Music in the Georgian Novel
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portes grátis
Music in the Georgian Novel
Dubois, Pierre
Cambridge University Press
04/2018
376
Mole
Inglês
9781107519411
15 a 20 dias
660
Descrição não disponível.
Introduction; Part I. Sound and Sense: Moral Issues: 1. Prelude: Italian opera and English oratorio; 2. The English Orpheus; 3. Damnable pleasures; 4. The natural voice and the ideal of purity; 5. Malodorous soundscapes and musical incenses; Part II. Sentiment and Sensibility: 6. The perimeter of the sentimental mode; 7. The crisis of language; 8. The impression of harmony; 9. The salutary remanence of discords; 10. The inexpressible mystery of music; 11. The music of feeling; 12. Pastoral music; Part III. Sweet Music and the Sublime: 13. Theory of the musical sublime; 14. The musical sublime and ideological control; 15. Ann Radcliffe's feminine sublime; Part IV. Music as a Vehicle for Female Identity: 16. The musical and novelistic perimeters of feminine sensibility; 17. Intimations of musical gendering: Anne Hughes, Caroline; 18. Instruments of a new sensibility; 19. Sensibility and affectation: Jane West, Maria Edgeworth, Elizabeth Inchbald; 20. Variations on a feminine theme: Frances Burney's musical heroines; 21. Jane Austen: music, woman and the middle-way; Conclusion.
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Introduction; Part I. Sound and Sense: Moral Issues: 1. Prelude: Italian opera and English oratorio; 2. The English Orpheus; 3. Damnable pleasures; 4. The natural voice and the ideal of purity; 5. Malodorous soundscapes and musical incenses; Part II. Sentiment and Sensibility: 6. The perimeter of the sentimental mode; 7. The crisis of language; 8. The impression of harmony; 9. The salutary remanence of discords; 10. The inexpressible mystery of music; 11. The music of feeling; 12. Pastoral music; Part III. Sweet Music and the Sublime: 13. Theory of the musical sublime; 14. The musical sublime and ideological control; 15. Ann Radcliffe's feminine sublime; Part IV. Music as a Vehicle for Female Identity: 16. The musical and novelistic perimeters of feminine sensibility; 17. Intimations of musical gendering: Anne Hughes, Caroline; 18. Instruments of a new sensibility; 19. Sensibility and affectation: Jane West, Maria Edgeworth, Elizabeth Inchbald; 20. Variations on a feminine theme: Frances Burney's musical heroines; 21. Jane Austen: music, woman and the middle-way; Conclusion.
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