scholarly journals Ópera, texto y audiovisualización. Estudio de un caso: "El anillo del Nibelungo"

2017 ◽  
pp. 136 ◽  
Author(s):  
Jaume Radigales ◽  
Yaiza Bermúdez Cubas
Keyword(s):  
Twentieth Century ◽  
Richard Wagner ◽  
Total Work ◽  
Musical Drama ◽  
Work Of Art ◽  
Global Performance ◽  
Late Twentieth ◽  
Siglo Xx ◽  
Late Twentieth Century

La ópera es un espectaculo globalizado, una Gesamtkunstwerk (obra de arte integral) según las teorías de Richard Wagner. Esa interacción de elementos convergentes (música, texto, canto, puesta en escena) culmina con la incorporación de la pantalla como parte integrante del montaje escénico desde finales del siglo XX. En este texto nos fijamos en el proceso de la audiovisualización de la ópera como espectáculo con el estudio de un caso: el montaje de El anillo del Nibelungo de Richard Wagner realizado por Carlus Padrissa y estrenado en el Palau de las Arts de Valencia (2007). En él, la interacción de la pantalla era fundamental para la comprensión del drama musical wagneriano. Opera is a global performance, a Gesamtkunstwerk (total work of art) according to the theories of Richard Wagner. This interaction of converging elements (music, text, singing, staging) culminates with the incorporation of the screen as part of staging since the late twentieth century. In this paper we look at the process ‘audiovisualisation’ of the opera as performance with a case study: the production of Richard Wagner’s The Ring of the Nibelung by Carlus Padrissa and premiered at the Palau de les Arts in Valencia (2007). In it, the interaction of the screen was essential to understanding the Wagnerian musical drama.

Closer Still: The Total Artwork

Lyric Cousins ◽  
2016 ◽  
Author(s):  
Fiona Sampson
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Richard Wagner ◽  
Interior Decoration ◽  
Late Eighteenth Century ◽  
The Arts ◽  
Late Eighteenth ◽  
The Future ◽  
Late Twentieth ◽  
Late Twentieth Century

This chapter considers the Gesamtkunstwerk, which English musicologists translate as ‘total artwork’. Richard Wagner had used the expression to characterise his operas, though he had only ever used the term in two essays, both published in 1849: ‘Art and Revolution’ and ‘The Artwork of the Future’. Moreover, the term did not originate from Wagner himself, and he did not even spell it in the conventional way. Since the late twentieth century ‘Gesamtkunstwerk’ has been applied to other artforms, particularly architecture, which like opera can unite a number of elements. (Architecture, for example, marries engineering, landscaping and interior decoration, among others.) But the term's origins are in the late eighteenth-century notion that all the arts could be unified in poetry.

Governing Global Aeromobility

Transfers ◽  
2016 ◽  
Vol 6 (3) ◽  
pp. 22-40
Author(s):  
Bret Edwards
Keyword(s):  
Twentieth Century ◽  
Global South ◽  
Air Travel ◽  
Regulatory Response ◽  
National Space ◽  
Entry Points ◽  
Refugee Claimants ◽  
Late Twentieth ◽  
Late Twentieth Century

This article surveys Canada’s regulatory response to global aeromobility in the late twentieth century. It examines the Canadian state’s strategies to restrict the movement of refugee claimants landing at airports during the 1980s and the national discourse around this process. Mass air travel enabled more refugees, particularly from the Global South, to travel to Canada and, in the process, challenged how the country governed aerial and cosmopolitan populations. In response, Canadian authorities erected an enforcement regime at the country’s international airports, which transformed them into contested entry points to national space and normative citizenship where links between mobility, borders, and nation were simultaneously reinforced and contested. This article thus provides an integral case study of national ambivalence toward global aeromobility in the late twentieth century.

scholarly journals Leading women. Reflections on gender struggle at work in Nicaragua and Norway, late twentieth-century

2005 ◽  
Vol 5 (1-2) ◽  
pp. 577
Author(s):  
Turid Hagene
Keyword(s):  
Twentieth Century ◽  
Politica Publica ◽  
Late Twentieth ◽  
Las Mujeres ◽  
Siglo Xx ◽  
Late Twentieth Century

