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Journal articles on the topic 'Los Angeles Opera'

Author: Grafiati

Published: 27 February 2023

Last updated: 31 July 2025

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1

Aviles-Rodriguez, Guillermo. "Playing Hopscotch on Dangerous Ground: Site-Based, Transit-Oriented Opera in Los Angeles." Cambridge Opera Journal 35, no. 2 (2023): 178–94. http://dx.doi.org/10.1017/s0954586723000113.

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AbstractHopscotch: An Opera for 24 Cars was a celebrated site-based and technetronic musical performance that sought to bring opera into various communities in Los Angeles, many of which were economically disadvantaged. In the process, this opera set off a firestorm of protests that ultimately resulted in confrontations with community members, protests that would test the very premise of the dissemination of opera and performance outside spaces of privilege and in communities of colour. Informed by the concept of transit-oriented performance, this article analyses some ways in which neoliberal

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2

Kreuzer, Gundula. "Butterflies on Sweet Land? Reflections on Opera at the Edges of History." Representations 154, no. 1 (2021): 69–86. http://dx.doi.org/10.1525/rep.2021.154.6.69.

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Taking inspiration from Kalle Pihlainen’s philosophy of historical representation, this essay explores some of the ways in which operatic performance can harness the ambiguity between the genre’s historicist and presentist implications to mobilize not just the difference of the past from the present but also their connection. The essay focuses on two recent examples—Heartbeat Opera’s Butterfly (New York, 2017) and The Industry’s Sweet Land (Los Angeles, 2020)—whose unconventional presentations critically engage such temporal complexity. Moving beyond the proscenium and crucially involving the

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Rutherford-Johnson, Tim. "PATTERNS OF SHIMMER: LIZA LIM'S COMPOSITIONAL ETHNOGRAPHY." Tempo 65, no. 258 (2011): 2–9. http://dx.doi.org/10.1017/s0040298211000349.

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In recent years Liza Lim has emerged definitively as one of the finest composers of her generation. A series of major works, including Ecstatic Architecture, commissioned for the inauguration of the Walt Disney Concert Hall in Los Angeles, and her third opera, The Navigator have confirmed her possession of a voice that is versatile, evocative, deeply expressive and uncompromisingly modern.

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Anderson, Martin. "London, Royal Festival Hall: Shostakovich: Prologue to ‘Orango’." Tempo 67, no. 266 (2013): 83–84. http://dx.doi.org/10.1017/s0040298213000971.

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The music of Shostakovich's abandoned opera Orango wasn't itself such a surprise: the première, given in Los Angeles in December 2011, was recorded live and released soon after on a Deutsche Grammophon CD (0289 479 0249 2). But experiencing it in the flesh – at its European première in the Royal Festival Hall on 16 May – revealed the music all over again and left at least this listener slack-jawed in astonishment at the profligacy of Shostakovich's genius.

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Minin, Oleg. "Russian Artists in the United States." Experiment 20, no. 1 (2014): 229–59. http://dx.doi.org/10.1163/2211730x-12341264.

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Charting Nicholas Remisoff’s artistic legacy during his California period, this essay explores his contributions to the cultural landscape of the state and emphasizes his work on live stage productions in San Francisco and Los Angeles in the early 1930s and 1940s. Delineating the critical reception of Remisoff’s work in opera, ballet and theatre in these cities, this essay also highlights the artist’s interactions and key collaborations with other Russian and European émigré artists and reflects on the nature of Remisoff’s particular affinity with Southern California.

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6

Classen, Albrecht. "Peter Brathwaite, Rediscovering Black Portraiture. Los Angeles, CA: Getty Publications, 2023, 168 pp., numerous color ill." Mediaevistik 36, no. 1 (2023): 283–84. http://dx.doi.org/10.3726/med.2023.01.22.

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This might well be the most unusual book ever reviewed in our journal. Much of its material does not directly pertain to the Middle Ages, but there is enough documentation here to make it worthwhile for our consideration after all. The author, Peter Brathwaite, along with several collaborators, here presents his personal search for black individuals portrayed by many different artists from the Middle Ages to the present. He is certainly not the first to focus on this topic, but he adds a unique twist to it by presenting himself in a photo next to the original image re-enacting the pose by the

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7

Nisnevich, Anna. "Simon Morrison, Russian Opera and the Symbolist Movement. Berkeley and Los Angeles: University of California Press, 2002. 374 pp." Cambridge Opera Journal 15, no. 2 (2003): 199–206. http://dx.doi.org/10.1017/s0954586703001691.

