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Dalla tomba uscita: Representations ...

Smart, Mary Ann.

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Dalla tomba uscita: Representations of madness in nineteenth-century Italian opera.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Dalla tomba uscita: Representations of madness in nineteenth-century Italian opera./
作者:	Smart, Mary Ann.
面頁冊數:	352 p.
附註:	Source: Dissertation Abstracts International, Volume: 55-01, Section: A, page: 9000.
Contained By:	Dissertation Abstracts International55-01A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9417415

Dalla tomba uscita: Representations of madness in nineteenth-century Italian opera.
Smart, Mary Ann.

Dalla tomba uscita: Representations of madness in nineteenth-century Italian opera. - 352 p.

Source: Dissertation Abstracts International, Volume: 55-01, Section: A, page: 9000.

Thesis (Ph.D.)--Cornell University, 1994.

Although one might imagine operatic madness as a pure celebration of excess and irrationality, the musical symptoms of insanity are often highly formalized, drawing on a lexicon of expressive effects: coloratura, recurring themes, and so-called "phenomenal song." In this sense the mad scene offers an intriguing point of entry into nineteenth-century Italian opera, reproducing the uneasy balance between articulation of and escape from convention that is central to the genre. Furthermore, the importance of madness in contemporary literature and the concurrent emergence of psychiatric theory provide a rich context for considering operatic mad scenes as stylized but nevertheless revealing reflections of nineteenth-century views of insanity.Subjects--Topical Terms:

516178
Music.

Dalla tomba uscita: Representations of madness in nineteenth-century Italian opera.
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520 $a Although one might imagine operatic madness as a pure celebration of excess and irrationality, the musical symptoms of insanity are often highly formalized, drawing on a lexicon of expressive effects: coloratura, recurring themes, and so-called "phenomenal song." In this sense the mad scene offers an intriguing point of entry into nineteenth-century Italian opera, reproducing the uneasy balance between articulation of and escape from convention that is central to the genre. Furthermore, the importance of madness in contemporary literature and the concurrent emergence of psychiatric theory provide a rich context for considering operatic mad scenes as stylized but nevertheless revealing reflections of nineteenth-century views of insanity.
520 $a After an introductory chapter that addresses the theoretical background in feminist theory and cultural history, the body of the dissertation offers close readings of five scenes. First, I examine what might seem to be the central stream of operatic madness: young women, deserted, driven mad by love. Chapter 2 considers Donizetti's Lucia di Lammermoor in the context of recent feminist and psychoanalytic writings on "the gaze," and the potential for madness to free women from societal constraints; Chapter 3 deals with Bellini's I puritani, exploring ways in which visual objectification can be circumvented through offstage music and performed song.
520 $a The second half of the dissertation turns to manifestations of madness that remain outside this central tradition. Chapter 4 treats comic madness, with particular attention to Donizetti's I pazzi per progetto and to the strangely popular genre of operas set in a madhouse. Chapter 5 examines the almost forgotten tradition of male madness: a study of the mad father in Donizetti's Maria Padilla explores the tension between the controlled reserve often thought desirable for male characters and the emotional excesses of insanity. My final chapter focuses on Verdi's Il trovatore and the decline of the mad scene's popularity. Verdi's representation of the old gypsy Azucena is exceptional in two respects: she is deranged but without a mad scene; and the expressive resources of her insanity are less stylized, less familiar than those of an abandoned maiden.
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