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  • 2010-2014  (6)
  • Performing arts  (6)
  • General works  (6)
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  • 2010-2014  (6)
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  • 1
    Online Resource
    Online Resource
    THE IDEA OF NATURE IN DISNEY ANIMATION: FROM SNOW WHITE TO WALL-E. By David Whitley. Second Edition. Surrey: Ashgate, 2012. 167 pp. $39.95 cloth.
    Informa UK Limited ; 2013
    In:  Journal of Popular Film and Television Vol. 41, No. 4 ( 2013-10), p. 220-221
    Details
    In: Journal of Popular Film and Television, Informa UK Limited, Vol. 41, No. 4 ( 2013-10), p. 220-221
    Type of Medium: Online Resource
    ISSN: 0195-6051 , 1930-6458
    URL: Article
    DOI: 10.1080/01956051.2013.840490
    RVK:
    AP 40855
    Language: English
    Publisher: Informa UK Limited
    Publication Date: 2013
    detail.hit.zdb_id: 2067799-6
    SSG: 3,5
    Location Call Number Limitation Availability
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    Online Resource
  • 2
    Online Resource
    Online Resource
    Memorialisation, Commemoration and Commodification: Massenet and Caricature
    Cambridge University Press (CUP) ; 2013
    In:  Cambridge Opera Journal Vol. 25, No. 2 ( 2013-07), p. 139-163
    Details
    In: Cambridge Opera Journal, Cambridge University Press (CUP), Vol. 25, No. 2 ( 2013-07), p. 139-163
    Abstract: This article addresses the physical presence of Jules Massenet in the media during the Third Republic in France through the lens of the caricatural press and the cartoon parodies of his operas which appeared in journals such as Le Journal amusant and Le Charivari . Although individual works were rarely outright successes in critical terms during his lifetime, Massenet's operas always stimulated debate and Massenet, as a figure head for a national art, was revered by both the state and its people. Drawing on theories of parody and readership, I argue that despite the ‘ephemeral’ nature of these musical artefacts, they acted as agents of commemoration of the composer and of memorialisation and commodification of his works for both operagoers and those who rarely entered the opera theatre.
    Type of Medium: Online Resource
    ISSN: 0954-5867 , 1474-0621
    URL: Article
    DOI: 10.1017/S0954586713000049
    RVK:
    LD 8700
    RVK:
    AP 60100
    Language: English
    Publisher: Cambridge University Press (CUP)
    Publication Date: 2013
    detail.hit.zdb_id: 2053867-4
    SSG: 9,3
    SSG: 9,2
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    Online Resource
  • 3
    Online Resource
    Online Resource
    Mis/Representation of Culture in two Hampshire Churches
    Cambridge University Press (CUP) ; 2013
    In:  Theatre Research International Vol. 38, No. 3 ( 2013-10), p. 214-228
    Details
    In: Theatre Research International, Cambridge University Press (CUP), Vol. 38, No. 3 ( 2013-10), p. 214-228
    Abstract: This paper is about my experience in the ‘Church of Hampshire’ and the ‘Cosmopolitan Church of Hampshire’ (anonymous names) in Hampshire, England, where I wanted to play the dùndún and gángan (see Fig. 1), the two Yorùbá talking drums. For this I shall be adopting the stance of a reflective practitioner. I have played the dùndún in churches in Nigeria and Hungary. It was this experience that encouraged me to attempt to introduce it to the two churches, hoping that they would welcome new possibilities. This paper will analyse how such expectations were unfulfilled. The extracts in italics are taken from my personal journal. The names of the people in this paper are anonymized. I will start by thoroughly describing the position of music within the Yorùbá culture, and the nature of indigenous Yorùbá spiritual practice.
    Type of Medium: Online Resource
    ISSN: 0307-8833 , 1474-0672
    URL: Article
    DOI: 10.1017/S030788331300031X
    RVK:
    AP 60100
    Language: English
    Publisher: Cambridge University Press (CUP)
    Publication Date: 2013
    detail.hit.zdb_id: 2045177-5
    SSG: 9,3
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    Online Resource
  • 4
    Online Resource
    Online Resource
    ‘The Dead are Still Looking at Us’: Harold Pinter, the Spectral Face, and Human Rights
    Cambridge University Press (CUP) ; 2013
    In:  New Theatre Quarterly Vol. 29, No. 4 ( 2013-11), p. 360-369
    Details
    In: New Theatre Quarterly, Cambridge University Press (CUP), Vol. 29, No. 4 ( 2013-11), p. 360-369
    Abstract: In his essays and speeches, Harold Pinter addressed issues that are central in political and philosophical debates: national identity and the other, the ethics of responsibility, the relational nature of human rights, the politics of death. Discussing his treatment of these issues, Maria Germanou sees Pinter as a Foucauldian intellectual engaged in the politics of truth, and argues that in these texts the postmodern writer enables the political activist. Pinter subjects to scrutiny naturalized political rhetoric, discloses the affinity between meaning and power, and challenges the legitimacy of established hierarchies and their practices. His ultimate purpose is to restore ethics to politics. To this end, he places responsibility for the other at the core of his problematic in ways similar to Emmanuel Levinas, and invites western democracies to redefine ‘humanity’ and the ‘international’ community by taking into consideration accountability for those allowed to die in the name of an alleged justice. Maria Germanou is Professor in English Drama at the University of Athens. She has published in Modern Drama, Comparative Drama, Arbeiten aus Anglistik und Amerikanistik, Gramma , and elsewhere. Since 2008 she has been co-editor of Synthesis , an e-journal of comparative literature.
