Opera Development German Critical by Flaherty (25 results)

Condition: Very Good. Very Good condition. Very Good dust jacket. From the collection of Tom Verlaine. Verlaine was a guitarist, singer, and songwriter who was a founding member of the seminal punk rock band Television. He was known for his innovative guitar playing and songwriting, and he is considered to be one of the most important and influential musicians of the past 50 years.

Flaherty, Gloria, 1938-. Opera in the development of German critical thought. Princeton: University Press, 1978, xi, 382pp., very good dust-jacket, very good green cloth, appears little used, previous owner's name. CONTENTS: Ancient or Modern. Quintessential theater ; Opera diabolica ; Epic versus dramatic -- Rule by precedent or by code. Saint Evremond and French neoclassicism ; Hamburg's tradition at the turn of the eighteenth century ; Feind's preference for English dramatic style -- Continuity and concession. Gottsched's attacks ; The dissidents ; Rationalistic reformers -- Tradition, transformation, and transition. Operatic imitation of nature ; Painted statues and lifelike wax figures ; Batteux's new code -- Interaction in Berlin at mid-century. Theatrical diversity ; Support for German opera ; The sphere of influence ; Dubos versus Batteus : Nicolai, Ramler, and Mendelssohn -- Lessings's consolidation. French, Italian, and English ; Laokoon and the essence of ancient theater ; Music in the Hamburg theater -- Assertion of cultural identity. Justus Möser on the achievements of the Germanic spirit ; Hermann and the bardic mode ; European contexts : the "romantic" operatic world -- Culmination and continuation : Wieland. Alceste ; Ideas on regenerating German opera ; Euripides, opera and the Abderites. 9780691063706 ISBN 0691063702.

Flaherty, Gloria, 1938-. Opera in the development of German critical thought. Princeton: University Press, 1978, xi, 382pp., very good dust-jacket, very good green cloth, BUT heavy foxing spots on top foredge. CONTENTS: Ancient or Modern. Quintessential theater ; Opera diabolica ; Epic versus dramatic -- Rule by precedent or by code. Saint Evremond and French neoclassicism ; Hamburg's tradition at the turn of the eighteenth century ; Feind's preference for English dramatic style -- Continuity and concession. Gottsched's attacks ; The dissidents ; Rationalistic reformers -- Tradition, transformation, and transition. Operatic imitation of nature ; Painted statues and lifelike wax figures ; Batteux's new code -- Interaction in Berlin at mid-century. Theatrical diversity ; Support for German opera ; The sphere of influence ; Dubos versus Batteus : Nicolai, Ramler, and Mendelssohn -- Lessings's consolidation. French, Italian, and English ; Laokoon and the essence of ancient theater ; Music in the Hamburg theater -- Assertion of cultural identity. Justus Möser on the achievements of the Germanic spirit ; Hermann and the bardic mode ; European contexts : the "romantic" operatic world -- Culmination and continuation : Wieland. Alceste ; Ideas on regenerating German opera ; Euripides, opera and the Abderites. 9780691063706 ISBN 0691063702.

Hardcover. Condition: As New. Dust Jacket Condition: As New. Hbk 383pp an unread copy excellent clean tight unmarked in sleeve-protected dj as new.

XI, 382 pp. -TEXT IN ENGLISH- Sprache: Englisch Gewicht in Gramm: 700 8vo. Hardcover, ex-library copy with back label, library signs and stamps, fine.

Hardcover. Condition: Good. Immediate dispatch from Somerset. Nice older book in good condition. Some tanning wear and marking due to age. Year 1978. Hardcover. English. See images for condition. About the book >.>.> OPERATIC forms dominated the seventeenth- and eighteenth-century stage in Germany. They generated a long line of controversies between academic critics espousing universally valid standards of beauty and theater people upholding their freedom to experiment with a vast array of untested possibilities. This volume deals with those controversies. When I began my research, I hoped to provide information contributing to a historical reappraisal of early German criticism. My intention at the time was merely to show that writings defending opera against rationalistic condemna-tion anticipated the artistic values, philosophical points of view, and critical methodologies prominent in the early nineteenth century. As I discovered more and more material and attempted to assess it historically, I realized that the significance of early operatic writings was far deeper than I had at first suspected. They illuminate the classical, patriotic, and ro-mantic tendencies that became manifest during the Ren.

Paperback. Condition: Brand New. reprint edition. 382 pages. 9.00x6.00x1.00 inches. In Stock.

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Hardcover. Condition: Brand New. 396 pages. 9.25x6.12x0.88 inches. In Stock.

Condition: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. &Uumlber den AutorGloria FlahertyKlappentextrnrnAlthough opera figured importantly in the French quarrel of the Ancients versus the Moderns and in the English discussions of heroic tragedy, it was in Germany that its.

