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  1. added 2020-06-18
    Waiting for Verdi: Opera and Political Opinion in Nineteenth‐Century Italy, 1815‐1848. By Mary Ann Smart. Pp. Xiv, 236, Oakland: University of California Press, 2018, $49.95. [REVIEW]Patrick Madigan - 2020 - Heythrop Journal 61 (3):566-567.
  2. added 2019-06-06
    Opera Philosophica 2. [REVIEW]B. W. A. - 1979 - Review of Metaphysics 32 (4):766-768.
    The latest volume in the splendid critical edition of the Opera philosophica et theologica of William of Ockham in progress at the Franciscan Institute of St. Bonaventure University under the general editorship of Gedeon Gál, O.F.M. The project itself is something of a phenomenon in the area of critical editions of medieval Latin texts in terms of the rapidity at which quality volumes are produced at remarkably reasonable costs. Since 1967 five quarto volumes, totaling some three thousand four hundred pages, (...)
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  3. added 2016-04-27
    Conflict & Compassie: een hedendaagse blik op Wagner en een wagneriaanse blik op onszelf.Machiel Keestra - 2014 - In Rutger Helmers & Philip Westbroek (eds.), Conflict en compassie. 200 jaar Richard Wagner. Nationale Opera & Ballet. pp. 157-166.
    (text in Dutch) Mediated by the so-called Dream-organ ('Traumorgan') which opera composer Richard Wagner mentions in his writings, the author engages in a fictitious dialogue with Wagner. Their dialogue focuses on a few topics related to the conference theme 'Conflict and compassion' that were of concern to Wagner in his days and which have undergone some serious changes since his death. The author discusses with Wagner the 'death of tragedy', sexuality and desire after the sexual revolution, the attractivity of musical (...)
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  4. added 2016-03-14
    Opera Singing and Fictional Truth.Nina Penner - 2013 - Journal of Aesthetics and Art Criticism 71 (1):81-90.
    In this paper, I make two claims: an opera’s music, both vocal and instrumental, is part of the ontology of its fictional world, and song constitutes the normative mode of communication and expression in the fictional world. I refute Carolyn Abbate’s influential arguments that both of these claims are untrue. Abbate’s contention that opera characters do not have epistemic access to the music is based on false premises and gives rise to serious interpretive problems. My account of operatic metaphysics refines (...)
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  5. added 2014-12-22
    ‘Best to Have the Opera House Bombarded’. An Unpublished Letter by Hugo Wolf.Andreas Dorschel - 2006 - Studia Musicologica 47 (2):233-240.
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  6. added 2014-12-22
    The Paradox of Opera.Andreas Dorschel - 2001 - The Cambridge Quarterly 30 (4):283-306.
    Opera is a paradoxical genre. For it seems self-defeating to create an illusion of reality by means of the theatrical apparatus if the art form’s central mode of expression, lavish singing in all kinds of circumstances, defies realism anyway. A solution to the paradox is implied by the 18th century turn of European philosophy of art from mimēsis to aisthēsis. In terms of aesthetics, reality is no longer an object of imitation but rather the impact upon and presence for a (...)
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  7. added 2014-12-22
    Die Idee der ‘Einswerdung’ in Wagners Tristan.Andreas Dorschel - 1987 - In Heinz-Klaus Metzger & Rainer Riehn (eds.), Richard Wagner, Tristan und Isolde. edition text + kritik. pp. 19-25.
  8. added 2010-06-22
    Scruton's Aesthetics.A. Hamilton & N. Zangwill (eds.) - 2012 - Palgrave-Macmillan.
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  9. added 2009-11-22
    Redemption and the Sacred Subject: Themes From Wagner.Sarah-Jane Leslie - forthcoming - In A. Hamilton & N. Zangwill (eds.), Scruton's Aesthetics.
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