A New Metaphor for Mozart's Magic Flute

Dorothy Koenigsberger

doi:10.1177/026569147500500301

A New Metaphor for Mozart's Magic Flute

European Studies Review ◽

10.1177/026569147500500301 ◽

1975 ◽

Vol 5 (3) ◽

pp. 229-275 ◽

Cited By ~ 1

Author(s):

Dorothy Koenigsberger

Keyword(s):

Magic Flute

: The Magic Flute (Trollfojten) . Ingmar Bergman.

Film Quarterly ◽

10.1525/fq.1976.30.1.04a00080 ◽

1976 ◽

Vol 30 (1) ◽

pp. 45-49

Author(s):

William Moritz

Keyword(s):

Ingmar Bergman ◽

Magic Flute

The Magic Flute and the Quatrain

Journal of Musicology ◽

10.1525/jm.1984.3.2.03a00030 ◽

1984 ◽

Vol 3 (2) ◽

pp. 157-176

Author(s):

Malcolm S. Cole

Keyword(s):

Magic Flute

The Empirical Test of the Aesthetic Matrix of Art Economics: The Magic Flute by W.A. Mozart

SSRN Electronic Journal ◽

10.2139/ssrn.729924 ◽

2005 ◽

Author(s):

Aldo Spranzi

Keyword(s):

Empirical Test ◽

Art Economics ◽

The Aesthetic ◽

Magic Flute

Posthumanist Voices in Literature and Opera

The Oxford Handbook of Sound and Imagination, Volume 2 ◽

10.1093/oxfordhb/9780190460242.013.6 ◽

2019 ◽

pp. 627-651

Author(s):

Jason R. D'Aoust

Keyword(s):

Blade Runner ◽

Artistic Works ◽

Magic Flute

From a background that critically investigates conceptualizations and understandings of the relations and dialectics between the inner and the outer voice and the discursive implications of the posthumanist appraisal of vocality, Jason D’Aoust examines the “operatic voice” or the vocality of opera as it is practiced and understood in the present period. From a philosophically informed perspective, D’Aoust engages with recent reappraisals of phonocentrism in voice studies, and analyzes artistic works from different genres, comprising opera (Mozart’s The Magic Flute), literature (Dick’s Do Androids Dream of Electric Sheep?), and film (Scott’s Blade Runner), in order to show how opera practitioners, authors, and film-makers use the sonorous imagination to deconstruct the canon.

Paleolimnology, William Morris and The Magic Flute

Environmental History and Palaeolimnology ◽

10.1007/978-94-011-3592-4_48 ◽

1991 ◽

pp. 373-382

Author(s):

P. E. O’Sullivan

Keyword(s):

William Morris ◽

Magic Flute

THE MUSIC OF RECOGNITION: OPERATIC ENGLIGHTENMENT IN ‘THE MAGIC FLUTE’

Music and Letters ◽

10.1093/ml/75.2.214 ◽

1994 ◽

Vol 75 (2) ◽

pp. 214-235

Author(s):

JESSICA WALDOFF

Keyword(s):

Magic Flute

THE PLOT OF ‘THE MAGIC FLUTE’

Music and Letters ◽

10.1093/ml/xxxv.2.175 ◽

1954 ◽

Vol XXXV (2) ◽

pp. 175-181

Author(s):

EDWARD J. DENT

Keyword(s):

Magic Flute

Magic Flute, The

10.1093/gmo/9781561592630.article.o006477 ◽

2002 ◽

Keyword(s):

Magic Flute

The Principle of Patriarchy: The Case of "The Magic Flute"

Signs ◽

10.1086/493611 ◽

1978 ◽

Vol 4 (2) ◽

pp. 337-348 ◽

Cited By ~ 2

Author(s):

Rose Laub Coser

Keyword(s):

Magic Flute

The Magic Flute: Auden v. Dent

Tempo ◽

10.1017/s0040298200044302 ◽

1958 ◽

pp. 6-8 ◽

Cited By ~ 1

Author(s):

Joan Cross

Keyword(s):

English Version ◽

National Opera ◽

Opera House ◽

Rake's Progress ◽

Magic Flute

It was surprising to discover that Professor E. J. Dent's English version of The Magic Flute has been in use in this country for thirty-five years or more. His version, made originally for Lilian Baylis's opera at the Old Vic in its semiamateur days, is familiar to all regular opera-goers here, for it has been in constant use since the opening of Sadler's Wells in 1930, and at the Royal Opera House since the establishment of National Opera there. Now, W. H. Auden, the librettist of The Rake's Progress and one of the foremost modern poets, has wandered into the thankless field of opera translation and the English version which comes from his hand and that of his collaborator, Chester Kallman, has already been used in a television performance of The Magic Flute in America on the occasion of the bi-centenary anniversary of Mozart's birth. It was much praised.