El artículo demuestra y analiza el hecho de que en Nicaragua hacia fines del siglo XX, había un porcentaje más alto de liderazgo femenino en los centros de trabajo, que en Noruega, patria de la autora. Noruega además es conocido por tener varias décadas de política pública de igualdad entre los sexos. El artículo explora algunas interpretaciones de este paradoja. Se destaca la capacidad de acción que demuestran las mujeres nicaragüenses en una cultura de género donde se enfatiza la diferencia. En el caso noruego se ha establecido una maquinaria de igualdad, en la cual se enfatiza la competencia directa entre los géneros, conllevando dilemas poco placenteros para las mujeres. Tanto las estrategias de diferencia, como las de igualdad, parecen reproducir la desigualdad de género. Tal vez sería mejor propagandizar como meta la justicia que la diferencia o la igualdad?

Collaboration

2020 ◽  
pp. 153-191
Author(s):  
Natalie Pollard
Keyword(s):  
Twentieth Century ◽  
Literary Text ◽  
Sylvia Plath ◽  
Seamus Heaney ◽  
Ted Hughes ◽  
American Artist ◽  
Late Twentieth ◽  
Century Poetry ◽  
Late Twentieth Century

This chapter examines a particular instance of canonical late-twentieth-century poetry that shows close collaboration with the visual arts. It takes as a case study the work of Ted Hughes, who is often considered central to the development of the English poetic canon, in his collaboration with the American artist and publisher Leonard Baskin in producing the 1973 book, Cave Birds. The trade volume initially contained over ten of Baskin’s pen-and-ink images (which had inspired Hughes to pen his poems). Why, then, are Baskin’s artworks no longer published alongside Hughes’s poems? This chapter puts drawing and text back into dialogue, offering a sustained intra-artistic reading of an image-poem pair as it resonates with the vision of Michelangelo, Michael Ayrton, Giacometti, Sylvia Plath, and Seamus Heaney. Artwork and literary text interact before our viewing-reading eyes, performing an eloquent expression of the complexity of aesthetic co-constitution, across media and history.

scholarly journals Encuentros y Desencuentros de La Modernidad en Tegucigalpa, Siglo XIX y XX. / Agreements and disagreements of modernity in Tegucigalpa, Nineteenth and twentieth century

2017 ◽  
pp. 39-53
Author(s):  
Daniela Navarrete Calix
Keyword(s):  
Twentieth Century ◽  
Urban Landscape ◽  
Central American ◽  
Political Modernity ◽  
Urban Models ◽  
Late Twentieth ◽  
Siglo Xix ◽  
Siglo Xx ◽  
The City ◽  
Late Twentieth Century

RESUMENEste artículo analiza el impacto urbano que trajo la modernidad política aplicada a la ciudad de Tegucigalpa, capital de Honduras. Para ello comparamos diacrónicamente la transformación político-administrativa en este centro urbano: en el liberalismo del último cuarto del siglo XIX y principios del s. XX; y en el neoliberalismo de finales del siglo XX.  El discurso de los locutores de la modernidad liberal y neoliberal tendrá especial atención, pues vehicula los ideales de los gobernantes para alcanzar el progreso o desarrollo. Estos anhelos de modernidad se reflejan en el paisaje urbano encontrándose o no de los anhelos de los ciudadanos de esta capital centroamericana.Palabras clave: modernidad – (neo) liberalismo – modelos urbanos RESUMO Este artigo analisa o impacto urbano que trouxe modernidade política aplicada à cidade de Tegucigalpa, capital de Honduras. Para esta comparação diacronicamente a transformação político-administrativa neste centro urbano: no liberalismo do último quartel do século XIX e início do s. XX; eo neoliberalismo do final do século XX. O discurso dos oradores da modernidade liberal e neoliberal terá atenção especial, pois transmite os ideais dos governos para alcançar o progresso ou desenvolvimento. Esses anseios da modernidade são refletidos na paisagem urbana ou não corresponder às aspirações dos cidadãos desta capital centro-americana.Palavras-chave: modernidade - (neo) liberalismo – modelos Urbanos ABSTRACTThis article analyzes the urban impact that brought political modernity applied to the city of Tegucigalpa, capital of Honduras. For this we compare diachronically the political-administrative transformation in this urban center: during liberalism of the last quarter of the nineteenth century and early s. XX; and during the neoliberalism of the late twentieth century. The speech of the speakers of liberal and neoliberal modernity will have special attention, as conveys the ideals of governments to achieve progress or development. These yearnings of modernity are reflected in the urban landscape and of course meet and unmeet the aspirations of the citizens of this Central American capital.Keywords: modernity – (neo) liberalism – urban models 

