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Journal articles on the topic 'Bluebeam'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

Horvatic, Stefan. "Blaues Licht mit Zeug zum Standard." Konstruktion 69, no. 06 (2017): 18–20. http://dx.doi.org/10.37544/0720-5953-2017-06-18.

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Die „BlueBeam“-Technologie für Inkremental-Drehgeber mit optischem Abtastprinzip bietet bemerkenswerte Leistungsmerkmale. Damit könnten die neuen Drehgeber von Pepperl+Fuchs einen künftigen Marktstandard begründen. Wie die Drehgeberspezialisten diesen definieren und was sie unter einem „guten“ Marktstandard verstehen, erklärt Produktmanager Stefan Horvatic in diesem Beitrag.

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2

Lorre, Sean. "Rhythm and Bluebeat." Journal of Popular Music Studies 31, no. 3 (September 2019): 95–118. http://dx.doi.org/10.1525/jpms.2019.313010.

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Retrospectively referred to as blue beat, “Jamaican rhythm and blues” (JA-R&B) was one of many R&B styles performed and consumed in the UK during the early 1960s. Despite the genre’s importance to African-Caribbean migrant communities, urban subcultures, and, eventually, mainstream British popular music, JA-R&B is often relegated to a side note in the histories of Jamaican ska/reggae and British blues. This essay recuperates the production, emulation, consumption and mediation of JA-R&B into a broader narrative of the British R&B boom, a phenomenon often understood as a precursor to the British Invasion and the (re)birth of rock music as a major force in Anglo-American popular culture. As this essay details, JA-R&B was the product of a complex web of cultural interaction animated by a confluence of black Americans, Jamaicans of various ethnicities (living at home and abroad), and white Britons. The routes by which JA-R&B moved from the relative shadows of the underground Jamaican-settler social scene into the clubs of Soho, to London’s recording studios, and eventually onto the pop charts through British-made recordings are traced here through analysis of contemporaneous discourse found in The West Indian Gazette, Disc, Melody Maker, New Record Mirror, and New Musical Express. I conclude that JA-R&B’s eventual “novelty” status, coupled with apparent anxieties about the growing West Indian immigrant population in Britain, elided the possibility that JA-R&B could be valued on the same terms and by the same standards as “authentic,” American-originated R&B.

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3

García, Ramón. "A Bluebeard Suite Brother Bluebeard." Psychological Perspectives 61, no. 4 (October 2, 2018): 537–39. http://dx.doi.org/10.1080/00332925.2018.1537654.

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4

Lerate de Castro, Jesús. ""Bluebeard": El arte de la transformación." Philologia Hispalensis 1, no. 13 (1999): 281–85. http://dx.doi.org/10.12795/ph.1999.v13.i01.18.

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5

Steven C. Ridgely. "Terayama Shūji and Bluebeard." Marvels & Tales 27, no. 2 (2013): 290. http://dx.doi.org/10.13110/marvelstales.27.2.0290.

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6

Campbell, Jessica. "Anne Brontë’s Realist ‘Bluebeard’." Brontë Studies 41, no. 4 (October 2016): 350–60. http://dx.doi.org/10.1080/14748932.2016.1222697.

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7

Liggett, Gina M. "Getting home to Bluebell." Nursing 39, no. 9 (September 2009): 36–37. http://dx.doi.org/10.1097/01.nurse.0000360245.59242.09.

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8

Huang, Yao Zhi, and Lin Lin. "Urban Bluebelt Construction – Control Countermeasure of Urban Blue Line (River Project) from Line to the Whole." Advanced Materials Research 919-921 (April 2014): 1586–90. http://dx.doi.org/10.4028/www.scientific.net/amr.919-921.1586.

