MARC Record from marc_columbia

LEADER: 03348cam a2200433Ii 4500
001 12954345
005 20171220113417.0
008 170929t20172017enkag b 001 0 eng d
010 $a 2017430341
019 $a988849841
020 $a9780729411998
020 $a0729411990
035 $a(OCoLC)on1004959612
035 $a(OCoLC)1004959612$z(OCoLC)988849841
035 $a(NNC)12954345
040 $aMEU$beng$erda$cMEU$dGUA$dUIU$dGSU$dORZ$dYDX$dSHS$dVA@$dUAB$dUX0$dDLC$dOCLCF$dFIE$dPAU
050 4 $aPQ2105$b.R687 2017
050 4 $aPQ2056.D7$bR68 2017
082 04 $a792.01 (R)$223
245 00 $aRousseau on stage :$bplaywright, musician, spectator /$cedited by Maria Gullstam and Michael O'Dea.
264 1 $aOxford :$bVoltaire Foundation,$c[2017]
264 4 $c©2017
300 $axxx, 309 pages :$billustrations, music ;$c24 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aOxford University studies in the Enlightenment,$x0435-2866 ;$v2017:09
504 $aIncludes bibliographical references (pages 291-302) and index.
520 $aFollowing his opposition to the establishment of a theatre in Geneva, Jean-Jacques Rousseau is often considered an enemy of the stage. Yet he was fascinated by drama: he was a keen theatre-goer, his earliest writings were operas and comedies, his admiration for Italian lyric theatre ran through his career, he wrote one of the most successful operas of the day, Le Devin du village, and with his Pygmalion, he invented a new theatrical genre, the Scène lyrique ('melodrama'). Through multi-faceted analyses of Rousseau's theatrical and musical works, authors re-evaluate his practical and theoretical involvement with and influence on the dramatic arts, as well as his presence in modern theatre histories. New readings of the Lettre à d'Alembert highlight its political underpinnings, positioning it as an act of resistance to external bourgeois domination of Geneva's cultural sphere, and demonstrate the work's influence on theatrical reform after Rousseau's death. Fresh analyses of his theory of voice, developed in the Essai sur l'origine des langues, highlight the unique prestige of Italian opera for Rousseau. His ambition to rethink the nature and function of stage works, seen in Le Devin du village and then, more radically, in Pygmalion, give rise to several different discussions in the volume, as do his complex relations with Gluck. Together, contributors shed new light on the writer's relationship to the stage, and argue for a more nuanced approach to his theatrical and operatic works, theories and legacy. --$cProvided by publisher.
600 10 $aRousseau, Jean-Jacques,$d1712-1778$xCriticism and interpretation.
600 17 $aRousseau, Jean-Jacques,$d1712-1778.$2fast$0(OCoLC)fst00030449
650 4 $aMusic$xPhilosophy and aesthetics$xHistory$y18th century.
650 4 $aTheater$zFrance$xHistory$y18th century.
650 4 $aTheater$xPhilosophy.
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
700 1 $aGullstam, Maria,$eeditor.
700 1 $aO'Dea, Michael,$eeditor.
830 0 $aOxford University studies in the Enlightenment ;$v2017:09.$x0435-2866
852 00 $bglx$hPQ2105.A1$iS81 2017:no.9$zFor circulation information search the serial title.