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The plight of the fallen woman is one of the salient themes of nineteenth-century art and literature. In notable examples, Julia Grella O'Connell argues, the iconography of the Victorian fallen woman was associated with music, reviving an ancient tradition conflating the practice of music with sin and the abandonment of music with holiness. The prominence of music symbolism in socially-committed, quasi-religious paintings of the Pre-Raphaelites and their circle, and in Catholic-Wagnerian novels of George Moore, gives evidence of the survival of a pictorial language linking music with sin and…mehr

Produktbeschreibung
The plight of the fallen woman is one of the salient themes of nineteenth-century art and literature. In notable examples, Julia Grella O'Connell argues, the iconography of the Victorian fallen woman was associated with music, reviving an ancient tradition conflating the practice of music with sin and the abandonment of music with holiness. The prominence of music symbolism in socially-committed, quasi-religious paintings of the Pre-Raphaelites and their circle, and in Catholic-Wagnerian novels of George Moore, gives evidence of the survival of a pictorial language linking music with sin and conversion, and shows this language translated easily into the cultural lexicon of Victorian Britain.


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Autorenporträt
Julia Grella O'Connell is the founder of the research-driven performance initiative the Risorgimento Project. She received her Doctor of Musical Arts degre from the Graduate Center of the City University of New York in 2009, and has served on the faculties of Hunter College and The City College of New York. In addition to her international concert appearances with the Risorgiomento Project, she has performed as a soloist with Syracuse Opera, Opera at Caramoor, and ConcertOpera Philadelphia. She is currently a member of the music faculty at Broome Community College of the State University of New York.