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Since the Administrative Measures of Urban Blue Line being issued, cities compile the Blue Line project in succession, which reflects a series of problems and deficiencies. The simply method to determine the line can not meet the demands of comprehensive development of water body and land function, which causes the guiding function of the project and its construction weak, this is the problem desiderated to be discussed and solved when the compiling the urban Blue Line. This article is based on the current situation of compilation and implementation of urban Blue Line project, introduces the concepts of Bluebelt, Paste Line Rate, put forward the planning control countermeasure combined with Blue Line control and Bluebelt design, build up the Bluebelt network in macroscopic area, use Blue Line to control on meso-level, adjust urban design flexibly on micro-level, in order to provide some valuable reference for the protection and development of urban water network and compilation of Blue Line and related project.

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9

Weigle, Marta, and Janet L. Langlois. "Belle Gunness: The Lady Bluebeard." Western Folklore 46, no. 1 (January 1987): 71. http://dx.doi.org/10.2307/1500033.

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10

Bevan, David G. "Tournier's Photographer: A Modern Bluebeard?" Modern Language Studies 15, no. 3 (1985): 66. http://dx.doi.org/10.2307/3194443.

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11

Wachs, Eleanor, and Janet L. Langlois. "Belle Gunness: The Lady Bluebeard." Journal of American Folklore 103, no. 407 (January 1990): 121. http://dx.doi.org/10.2307/541127.

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12

Varnholt, Hendrik. "Investor fordert Rücktritt von Danone-Chef." Lebensmittel Zeitung 73, no. 3 (2021): 14. http://dx.doi.org/10.51202/0947-7527-2021-3-014-1.

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13

Oyebode, Femi. "The Dying Child." Advances in Psychiatric Treatment 14, no. 4 (July 2008): 264. http://dx.doi.org/10.1192/apt.14.4.264.

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14

Sanchez, Alexandra J. "“Bluebeard” versus black British women’s writing." English Text Construction 13, no. 1 (July 24, 2020): 1–21. http://dx.doi.org/10.1075/etc.00032.san.

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Abstract Helen Oyeyemi’s 2011 novel Mr. Fox artfully remasters the “Bluebeard” fairytale and its many variants and rewritings, such as Jane Eyre and Rebecca. It is also the first novel in which Oyeyemi does not overtly address blackness or racial identity. However, the present article argues that Mr. Fox is concerned with the status of all women writers, including women writers of colour. With Mr. Fox, Oyeyemi echoes the assertiveness and inquisitiveness of Bluebeard’s last wife, whose disobedient questioning of Bluebeard’s canonical authority leads her to discover, denounce, and warn other women about his murderous nature. A tale of the deception and manipulation inherent in storytelling, Mr. Fox allows for its narrative foul play to be exposed on the condition that its literary victims turn into detective-readers and decipher the hidden clues left behind by the novel’s criminal-authors. This article puts the love triangle between author St. John Fox, muse Mary, and wife Daphne under investigation by associating reading and writing motifs with detective fiction. Oyeyemi’s ménage à trois can thus be exposed as an anthropomorphic metaphor for the power struggle between the patriarchal literary canon, established feminist literature, and up-and-coming (black British) women writers, incarnated respectively by Mr. Fox, Mary Foxe, and Daphne Fox.

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15

Hart, Karen. "‘The best job ever’." Early Years Educator 21, no. 12 (April 2, 2020): 50. http://dx.doi.org/10.12968/eyed.2020.21.12.50.

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Based in Worthing, the outstanding Pebbles Childcare is blessed with fantastic opportunities for outdoor learning, which for owner Bridgit Brown (below) can mean a walk in a bluebell wood or a day on the beach. Karen Hart finds out more.

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16

Valeriia, Dmytriieva. "Gender Alterations in English and French Modernist “Bluebeard” Fairytale." English Language and Literature Studies 6, no. 3 (August 29, 2016): 16. http://dx.doi.org/10.5539/ells.v6n3p16.