    Type of Medium: Online Resource
    ISSN: 0266-464X , 1474-0613
    URL: Article
    DOI: 10.1017/S0266464X13000687
    RVK:
    AP 60100
    Language: English
    Publisher: Cambridge University Press (CUP)
    Publication Date: 2013
    detail.hit.zdb_id: 2030067-0
    SSG: 9,3
    SSG: 7,25
    Location Call Number Limitation Availability
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    Online Resource
  • 5
    Online Resource
    Online Resource
    The Diva and the Demon: Ingmar Bergman Directs The Rose Tattoo
    Cambridge University Press (CUP) ; 2012
    In:  New Theatre Quarterly Vol. 28, No. 1 ( 2012-02), p. 56-66
    Details
    In: New Theatre Quarterly, Cambridge University Press (CUP), Vol. 28, No. 1 ( 2012-02), p. 56-66
    Abstract: In this article Dirk Gindt discusses Ingmar Bergman's 1951 production of Tennessee Williams's The Rose Tattoo in the small Swedish town of Norrköping, demonstrating how Bergman methodically ignored the tragicomic nature of the play in order to develop and exaggerate its comic and grotesque elements. After extensive cuts and alterations in the script, the character Serafina delle Rose became even more overpowering than in the original text and dominated the action from beginning to end. Karin Kavli, a leading lady in Swedish post-war theatre and a frequent collaborator with Bergman, played the character not as a mourning widow but as a possessed disciple of Dionysus in an unabashedly entertaining and sexualized production which, despite reservations from critics, became a success with audiences. Dirk Gindt now works as a Postdoctoral Research Fellow at Stockholm University. He is co-editor of Fashion: an Interdisciplinary Reflection (Stockholm: Raster, 2009), and has published numerous articles in journals such as Nordic Theatre Studies, The Tennessee Williams Annual Review, Theatre Survey , and Fashion Studies , as well as chapters in edited volumes. He is the editor-in-chief of Lambda Nordica: Journal for GLBT-Studies , for which he has edited a special issue on masculinities (2008) and a double issue on queer fashion (2009).
    Type of Medium: Online Resource
    ISSN: 0266-464X , 1474-0613
    URL: Article
    DOI: 10.1017/S0266464X1200005X
    RVK:
    AP 60100
    Language: English
    Publisher: Cambridge University Press (CUP)
    Publication Date: 2012
    detail.hit.zdb_id: 2030067-0
    SSG: 9,3
    SSG: 7,25
    Location Call Number Limitation Availability
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    Online Resource
  • 6
    Online Resource
    Online Resource
    Editorial
    Cambridge University Press (CUP) ; 2010
    In:  Theatre Research International Vol. 35, No. 2 ( 2010-07), p. 97-98
    Details
    In: Theatre Research International, Cambridge University Press (CUP), Vol. 35, No. 2 ( 2010-07), p. 97-98
    Abstract: The academic conference is an important feature of our professional lives. It constitutes a meeting ground, a forum, in which key topics in a field can begin to emerge; where cognate ideas and approaches get debated, affirmed or contested; where, in short, ideas can move (on) through academics being in contact with each other's ideas. Any journal editor is drawn inevitably to the conference ‘season’ as fertile, ‘hunting’ ground; trawls for papers that will yield article publications (if others do not get there first!). And so it is that my second issue of TRI since becoming editor is sourced from the 2008 Actions of Transfer: Women's Performance in the Americas conference, hosted by the University of California, Los Angeles and co-sponsored by the Hemispheric Institute of Performance and Politics. As this event is expertly introduced and the issue framed by co-organizers Sue-Ellen Case and Diana Taylor, this editorial note needs only to be brief. Indeed, I hesitated long at the computer keyboard thinking that perhaps no note at all was necessary. Except that two observations or headlines felt editorially important to me to express: the significance of Actions of Transfer for thinking generally about the nature of the conference event in relation to TRI 's international, theatre research remit, and the mix of articles and the performance dossier brought together in the issue.
    Type of Medium: Online Resource
    ISSN: 0307-8833 , 1474-0672
    URL: Article
    DOI: 10.1017/S0307883310000015
    RVK:
    AP 60100
    Language: English
    Publisher: Cambridge University Press (CUP)
    Publication Date: 2010
    detail.hit.zdb_id: 2045177-5
    SSG: 9,3
    Location Call Number Limitation Availability
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    Online Resource
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