione fisica |
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1 online resource (430 pages) |
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Disciplina |
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Soggetti |
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Epic poetry, Greek - History and criticism - Theory, etc |
Performing arts - Appreciation - Greece |
Oral interpretation of poetry |
Oral tradition - Greece |
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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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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Introduction / Jonathan L. Ready and Christos C. Tsagalis -- pt. 1. Rhapsodes -- Performance contexts for rhapsodic recitals in the archaic and classical periods / Christos C. Tsagalis -- Reading rhapsodes on Athenian vases / Sheramy D. Bundrick -- Performance contexts for rhapsodic recitals in the Hellenistic period / Christos C. Tsagalis -- Rhapsodes and rhapsodic contests in the imperial period / Anne Gangloff -- Formed on the festival stage : plot and characterization in the iliad as a competitive collaborative process / Mary R. Bachvarova -- Did Sappho and Homer ever meet? comparative perspectives on homeric singers / Olga Levaniouk -- pt. 2. Narrators and characters -- Odysseus polyonymous / Deborah Beck -- Embedded focalization and free indirect speech in Homer as viewpoint blending / Anna Bonifazi -- Speech training and the mastery of context : Thoas the Aetolian and the practice of muthoi / Joel P. Christensen -- Diomedes as audience and speaker in the Iliad / James O'Maley -- Hektor, the marginal hero : performance theory and the Homeric monologue / Lorenzo F. Garcia Jr -- Performance, oral texts, and entextualization in Homeric epic / Jonathan L. Ready -- Homer's rivals? internal narrators in the Iliad / Adrian Kelly. |
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Sommario/riassunto |
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Before they were written down, the poems attributed to Homer were performed orally, usually by rhapsodes (singers/reciters) who might have traveled from city to city or enjoyed a position in a wealthy household. Even after the Iliad and the Odyssey were committed to writing, rhapsodes performed the poems at festivals, often competing against each other. As they recited the epics, the rhapsodes spoke as both the narrator and the characters. These different acts—performing the poem and narrating and speaking in character within it—are seldom studied in tandem. Homer in Performance breaks new ground by bringing together all of the speakers involved in the performance of Homeric poetry: rhapsodes, narrators, and characters. The first part of the book presents a detailed history of the rhapsodic performance of Homeric epic from the Archaic to the Roman Imperial periods and explores how performers might have shaped the poems. The second part investigates the Homeric narrators and characters as speakers and illuminates their interactions. The contributors include scholars versed in epigraphy, the history of art, linguistics, and performance studies, as well as those capable of working with sources from the ancient Near East and from modern Russia. This interdisciplinary approach makes the volume useful to a spectrum of readers, from undergraduates to veteran professors, in disciplines ranging from classical studies to folklore. |
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