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<p>The article is aimed at scrutinizing a variety of modernistic writings in a Bluebeard fairytale tradition. It is intended to show what is to be gained by studying texts in relation to the contexts in which they were produced. The period considered here is that of the late XIX and early XX centuries. This takes us into discussing patriarchal authority in the political thought of the early modern time in France and that of the Victorian England.The “Bluebeard” fairytale changes in the domain of gender as a response to certain historical and psychological changes are analyzed. A wide range of writings is investigated to reveal the contribution made by the French and English authors in the field of literature. The analysis implies that certain feministic ideas which grew out of social changes in the society of France and England have provoked some archetypal alterations in the texts of French and English modernists.</p>

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17

Odajnyk, V. Walter. "The archetypal interpretation of fairy tales: Bluebeard." Psychological Perspectives 47, no. 1 (January 2004): 10–29. http://dx.doi.org/10.1080/00332920408407120.

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Odajnyk, V. Walter. "The archetypal interpretation of fairy tales: Bluebeard." Psychological Perspectives 47, no. 2 (July 1, 2004): 247–75. http://dx.doi.org/10.1080/00332920408414628.

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19

Köycü, Nagehan D., John E. Stenger, and Harlene M. Hatterman-Valenti. "Cold Climate Winegrape Cultivar Sensitivity to Sulfur in the Northern Great Plains Region of the United States." HortTechnology 27, no. 2 (April 2017): 235–39. http://dx.doi.org/10.21273/horttech03638-16.

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Elemental sulfur is commonly applied for powdery mildew (Erysiphe necator) protection on winegrape (Vitis sp.). The product may be used in a diversified, integrated disease management system to help prevent fungicide resistance to products with other modes of action. Additionally, sulfur may be used as a control option in organic systems. Applications of sulfur have been known to cause phytotoxic injury to susceptible winegrape cultivars, particularly those stemming from fox grape (Vitis labrusca) parentage. To improve recommendations to producers in the northern Great Plains region of the United States, a comparison of injury incidence and severity, as well as effects on yield characteristics was undertaken for 13 regional cultivars exposed to three sulfur rates (0, 2.4, and 4.8 lb/acre a.i.) at a North Dakota State University Research Station near Absaraka, ND. Overall, four cultivars (Bluebell, Baltica, Sabrevois, and King of the North) of the 13 cultivars tested showed phytotoxic symptoms. Injury severity and incidence of these cultivars differed between years and across rates. ‘Bluebell’ showed consistent and severe sulfur injury symptoms. Injury to the other three susceptible cultivars tended to vary by the given environment, with King of the North generally showing the lowest injury response. Injury symptoms were not found to be associated with the overall yield or cluster weight. Results suggest that alternative spray programs that exclude sulfur-based fungicides should be recommended for ‘Bluebell’, ‘Baltica’, ‘Sabrevois’, and ‘King of the North’, whereas sulfur-based fungicides may be applied to ‘Alpenglow’, ‘ES 12-6-18’, ‘Frontenac’, ‘Frontenac Gris’, ‘La Crescent’, ‘Marquette’, ‘Somerset Seedless’, ‘St. Croix’, and ‘Valiant’. Observations on fruit ripening in 2014 suggest that future research is needed to determine if a reduction of fruit quality may occur in some seasons with repeated sulfur applications or with successive annual sulfur applications for susceptible cultivars if used in an organic production system.

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20

Turner, Peter J., John K. Scott, and Helen Spafford. "Bridal Creeper (Asparagus asparagoides)–Invaded Sites with Elevated Levels of Available Soil Nutrients: Barrier to Restoration?" Invasive Plant Science and Management 4, no. 2 (April 2011): 212–22. http://dx.doi.org/10.1614/ipsm-d-10-00032.1.

