This book investigates the literary representation of music in the Georgian novel against its musical, aesthetic and cultural background.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Pierre Dubois is Emeritus Professor of eighteenth-century English studies at Université de Tours. He was Senior Lecturer at Paris-Sorbonne (Paris IV) from 1997 to 2008 and in 2012 he was a visiting fellow of Sidney Sussex College, Cambridge. The editor of Charles Avison's 'Essay on Musical Expression' and Related Writings by Charles Avison and William Hayes (2004), his 2009 book La conquête du mystère musical en Angleterre au siècle des Lumières was awarded the 2010 Research Prize of the French Societé des Anglicistes de l'Enseignement Supérieur (SAES). A self-taught musician, he is the incumbent organist of the historic F.-H. Clicquot organ (1783) of Souvigny (Allier, France) and artistic director of the Journées Musicales d'Automne there. He is also chairman of Sauvegarde de l'Orgue de la Sorbonne, an association he founded for the preservation, restoration and promotion of the historic Dallery organ (1825) of the Sorbonne.
Inhaltsangabe
Introduction Part I. Sound and Sense: Moral Issues: 1. Prelude: Italian opera and English oratorio 2. The English Orpheus 3. Damnable pleasures 4. The natural voice and the ideal of purity 5. Malodorous soundscapes and musical incenses Part II. Sentiment and Sensibility: 6. The perimeter of the sentimental mode 7. The crisis of language 8. The impression of harmony 9. The salutary remanence of discords 10. The inexpressible mystery of music 11. The music of feeling 12. Pastoral music Part III. Sweet Music and the Sublime: 13. Theory of the musical sublime 14. The musical sublime and ideological control 15. Ann Radcliffe's feminine sublime Part IV. Music as a Vehicle for Female Identity: 16. The musical and novelistic perimeters of feminine sensibility 17. Intimations of musical gendering: Anne Hughes, Caroline 18. Instruments of a new sensibility 19. Sensibility and affectation: Jane West, Maria Edgeworth, Elizabeth Inchbald 20. Variations on a feminine theme: Frances Burney's musical heroines 21. Jane Austen: music, woman and the middle-way Conclusion.
Introduction Part I. Sound and Sense: Moral Issues: 1. Prelude: Italian opera and English oratorio 2. The English Orpheus 3. Damnable pleasures 4. The natural voice and the ideal of purity 5. Malodorous soundscapes and musical incenses Part II. Sentiment and Sensibility: 6. The perimeter of the sentimental mode 7. The crisis of language 8. The impression of harmony 9. The salutary remanence of discords 10. The inexpressible mystery of music 11. The music of feeling 12. Pastoral music Part III. Sweet Music and the Sublime: 13. Theory of the musical sublime 14. The musical sublime and ideological control 15. Ann Radcliffe's feminine sublime Part IV. Music as a Vehicle for Female Identity: 16. The musical and novelistic perimeters of feminine sensibility 17. Intimations of musical gendering: Anne Hughes, Caroline 18. Instruments of a new sensibility 19. Sensibility and affectation: Jane West, Maria Edgeworth, Elizabeth Inchbald 20. Variations on a feminine theme: Frances Burney's musical heroines 21. Jane Austen: music, woman and the middle-way Conclusion.
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