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Law & Politics Civil Protection Orders: A Guide for Improving Practice
Law & Politics Tortured Justice: Using Coerced Evidence to Prosecute Terrorist Suspects
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Law & Politics Tortured Justice: Using Coerced Evidence to Prosecute Terrorist Suspects
Law & Politics Tortured Justice: Using Coerced Evidence to Prosecute Terrorist Suspects
Law & Politics Intellectual Property Rights
Law & Politics Tortured Justice: Using Coerced Evidence to Prosecute Terrorist Suspects
Law & Politics Imbalance of Powers
Law & Politics Rights of the People by Melvin Urofsky
Law & Politics The ABC of European Union Law
Law & Politics Aktuelle Probleme des Wissenschaftsrechts: Arbeitstagung anlässlich der Eröffnung des Instituts für Öffentliches Recht an der Juristischen Fakultät der Georg-August-Universität Göttingen
Law & Politics Hidden Slaves: Forced Labor in the United States
Law & Politics Discover Canada: The Rights and Responsibilities of Citizenship
Law & Politics How to Retire Abroad by Roger Jones
Law & Politics Living and Working in Australia
Law & Politics Introduction to International Relations: Theories and Approaches
Law & Politics Modern Law of the Sea: Selected Essays
Law & Politics Information Feudalism: Who owns the Knowledge Economy ?
Law & Politics Darkness: The Rise of the Russian Criminal State
Law & Politics Going to Live in Australia by Mary Neilson, Mathew Collins
Law & Politics The Accidental Leader: What to Do When You're Suddenly in Charge
Law & Politics Smash and Grab, Conflict, Corruption, and Human Rights Abuse In the Shrimp Farming Industry
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Law & Politics Lyrics: Musical Symbolism in the Operas of Debussy and Bartok
Posted on 2010-04-28
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More Elliott Antokoletz - Musical Symbolism in the Operas of Debussy and Bartok: Trauma, Gender, and the Unfolding of the Unconscious Two early twentieth-century operas -- Debussy's Pelleas et Melisande (1902) and Bartok's Duke Bluebeard's Castle (1911) -- transformed the traditional major/minor scale system into a new musical language. This new language was based almost exclusively on interactions between folk modalities and their more abstract symmetrical transformations. Elliott Antokoletz reveals not only the new musical language of these operas, but also the way in which they share a profound correspondence with the growing symbolist literary movement as reflected in their libretti. In the symbolist literary movement, authors reacted to the realism of nineteenth-century theatre by conveying meaning by suggestion, rather than direct statement. The symbolist conception included a new interest in psychological motivation and consciousness manifested itself in metaphor, ambiguity, and symbol. In this groundbreaking study, Antokoletz links the new musical language of these two operas with this symbolist conception and reveals a direct connection between the Debussy and Bartok operas. He shows how the opposing harmonic extremes serve as a basis for the dramatic polarity between real-life beings and symbols of fate. He also explores how the libretti by Franco-Belgian poet Maurice Maeterlinck (Pelleas et Melisande) and his Hungarian disciple Bela Balazs (Duke Bluebeard's Castle) transform the internal concept of subconscious motivation into an external one, one in which fate controls human emotions and actions. Using a pioneering approach to theoretical analysis, Antokoletz, explores the new musico-dramatic relations within their larger historical, social psychological, philosophical, and aesthetic contexts.
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