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AbstractBridal creeper has become a serious environmental weed in southern Australia. Historically the invaded areas had low soil nutrient levels. However, our field surveys indicate that soils in bridal creeper–invaded areas have higher phosphorus and iron levels than soils in nearby native reference areas regardless of the proximity to agriculture or other disturbances. A glasshouse experiment was undertaken to determine the influence of increased nutrients on plants that co-occur with bridal creeper in order to (1) assess the impact of changed soil conditions and (2) predict the response of dominant species following the biological control of bridal creeper. The relative growth rate (RGR) of bridal creeper, two native shrubs (narrow-leaved thomasia [Thomasia angustifolia] and bluebell creeper [Billardiera heterophylla]), and an invasive exotic grass (annual veldt grass [Ehrharta longiflora]) were determined in three soil types: soil collected within a bridal creeper stand, soil collected from a nearby reference area, and a potting mix with nutrient levels higher than that recorded in the field. The plant species were chosen due to their association with bridal creeper. For example, the native species narrow-leaved thomasia was identified in a previous survey as the most abundant shrub at the invaded site where the soil was collected. The two other species, bluebell creeper and annual veldt grass, were identified from a previous seedbank trial as being abundant (in the seedbank) and able to readily germinate in invaded areas. When grown in either the bridal creeper–invaded soil or reference soil, bluebell creeper had significantly lower RGRs than narrow-leaved thomasia and annual veldt grass. However, as all these species showed increases in RGRs between reference soil and bridal creeper soil, this study indicates that for at least these three species the impact of increased nutrients may not be a barrier to the recovery of invaded areas following the control of bridal creeper.

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21

Graham, Kenneth W. "Cinderella or Bluebeard: The Double Plot of Evelina." Man and Nature 5 (1986): 85. http://dx.doi.org/10.7202/1011854ar.

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22

Barzilai, Shuli. "THE BLUEBEARD BAROMETER: CHARLES DICKENS AND CAPTAIN MURDERER." Victorian Literature and Culture 32, no. 2 (September 2004): 505–24. http://dx.doi.org/10.1017/s1060150304000634.

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“You mustn't marry more than one person at a time, may you, Peggotty?”“Certainly not,” says Peggotty, with the promptest decision.“But if you marry a person, and the person dies, why then you may marry another person, mayn't you, Peggotty?”“You MAY,” says Peggotty, “if you choose, my dear. That's a matter of opinion.”—David Copperfield(1849–50)THE FIRST TIME I HEARD OF CAPTAIN MURDERERwas in the Jerusalem Theater many years ago when the Welsh actor Emlyn Williams (1905–87) gave a reading of scenes from the works of Charles Dickens. Williams's performance was a recreation of the initiative of Dickens himself who, in the late 1850s, took on yet another activity and persona, that of the itinerant player, and began a series of public tours in which he read from his own works. Of all the pieces Williams performed on that occasion, the story of “a certain Captain Murderer” remains most vividly present to memory not only for its eerie atmosphere and plot but especially for its effect on the audience. I can still recall the collective gasp of horror, as well as the outbursts of laughter, that the story's denouement elicited from a captivated company of listeners.

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23

Warner, Marina. "Tales of Bluebeard and His Wives from Late Antiquity to Postmodern Times/Bluebeard: A Reader's Guide to the English Tradition." Folklore 122, no. 2 (August 2011): 222–23. http://dx.doi.org/10.1080/0015587x.2011.570534.

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24

Carettoni, Luca, Claudio Merloni, and Stefano Zanero. "Studying Bluetooth Malware Propagation: The BlueBag Project." IEEE Security & Privacy 5, no. 2 (March 2007): 17–25. http://dx.doi.org/10.1109/msp.2007.43.

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25

Keréfky, Márton. "BARTÓK'S REVISIONS TO THE INSTRUMENTATION OF ‘DUKE BLUEBEARD'S CASTLE’." Tempo 67, no. 264 (April 2013): 52–65. http://dx.doi.org/10.1017/s0040298213000077.