The Suspended Spectacle of History

2018 ◽  
Author(s):  
James Tweedie
Keyword(s):  
Twentieth Century ◽  
Work Of Art ◽  
Art Form ◽  
History Of ◽  
Late Twentieth ◽  
Tableau Vivant ◽  
Late Twentieth Century

This chapter examines both the history of the tableau vivant as an art form and its remarkable revival in the cinema of the late twentieth century. At once a quotation of an existing work of art and an always imperfect copy, the tableau vivant recognizes the persistent power of the original but transforms or parodies its source, creating something new even when it returns to old and familiar models. The chapter charts the development of a cinema of painters in the late twentieth century and identifies the tableau as one of its key strategies precisely because it exists at the threshold between citation and innovation. Focusing on the work of Jean-Luc Godard and especially Derek Jarman’s 1986 film Caravaggio, it emphasizes the archaeological and social possibilities of this return to painting, as filmmakers confront both the aging of cinema and the necessity of radical historical models in a moment of political retrenchment.

Engineers and Social Engineering: Professional/Trade Unions and Social Mobility

2021 ◽  
Vol 120 (1) ◽  
pp. 169-195
Author(s):  
Hannah Forsyth ◽  
Michael P. R. Pearson
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
Social Mobility ◽  
Trade Unions ◽  
Social Engineering ◽  
Late Twentieth ◽  
The 1960S ◽  
Late Twentieth Century ◽  
Australian Universities

Professions like engineering were a vehicle for social mobility in Australia early in the twentieth century. By the late twentieth century, despite considerable expansions in higher education, it was much harder for young people to enter a trade and then to use their skills and experience to move into professional engineering. The shift in occupation structure in the early twentieth century, when professions - including engineering - grew rapidly, gave new opportunities to working-class tradespeople to move into professional employment. After the 1960s, when educational norms standardised and professional knowledge became more complex, these pathways narrowed. Motor mechanics, for example, were “trade” engineers who were able to move into professional engineering early in the twentieth century in ways that were extensively limited by the end of the century. This article uses engineering as a case study to consider institutional changes, including the growth of middle-class unions and the increased share of education carried by Australian universities, which made access to professional occupations more difficult for working-class tradespeople from the 1960s onwards. This helps us to identify the emergence of a new kind of class solidarity among professionals in the mid-twentieth century, with which they developed strategies to win rights for themselves, but sometimes at the expense of working-class interests.

Shifting shorelines: Land reclamation and economic blackmail in industrial South Chicago

2018 ◽  
Vol 1 (1-2) ◽  
pp. 186-205
Author(s):  
Chloe E. Taft
Keyword(s):  
Twentieth Century ◽  
Lake Michigan ◽  
Land Reclamation ◽  
Global Capitalism ◽  
Historical Case Study ◽  
Natural Evolution ◽  
Historical Case ◽  
Late Twentieth ◽  
Late Twentieth Century

This article takes an urban political ecological approach to a historical case study to show how corporations shape both material and economic landscapes to make them appear “natural” and stable when they are anything but. In the early twentieth century, Illinois Steel dumped waste into Lake Michigan at its South Chicago plant to surreptitiously expand its landholdings. The company leveraged a legal claim to the land—a claim that it materially produced out of slag—along with threats to move its operations to Indiana as bargaining chips to avoid further community pushback or regulatory intervention. This research modifies the typical chronology of “the runaway factory,” most often associated with the late twentieth century, to show that economic blackmail was instrumental to the process of industrialization itself. I treat the archive of South Chicago’s shifting shoreline as a muddy artifact of multiple and often contradictory social and political claims rather than a record of biophysical reality. By illustrating specific materializations of global capitalism in an unstable landscape, I argue that processes of disinvestment that transformed industrial communities over the course of the twentieth century were not part of a natural evolution but were contested, uneven, and actively pursued.

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