Paperback. Condition: New. Although opera figured importantly in the French quarrel of the Ancients versus the Moderns and in the English discussions of heroic tragedy, it was in Germany that its role in the development of criticism and aesthetics was most pronounced. Beginning with this observation, Gloria Flaherty tries to show how, from its very inception and through most of its history, opera was related not only to the revival of ancient drama and the evolution of modern theater, but also to the development of modern critical thought. The author provides a comprehensive treatment of the writings both for and against the operatic forms that dominated seventeenth- and eighteenth-century German theater. Included in her focus are the academic critics who denounced the failure of opera to comply with universally valid standards of beauty and the rules of drama; the various sermonizers who condemned opera's excessive emphasis on the senses and preached total abstinence; and the theatrical artists and patrons as well as the innumerable poets, philosophers, and writers who upheld the freedom to experiment and defended opera as a modern theatrical form with nearly unlimited artistic possibilities.As a result of these controversies, the defense of opera helped to shape a distinctively German version of the classical ideal, enriched German criticism with new vocabulary, promoted the study of the performing arts, and emphasized music and spectacle as essential components of theater. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Paperback. Condition: New. Although opera figured importantly in the French quarrel of the Ancients versus the Moderns and in the English discussions of heroic tragedy, it was in Germany that its role in the development of criticism and aesthetics was most pronounced. Beginning with this observation, Gloria Flaherty tries to show how, from its very inception and through most of its history, opera was related not only to the revival of ancient drama and the evolution of modern theater, but also to the development of modern critical thought. The author provides a comprehensive treatment of the writings both for and against the operatic forms that dominated seventeenth- and eighteenth-century German theater. Included in her focus are the academic critics who denounced the failure of opera to comply with universally valid standards of beauty and the rules of drama; the various sermonizers who condemned opera's excessive emphasis on the senses and preached total abstinence; and the theatrical artists and patrons as well as the innumerable poets, philosophers, and writers who upheld the freedom to experiment and defended opera as a modern theatrical form with nearly unlimited artistic possibilities.As a result of these controversies, the defense of opera helped to shape a distinctively German version of the classical ideal, enriched German criticism with new vocabulary, promoted the study of the performing arts, and emphasized music and spectacle as essential components of theater. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Taschenbuch. Condition: Neu. Opera in the Development of German Critical Thought | Gloria Flaherty | Taschenbuch | Einband - flex.(Paperback) | Englisch | 2015 | Princeton University Press | EAN 9780691601274 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu Print on Demand.

Taschenbuch. Condition: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - Although opera figured importantly in the French quarrel of the Ancients versus the Moderns and in the English discussions of heroic tragedy, it was in Germany that its role in the development of criticism and aesthetics was most pronounced. Beginning with this observation, Gloria Flaherty tries to show how, from its very inception and through most of its history, opera was related not only to the revival of ancient drama and the evolution of modern theater, but also to the development of modern critical thought.The author provides a comprehensive treatment of the writings both for and against the operatic forms that dominated seventeenth- and eighteenth-century German theater. Included in her focus are the academic critics who denounced the failure of opera to comply with universally valid standards of beauty and the rules of drama; the various sermonizers who condemned opera's excessive emphasis on the senses and preached total abstinence; and the theatrical artists and patrons as well as the innumerable poets, philosophers, and writers who upheld the freedom to experiment and defended opera as a modern theatrical form with nearly unlimited artistic possibilities.As a result of these controversies, the defense of opera helped to shape a distinctively German version of the classical ideal, enriched German criticism with new vocabulary, promoted the study of the performing arts, and emphasized music and spectacle as essential components of theater.Originally published in 1979.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Paperback. Condition: new. Paperback. Although opera figured importantly in the French quarrel of the Ancients versus the Moderns and in the English discussions of heroic tragedy, it was in Germany that its role in the development of criticism and aesthetics was most pronounced. Beginning with this observation, Gloria Flaherty tries to show how, from its very inception and through most of its history, opera was related not only to the revival of ancient drama and the evolution of modern theater, but also to the development of modern critical thought. The author provides a comprehensive treatment of the writings both for and against the operatic forms that dominated seventeenth- and eighteenth-century German theater. Included in her focus are the academic critics who denounced the failure of opera to comply with universally valid standards of beauty and the rules of drama; the various sermonizers who condemned opera's excessive emphasis on the senses and preached total abstinence; and the theatrical artists and patrons as well as the innumerable poets, philosophers, and writers who upheld the freedom to experiment and defended opera as a modern theatrical form with nearly unlimited artistic possibilities.As a result of these controversies, the defense of opera helped to shape a distinctively German version of the classical ideal, enriched German criticism with new vocabulary, promoted the study of the performing arts, and emphasized music and spectacle as essential components of theater. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. Although opera figured importantly in the French quarrel of the Ancients versus the Moderns and in the English discussions of heroic tragedy, it was in Germany that its role in the development of criticism and aesthetics was most pronounced. Beginning with this observation, Gloria Flaherty tries to show how, from its very inception and through most This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Condition: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. &Uumlber den AutorGloria FlahertyKlappentextrnrnAlthough opera figured importantly in the French quarrel of the Ancients versus the Moderns and in the English discussions of heroic tragedy, it was in Germany that its.