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AbstractThe full score of Béla Bartók's one-act opera Duke Bluebeard's Castle (1911) reached its final form through many intermediate stages and after many years. The most comprehensive revision had been carried out in 1917 before Bluebeard was finally put on the programme of the Budapest Opera House. Bartók's revisions concerned not only the ending of the opera and the vocal parts but also the instrumentation. On the basis of all available primary sources, the present article examines how the instrumentation changed between 1911 and 1925, when the full score was published by Universal Edition. As a result of experiences gained during rehearsals of The Wooden Prince in 1917, Bartók added two instruments, the celesta and the xylophone, which he had originally not used in Bluebeard. However, the original score included two tenor tuba parts, which he later replaced with trumpets and trombones. In the revised score Bartók applied new instrumental techniques, corrected an unplayable passage, made the orchestral material thinner in favour of the vocal parts, and altered the instrumentation in order to emphasize motivic connections. Most of these alterations, however, do not represent a conceptual change in the opera's instrumentation but rather realize Bartók's original ideas in a more precise and more elaborate way.

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26

Maram, Thirupathi Reddy. "An Abstract Expressionist: A Study of Kurt Vonnegut’s Bluebeard." Shanlax International Journal of English 7, no. 3 (June 1, 2019): 8–15. http://dx.doi.org/10.34293/english.v7i3.448.

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The novel, Bluebeard (1987) presents a dialogue between abstract and representational painting, pointing out both the value and shortcomings of each school. It may end by imagining a type of art in which the usual boundaries separating the real and the artificial fall away; an art that is able to capture the complexity, sorrow, and beauty of life itself. On the other hand, it focuses on human’s cruelty to human. However, the novel also shows that even in the midst of war and death and sorrow the innate human impulse is a creative one. The novel discovers the human desire to create as it investigates the nature of new art itself. Vonnegut was mostly inspired by the grotesque prices paid for works of art during the past century. He thought not only of the mud-pies of art, but of children’s games as well.

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27

Vokral, Jack, Dana Gumb, Robert D. Smith, and Sandeep Mehrotra. "STATEN ISLAND BLUEBELT PROGRAM: STORM WATER MANAGEMENT UTILIZING NATURE." Proceedings of the Water Environment Federation 2001, no. 16 (January 1, 2001): 563–78. http://dx.doi.org/10.2175/193864701790902040.

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28

Lowinsky, Naomi Ruth. "Ramón García, Featured Poet: Brother Bluebeard and Other Poems." Psychological Perspectives 61, no. 4 (October 2, 2018): 529–36. http://dx.doi.org/10.1080/00332925.2018.1536511.

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29

Grundmann, Michael, Fred J. Rumsey, Stephen W. Ansell, Stephen J. Russell, Sarah C. Darwin, Johannes C. Vogel, Mark Spencer, et al. "Phylogeny and taxonomy of the bluebell genusHyacinthoides, Asparagaceae [Hyacinthaceae]." TAXON 59, no. 1 (February 2010): 68–82. http://dx.doi.org/10.1002/tax.591008.

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30

Armstrong, Gordon S. "Art, Folly, and the Bright Eyes of Children: The Origins of Regency Toy Theatre Reevaluated." Theatre Survey 26, no. 2 (November 1985): 121–42. http://dx.doi.org/10.1017/s0040557400008607.

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Regency toy Theatre flourished in England in the years between 1811 and 1830. At the height of its popularity thousands of middle and working class youths, together with their upper class “betters,” escaped the grim realities of industrial London for the joys of staging — and playing all the parts of — The Fairy of the Oak, or Harlequin's Regatta (1811), Ferdinand of Spain, or Ancient Chivalry (1813), Bluebeard (1824), or even more exotic pieces such as “The Grand New Spectacle called Korastikan, Prince of Assassins” (1824).

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31

Boonpromkul, Phacharawan. "Rewriting Genders, Revising Genres: Reading Angela Carter’s “The Bloody Chamber” As a Female Bildungsroman." MANUSYA 17, no. 2 (2014): 50–72. http://dx.doi.org/10.1163/26659077-01702004.

