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eBook Overtones of Opera in American Literature from Whitman to Wharton ePub

eBook Overtones of Opera in American Literature from Whitman to Wharton ePub

by Carmen Trammell Skaggs

  • ISBN: 0807134910
  • Category: History and Criticism
  • Subcategory: Literature
  • Author: Carmen Trammell Skaggs
  • Language: English
  • Publisher: LSU Press; 1 edition (January 1, 2010)
  • Pages: 176
  • ePub book: 1835 kb
  • Fb2 book: 1198 kb
  • Other: lrf rtf mbr docx
  • Rating: 4.2
  • Votes: 370

Description

In this captivating work, Carmen Trammell Skaggs examines the discourse of opera-both the art form and the social institution-in nineteenth- and early twentieth-century American literature.

In this captivating work, Carmen Trammell Skaggs examines the discourse of opera-both the art form and the social institution-in nineteenth- and early twentieth-century American literature.

In this captivating work, Carmen Trammell Skaggs examines the discourse of opera - both the art form and the social institution - in nineteenth- and early twentieth-century American literature.

Overtones of Opera explores the discourse of opera - both the art form and the social institution - in selected .

Overtones of Opera explores the discourse of opera - both the art form and the social institution - in selected works of Whitman, Poe, Alcott, Chopin, Cather, James, and Wharton. For some, opera provided a powerful artistic medium for expressing a private aesthetic experience; in opera, they discovered the embodied voice of the artist. Others found not only the spectacle of opera but also its spaces, the opera houses and boxes, perfectly suited for displaying the class-based and commodity driven aspirations of America's new aristocracy

Finding books BookSee BookSee - Download books for free. Overtones of Opera in American Literature from Whitman to Wharton. Carmen Trammell Skaggs.

Finding books BookSee BookSee - Download books for free. Category: Литература, Литературоведение.

Skaggs, Carmen Trammell. Edgar Allan Poe: A to Z. Checkmark Books. Baton Rouge: Louisiana State University Press, 2010: 35. ISBN 9780807136751. Skaggs, Carmen Trammell. Baton Rouge: Louisiana State University Press, 2010: 35–36.

by Carmen Trammell Skaggs. Published 2009 by Louisiana State University Press in Baton Rouge Table of Contents. Embodying poetic transcendence: Whitman and opera. Divided attention: the opera house in Poe and Alcott. Published 2009 by Louisiana State University Press in Baton Rouge. American literature, History and criticism, Opera in literature. An awakening of the artist: opera in Chopin and Cather. A standard of taste and form: opera in the cosmopolitan world of James and Wharton. Includes bibliographical references and index.

An Exploration of Genre, Amsterdam: Rodopi 2012. Cormac Newark: Opera in the Novel from Balzac to Proust, Cambridge: Cambridge University Press 2011. Carmen Trammell Skaggs: Overtones of Opera in American Literature from Whitman to Wharton, Louisiana: Louisiana State University Press 2010. PD Dr. Kirsten von Hagen.

In this captivating work, Carmen Trammell Skaggs examines the discourse of opera -- both the art form and the social institution -- in nineteenth- and early twentieth-century American literature. Through the lens of opera, she maintains, major American writers -- including Walt Whitman, Edgar Allan Poe, Louisa May Alcott, Kate Chopin, Willa Cather, Henry James, and Edith Wharton -- captured the transformations of a rapidly changing American literary landscape. Although they turned to opera for different reasons, they all saw a twofold function in the art form: a means of expressing a private aesthetic experience and a space in which to perform highly ritualized social functions.Skaggs opens with an exploration of Whitman, who believed that the opera singer infuses ordinary speech with an element of the divine. Through his poetry, he sought to transform these sacred intonations into vehicles of an artistic transcendence that could be experienced by his audience. Skaggs then turns to Poe and Alcott, who frequently imitated the excesses of opera in their fiction, flamboyantly enjoying the element of the absurd. Using opera as a setting in their work allowed them to explore the fallibility of human sensibility, especially our susceptibility to deception.Chopin and Cather, Skaggs shows, empowered their heroines with a voice, a medium for artistic transcendence, but they were also influenced by the growing popularity of Wagnerian opera -- and of the idea that only through a sublimation of life can transfiguration of the soul occur. The true artist, they believed, inevitably lived a solitary life, sacrificing all for art. In the diva, for instance, Cather saw the ideal embodiment of the female artist. On the other hand, James and Wharton, Skaggs explains, recognized the opera box as the ideal setting for social considerations of class, codes, and customs in many of their stories and novels. Past literary critics have employed musical terminology to evoke what opera historian Herbert Lindenberger describes as a "nonverbal dimension beyond what we ordinarily take to be the realm of literature," but many of these same scholars warily embraced an operatic approach. After all, the "operatic" often suggests artificiality and extravagance -- qualities usually seen as negative in writing. Despite the undisputed canonical status of many of the works Skaggs explores, at least a few of them might also be described in similarly operatic (and disparaging) terms. The critical discourse of opera, however, offers an ideal vehicle for opening these texts in a new way.Unveiling a heretofore seldom-noticed connection between the rise of opera in America and the flowering of American literature, Skaggs's noteworthy study will inform and enlighten literary scholars, musicologists, and lovers of both opera and literature.