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8

FADER, DON. "OPERA AND POLITICS IN THE ANCIEN RÉGIME, WILLIAMS ANDREWS CLARK MEMORIAL LIBRARY, UNIVERSITY OF CALIFORNIA, LOS ANGELES, 27–28 FEBRUARY 2009." Eighteenth Century Music 7, no. 1 (2010): 168–70. http://dx.doi.org/10.1017/s1478570609990753.

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9

Pankratov, V. M. "FEATURES OF THE EVOLUTION OF THE ARCHITECTURE OF THEATER BUILDINGS." Regional problems of architecture and urban planning, no. 16 (December 23, 2022): 90–98. http://dx.doi.org/10.31650/2707-403x-2022-16-90-98.

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The article is devoted to a thematic study of the history of the emergence and development of the architecture of theater buildings as a specific area of architectural creativity. Theater buildings have always been located, and are located today, in the public centers of large cities and urban agglomerations. These buildings perform an important cultural and educational function and are distinguished by architectural uniqueness and originality. They play an important organizing role in the architectural ensembles of city streets and squares, emphasizing the prospects of avenues and boulevards.

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10

Leicester, H. Marshall. "Discourse and the film text: Four readings of Carmen." Cambridge Opera Journal 6, no. 3 (1994): 245–82. http://dx.doi.org/10.1017/s0954586700004328.

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‘Quoi du reste’, to paraphrase Derrida on Hegel in Glas, ‘ici, maintenant, d'une Carmen?’ What's left of Carmen here and now? Aside from its intrinsic interest, the question seems worth asking in light of a bias that recent treatments of opera – particularly those influenced by poststrucuralist theory – seem to betray. The most prominent, Catherine Clément's Opera, or The Undoing of Women, Michel Poizat's The Angel's Cry and Jeremy Tambling's Opera, Ideology, and Film, regard opera as an institution rather than as a body of texts. Each of the authors, to my mind at least, allows a prior struct

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Rickards, Guy. "New Releases of music by Women Composers." Tempo 59, no. 231 (2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.

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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1;

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Willson, Rachel Beckles. "Paris, Théâtre du Châtelet: Péter Eötvös's ‘Angels in America’." Tempo 59, no. 232 (2005): 74–75. http://dx.doi.org/10.1017/s0040298205210173.

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Tony Kushner's play Angels in America is now secure in the canon of 20th-century US (and probably world) drama, but its subject-matter has not often been explored in the opera house. The play centres around questions about racial identity, connubial relationships and politics (that's all very operatic, of course); but also a type of intolerance and spiritualism that is peculiar to parts of the USA; and, most dramatically and provocatively, homosexual partnerships and AIDS. Aside from the historical examples provided by certain operas by Benjamin Britten (among others), the only operas on gay t

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Fenlon, Iain. "Ellen Rosand Opera in Seventeenth-Century Venice: The Creation of a Genre. Berkeley-Los Angeles-Oxford: University of California Press, 1991. 840 pp. $125." Renaissance Quarterly 47, no. 1 (1994): 220–22. http://dx.doi.org/10.2307/2863148.

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Rosselli, John. "Ellen Rosand, Opera in Seventeenth-Century Venice: the Creation of a Genre. Berkeley, Los Angeles and Oxford, University of California Press, 1991, xxvi+684 pp." Early Music History 12 (January 1993): 224–30. http://dx.doi.org/10.1017/s026112790000019x.

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15

Barnathan, Marissa. "Miss You Like Hell: Exploring the Impacts of Socially Conscious Musical Theatre on Audience Attitudes." Musical Theatre Educators' Alliance Journal 6 (February 1, 2025): 114–27. https://doi.org/10.62392/neml2602.

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In fall 2023, Arizona State University’s Musical Theatre and Opera program produced the Arizona premiere of the musical Miss You Like Hell by Pulitzer Prize-winning playwright Quiara Alegría Hudes (In the Heights, Water by the Spoonful) and singer/songwriter Erin McKeown. Miss You Like Hell is a contemporary musical about an undocumented Mexican-American woman named Beatriz who is trying to gain legal citizenship. She and her teenage daughter, Olivia, travel the United States, from Philadelphia to Los Angeles, as they mend their fractured relationship. This paper details a research study surro

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Rushton, Julian. "Hervé Lacombe, The Keys to French Opera in the Nineteenth Century, trans. Edward Schneider (Berkeley, Los Angeles, and London: University of California Press, 2001). xv + 415pp. £27.95." Nineteenth-Century Music Review 1, no. 2 (2004): 109–12. http://dx.doi.org/10.1017/s1479409800001403.