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Built on the storyline of the traditional fairy tale “Bluebeard,” Angela Carter’s short story “The Bloody Chamber” (1979) contains striking alterations in the use of the first-person narrator, ambivalent and complex characterization, explicit sexual description and a revised ending; all of which have given rise to heated arguments among feminist scholars and literary critics. This paper relies on a close reading analysis and engages in the ongoing discussions by considering the problematic categorization of the story—as a fairy tale, a pornographic fiction, a gothic horror, and especially as a bildungsroman novel—in relation to several gender aspects such as power relations between the sexes, the concept of gaze, sadomasochism and the representation of men and women and their relationship. By focusing on gender issues in the short story and using the narrative structures of these genres as a framework, Carter’s ingenious revision of the norms becomes a sharper critique of the restrictions of the traditional genres, as well as the oppressive social and patriarchal ideologies hidden in them. Also, the study reveals how the short story can be a totally different read with the education of the female narrator at the center because the lesson learnt is not a reproof of female curiosity as the traditional “Bluebeard” endeavors to deliver but is her own sexual awareness, readjustment of certain values and the realization of female bonding and realizable autonomy outside the conventional realm of matrimony.

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32

Thornham, Sue. "Beyond Bluebeard: feminist nostalgia and Top of the Lake (2013)." Feminist Media Studies 19, no. 1 (November 13, 2017): 102–17. http://dx.doi.org/10.1080/14680777.2017.1396485.

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33

Thoss, Vera, Patrick J. Murphy, Ray Marriott, and Thomas Wilson. "Triacylglycerol composition of British bluebell (Hyacinthoides non-scripta) seed oil." RSC Advances 2, no. 12 (2012): 5314. http://dx.doi.org/10.1039/c2ra20090b.

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34

Ross, Shawna. "The Last Bluebell: Anthropocenic Mourning in the Brontës' Flower Imagery." Victorians: A Journal of Culture and Literature 134, no. 1 (2018): 218–33. http://dx.doi.org/10.1353/vct.2018.0020.

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35

Barzilai, Shuli. "The Bluebeard Syndrome in Atwood's Lady Oracle : Fear and Femininity." Marvels & Tales 19, no. 2 (2005): 249–73. http://dx.doi.org/10.1353/mat.2005.0020.

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36

Palagi, Jason M., and Mary V. Ashley. "Deer Florivory Is Associated with Changes in Clonal Structure of the Woodland Plant Bluebead Lily." International Journal of Plant Sciences 180, no. 5 (June 2019): 357–65. http://dx.doi.org/10.1086/702861.

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37

Morse, Donald E. "Thinking Intelligently about Science and Art: Kurt Vonnegut’s Galápagos and Bluebeard." Extrapolation 38, no. 4 (January 1997): 292–303. http://dx.doi.org/10.3828/extr.1997.38.4.292.

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Corbet, Sarah A. "Spatiotemporal patterns in the flowering of bluebell, Hyacinthoides non-scripta (Hyacinthaceae)." Flora 194, no. 3 (July 1999): 345–56. http://dx.doi.org/10.1016/s0367-2530(17)30923-4.

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39

Schwab, Eric J. "In Praise of Nonsense: Kant and Bluebeard. Winfried Menninghaus , Henry Pickford." Modern Philology 100, no. 2 (November 2002): 286–89. http://dx.doi.org/10.1086/493190.

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40

Butler, Lucy. "Something borrowed, something blue: Bluebeard dismembers romance in Australasia and beyond." Australasian Journal of Popular Culture 4, no. 1 (March 1, 2015): 57–72. http://dx.doi.org/10.1386/ajpc.4.1.57_1.

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41

Wright, Susanna. "Confronting Bluebeard : totalitarian regimes in childhood and in the collective psyche." Journal of Analytical Psychology 64, no. 4 (August 16, 2019): 475–84. http://dx.doi.org/10.1111/1468-5922.12515.