Hardback. Condition: New. Although opera figured importantly in the French quarrel of the Ancients versus the Moderns and in the English discussions of heroic tragedy, it was in Germany that its role in the development of criticism and aesthetics was most pronounced. Beginning with this observation, Gloria Flaherty tries to show how, from its very inception and through most of its history, opera was related not only to the revival of ancient drama and the evolution of modern theater, but also to the development of modern critical thought. The author provides a comprehensive treatment of the writings both for and against the operatic forms that dominated seventeenth- and eighteenth-century German theater. Included in her focus are the academic critics who denounced the failure of opera to comply with universally valid standards of beauty and the rules of drama; the various sermonizers who condemned opera's excessive emphasis on the senses and preached total abstinence; and the theatrical artists and patrons as well as the innumerable poets, philosophers, and writers who upheld the freedom to experiment and defended opera as a modern theatrical form with nearly unlimited artistic possibilities.As a result of these controversies, the defense of opera helped to shape a distinctively German version of the classical ideal, enriched German criticism with new vocabulary, promoted the study of the performing arts, and emphasized music and spectacle as essential components of theater. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Buch. Condition: Neu. Opera in the Development of German Critical Thought | Gloria Flaherty | Buch | Einband - fest (Hardcover) | Englisch | 2016 | Princeton University Press | EAN 9780691631011 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu Print on Demand.

Hardback. Condition: New. Although opera figured importantly in the French quarrel of the Ancients versus the Moderns and in the English discussions of heroic tragedy, it was in Germany that its role in the development of criticism and aesthetics was most pronounced. Beginning with this observation, Gloria Flaherty tries to show how, from its very inception and through most of its history, opera was related not only to the revival of ancient drama and the evolution of modern theater, but also to the development of modern critical thought. The author provides a comprehensive treatment of the writings both for and against the operatic forms that dominated seventeenth- and eighteenth-century German theater. Included in her focus are the academic critics who denounced the failure of opera to comply with universally valid standards of beauty and the rules of drama; the various sermonizers who condemned opera's excessive emphasis on the senses and preached total abstinence; and the theatrical artists and patrons as well as the innumerable poets, philosophers, and writers who upheld the freedom to experiment and defended opera as a modern theatrical form with nearly unlimited artistic possibilities.As a result of these controversies, the defense of opera helped to shape a distinctively German version of the classical ideal, enriched German criticism with new vocabulary, promoted the study of the performing arts, and emphasized music and spectacle as essential components of theater. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Buch. Condition: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - Although opera figured importantly in the French quarrel of the Ancients versus the Moderns and in the English discussions of heroic tragedy, it was in Germany that its role in the development of criticism and aesthetics was most pronounced. Beginning with this observation, Gloria Flaherty tries to show how, from its very inception and through most of its history, opera was related not only to the revival of ancient drama and the evolution of modern theater, but also to the development of modern critical thought.The author provides a comprehensive treatment of the writings both for and against the operatic forms that dominated seventeenth- and eighteenth-century German theater. Included in her focus are the academic critics who denounced the failure of opera to comply with universally valid standards of beauty and the rules of drama; the various sermonizers who condemned opera's excessive emphasis on the senses and preached total abstinence; and the theatrical artists and patrons as well as the innumerable poets, philosophers, and writers who upheld the freedom to experiment and defended opera as a modern theatrical form with nearly unlimited artistic possibilities.As a result of these controversies, the defense of opera helped to shape a distinctively German version of the classical ideal, enriched German criticism with new vocabulary, promoted the study of the performing arts, and emphasized music and spectacle as essential components of theater.Originally published in 1979.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Hardcover. Condition: new. Hardcover. Although opera figured importantly in the French quarrel of the Ancients versus the Moderns and in the English discussions of heroic tragedy, it was in Germany that its role in the development of criticism and aesthetics was most pronounced. Beginning with this observation, Gloria Flaherty tries to show how, from its very inception and through most of its history, opera was related not only to the revival of ancient drama and the evolution of modern theater, but also to the development of modern critical thought. The author provides a comprehensive treatment of the writings both for and against the operatic forms that dominated seventeenth- and eighteenth-century German theater. Included in her focus are the academic critics who denounced the failure of opera to comply with universally valid standards of beauty and the rules of drama; the various sermonizers who condemned opera's excessive emphasis on the senses and preached total abstinence; and the theatrical artists and patrons as well as the innumerable poets, philosophers, and writers who upheld the freedom to experiment and defended opera as a modern theatrical form with nearly unlimited artistic possibilities.As a result of these controversies, the defense of opera helped to shape a distinctively German version of the classical ideal, enriched German criticism with new vocabulary, promoted the study of the performing arts, and emphasized music and spectacle as essential components of theater. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. Although opera figured importantly in the French quarrel of the Ancients versus the Moderns and in the English discussions of heroic tragedy, it was in Germany that its role in the development of criticism and aesthetics was most pronounced. Beginning with this observation, Gloria Flaherty tries to show how, from its very inception and through most This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.