東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

The operetta empire: Popular Viennes...

Baranello, Micaela Keeney.

Linked to FindBook

Google Book

Amazon

博客來

The operetta empire: Popular Viennese Music Theater and Austrian identity, 1900-1930.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The operetta empire: Popular Viennese Music Theater and Austrian identity, 1900-1930./
Author:	Baranello, Micaela Keeney.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2014,
Description:	448 p.
Notes:	Source: Dissertations Abstracts International, Volume: 76-03, Section: A.
Contained By:	Dissertations Abstracts International76-03A.
Subject:	European history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3626386
ISBN:	9781321013320

The operetta empire: Popular Viennese Music Theater and Austrian identity, 1900-1930.
Baranello, Micaela Keeney.

The operetta empire: Popular Viennese Music Theater and Austrian identity, 1900-1930. - Ann Arbor : ProQuest Dissertations & Theses, 2014 - 448 p.

Source: Dissertations Abstracts International, Volume: 76-03, Section: A.

Thesis (Ph.D.)--Princeton University, 2014.

.

Operetta was the most popular form of popular entertainment in the Vienna of the Austro-Hungarian Empire. This dissertation examines a selection of works by four of the most prominent operetta composers of the genre's so-called Silver Age: Franz Lehar, Emmerich Kalman, Oscar Straus, and Leo Fall. Considering operetta between 1900 and 1930, I argue that operetta was a hybrid genre whose multivalent influences enabled it to serve as an important nexus of late imperial cultural identity and, after the empire's disappearance, a site of imperial memory. As operetta became a mass art form, I argue, it altered traditional hierarchies of aristocratic, folk and popular culture, making its dismissal and condemnation by the high art establishment a necessity. My first chapter introduces Silver Age operetta as a cultural system, including its production as well as its historiography and historical background. In my second chapter, I outline the generational shift of composers that launched the Silver Age and its first great work: Franz Lehar's "Die lustige Witwe," which I argue targeted a newly cosmopolitan and modern Vienna and thematized operetta's own conflict between Viennese and French influences. My third chapter considers operetta's balance of the s critically privileged satirical and the often-condemned sentimental in light of, Oscar Straus's "Ein Walzertraum" and Franz Lehar's "Eva." My fourth chapter turns to the marketing of "Hungarian passion" to the Viennese through Emmerich Kalman's 1912 "gypsy operetta" "Der Zigeunerprimas." My fifth chapter considers the role of operetta in World War I, examining Karl Kraus's critique of operetta as propaganda as well as Kalman's actual propaganda operetta "Gold gab ich fur Eisen" (1914) and the frenzied "Die Csardasfurstin" (1916). My final chapter analyzes the legacy of the empire in several exotic operettas of the war and 1920s, including Leo Fall's "Die Rose von Stambul", Kalman's "Die Bajadere," and Franz Lehar's "Das Land des Lachelns". My epilogue considers operetta's dissolution in the face of competition from revue and film, as seen in the fractured late operetta "Die Herzogin von Chicago" (1928).

ISBN: 9781321013320Subjects--Topical Terms:

1972904
European history.
Subjects--Index Terms:

Fin-de-siecle

The operetta empire: Popular Viennese Music Theater and Austrian identity, 1900-1930.
LDR:03373nmm a2200397 4500 001 2403196
005 20241104085634.5
006 m o d
007 cr#unu||||||||
008 251215s2014 ||||||||||||||||| ||eng d
020 $a 9781321013320
035 $a (MiAaPQ)AAI3626386
035 $a (MiAaPQ)princeton:10980
035 $a AAI3626386
040 $a MiAaPQ $c MiAaPQ
100 1 $a Baranello, Micaela Keeney. $3 3773459
245 1 0 $a The operetta empire: Popular Viennese Music Theater and Austrian identity, 1900-1930.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2014
300 $a 448 p.
500 $a Source: Dissertations Abstracts International, Volume: 76-03, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Heller, Wendy.
502 $a Thesis (Ph.D.)--Princeton University, 2014.
506 $a .
520 $a Operetta was the most popular form of popular entertainment in the Vienna of the Austro-Hungarian Empire. This dissertation examines a selection of works by four of the most prominent operetta composers of the genre's so-called Silver Age: Franz Lehar, Emmerich Kalman, Oscar Straus, and Leo Fall. Considering operetta between 1900 and 1930, I argue that operetta was a hybrid genre whose multivalent influences enabled it to serve as an important nexus of late imperial cultural identity and, after the empire's disappearance, a site of imperial memory. As operetta became a mass art form, I argue, it altered traditional hierarchies of aristocratic, folk and popular culture, making its dismissal and condemnation by the high art establishment a necessity. My first chapter introduces Silver Age operetta as a cultural system, including its production as well as its historiography and historical background. In my second chapter, I outline the generational shift of composers that launched the Silver Age and its first great work: Franz Lehar's "Die lustige Witwe," which I argue targeted a newly cosmopolitan and modern Vienna and thematized operetta's own conflict between Viennese and French influences. My third chapter considers operetta's balance of the s critically privileged satirical and the often-condemned sentimental in light of, Oscar Straus's "Ein Walzertraum" and Franz Lehar's "Eva." My fourth chapter turns to the marketing of "Hungarian passion" to the Viennese through Emmerich Kalman's 1912 "gypsy operetta" "Der Zigeunerprimas." My fifth chapter considers the role of operetta in World War I, examining Karl Kraus's critique of operetta as propaganda as well as Kalman's actual propaganda operetta "Gold gab ich fur Eisen" (1914) and the frenzied "Die Csardasfurstin" (1916). My final chapter analyzes the legacy of the empire in several exotic operettas of the war and 1920s, including Leo Fall's "Die Rose von Stambul", Kalman's "Die Bajadere," and Franz Lehar's "Das Land des Lachelns". My epilogue considers operetta's dissolution in the face of competition from revue and film, as seen in the fractured late operetta "Die Herzogin von Chicago" (1928).
590 $a School code: 0181.
650 4 $a European history. $2 bicssc $3 1972904
650 4 $a Music. $3 516178
653 $a Fin-de-siecle
653 $a Lehar, franz
653 $a Operetta
653 $a Vienna
690 $a 0335
690 $a 0413
710 2 $a Princeton University. $b Music. $3 2095983
773 0 $t Dissertations Abstracts International $g 76-03A.
790 $a 0181
791 $a Ph.D.
792 $a 2014
793 $a English
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3626386