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42

Pyrhönen, Heta. "Imagining the impossible: the erotic poetics of Angela Carter's ‘Bluebeard’ stories." Textual Practice 21, no. 1 (March 2007): 93–111. http://dx.doi.org/10.1080/09502360601156948.

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43

Minard, Antone. "Secrets Beyond the Door: The Story of Bluebeard and His Wives." Folklore 120, no. 3 (December 2009): 342–43. http://dx.doi.org/10.1080/00155870903220068.

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44

Cetin, Gulten, and Fatma Turak. "Effect of Mobile Phase Variation and Purification on Chromatogram View by Using Fruits and Rose Extracts and HPLC Method." International Journal of Chemistry 8, no. 3 (June 12, 2016): 25. http://dx.doi.org/10.5539/ijc.v8n3p25.

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<p>In this study extracts obtained from fruits of bluebery and cranberry and rose leaves were chromatografied by using mobile phase variation and DAD detector. The chromatograms were evaluated under different mobile phase systems such as isocratic and gradient elutions following purification procedure. The best separation conditions of pigments of anthocyanin in extracts and efficiency of purification procedure were searched by using mobile phases in the elution of isocratic and gradient modes. The chromatogram views have shown existence of anthocyanin constituents in the all fruits and rose extracts involving separation and qualitation. The effect of purification for separation and removal of pigments has been investigated.</p>

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45

Thompson, Dahlia, Sandeep Mehrotra, and Dana Gumb. "The Staten Island Bluebelt, 20 Years Later, a Triple-Bottom-Line Perspective." Proceedings of the Water Environment Federation 2017, no. 15 (January 1, 2017): 727–35. http://dx.doi.org/10.2175/193864717822153517.

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46

박윤기. "Rereading the Fairy Tales of “Bluebeard” from a view of Inter-textuality." Studies in English Language & Literature 37, no. 4 (November 2011): 45–67. http://dx.doi.org/10.21559/aellk.2011.37.4.003.

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47

WATSON, LAURA. "Fifty Shades of Bluebeard? Dukas'sAriane et Barbe-Bleuein the Twenty-First Century." Twentieth-Century Music 15, no. 3 (October 2018): 399–438. http://dx.doi.org/10.1017/s1478572218000221.

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AbstractWith the appearance of opera videos in 2013 (DVD) and 2015 (YouTube), Paul Dukas'sAriane et Barbe-Bleue(1907) has been revived for twenty-first-century audiences. Not only has this formerly obscure work migrated to a mass-media landscape of personalized digital consumption, but its cultural recontextualization has also been extended to the interpretations staged in those opera videos. Both challenge historical, feminist readings ofAriane. Updating the action to modern scenes of abduction and captivity, these productions recast Ariane as victim and reframe the opera as part of the present discourse on sexual violence. As these recent productions ofArianeresonate with broader aesthetic tendencies in current popular culture, I trace parallels between the opera and three such examples from 2015. Selecting works that exemplify the trend of repackaging the Bluebeard tale as contemporary drama, I cite the filmsFifty Shades of GreyandRoom, and the Netflix seriesThe Unbreakable Kimmy Schmidt.

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Cutler, Keith. "Clinical: A case of suspected bluebell (Hyacinthoides non-scripta) poisoning in cattle." Livestock 12, no. 2 (March 2007): 44–47. http://dx.doi.org/10.1111/j.2044-3870.2007.tb00087.x.

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Campbell. "Bluebeard and the Beast: The Mysterious Realism of Jane Eyre." Marvels & Tales 30, no. 2 (2016): 234. http://dx.doi.org/10.13110/marvelstales.30.2.0234.

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Schmidt, Gary D. "Secrets beyond the Door: The Story of Bluebeard and His Wives (review)." Lion and the Unicorn 30, no. 1 (2006): 143–47. http://dx.doi.org/10.1353/uni.2006.0011.

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