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Dean, Winton. "Ellen Rosand, Opera in Seventeenth-Century Venice: The Creation of a Genre. Berkeley, Los Angeles and Oxford, University of California Press, 1991. xxii + 684 pp. ISBN 0 520 06804 4." Journal of the Royal Musical Association 118, no. 1 (1993): 143–47. http://dx.doi.org/10.1093/jrma/118.1.143.

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18

Rolston, David L. "Drama Kings: Players and Publics in the Re-creation of Peking Opera, 1870–1937. By Joshua Goldstein. Berkeley and Los Angeles: University of California Press, 2007. xi, 371 pp. $49.95 (cloth)." Journal of Asian Studies 67, no. 1 (2008): 272–73. http://dx.doi.org/10.1017/s002191180800020x.

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19

Littlejohn, David, Michel Poizat, Arthur Denner, and Wayne Koestenbaum. "The Angel's Cry: Beyond the Pleasure Principle in Opera." Notes 50, no. 2 (1993): 522. http://dx.doi.org/10.2307/898438.

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20

Poizat, Michel. "‘The Blue Note’ and ‘The objectified voice and the vocal object’." Cambridge Opera Journal 3, no. 3 (1991): 195–211. http://dx.doi.org/10.1017/s0954586700003505.

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We publish here, by permission of Cornell University Press, two excerpts from Michel Poizat's L'Opéra, ou le cri de l'ange, a book that first appeared with the Parisian publisher A. M. Métailié in 1986. The extracts are taken from Arthur Denner's translation, which is due out with Cornell University Press in the spring of 1992 under the title The Angel's Cry: Beyond the Pleasure Principle in Opera. Poizat's book is an ‘essay on the jouissance of the opera lover’ – an exploration of the experience of being an opera ‘fan’. It begins with interviews that the author conducted on the steps of the P

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21

Zong, Qiuyang. "Du Yun’s «Angel’s Bone» as an Example of Cross-Cultural Chinese Opera." Университетский научный журнал, no. 63 (2021): 220–28. http://dx.doi.org/10.25807/22225064_2021_63_220.

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22

Seager, River. "Newtypes, Angels, and Human Instrumentality: The Mecha Genre and its Apocalyptic Bodies." Journal of Anime and Manga Studies 4 (December 3, 2023): 219–43. http://dx.doi.org/10.21900/j.jams.v4.1186.

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 This paper argues that the mecha genre is fixated on psychedelic and abstract imagery of supernatural human bodies, the destruction or transcendence of which often have bring about new political and social epochs. In making this argument, I build on the writing of Hiroki Azuma, and his understanding of classical mecha texts functioning as ‘substitutes’ for political grand narratives. Two major mecha texts are analyzed: Mobile Suit Gundam (1979), and Neon Genesis Evangelion (1995). I suggest that Gundam’s occultic ‘Newtypes’ bridge the series’ grand narrative space opera storyline with t

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23

Suckling, Christopher. "Fluidity and ‘Animalism’ in Preparing Purcell." Eighteenth Century Music 21, no. 2 (2024): 123–28. http://dx.doi.org/10.1017/s1478570624000253.

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In the Clark Library at the University of California Los Angeles, there is a 1691 copy of the printed playbook for Dryden's An Evening's Love: or, The Mock-Astrologer (London: Henry Herringman), which was used as a promptbook in revivals of the play at Drury Lane between 1705 and 1717 (Edward A. Langhans, Eighteenth[-]Century British and Irish Promptbooks: A Descriptive Bibliography (Westport, CT: Greenwood, 1987), 44–45). Amongst other alterations in it, songs are excised and musical flourishes are added (a digitized version is available at https://archive.org/details/dryden_mock_astr_clarkli

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24

Páscoa, Luciana Viana Barros. "ÚLTIMOS DIAS DE CARLOS GOMES, DE DOMENICO DE ANGELIS E GIOVANNI CAPRANESI: UMA ABORDAGEM ICONOGRÁFICA-MUSICAL." Arteriais - Revista do Programa de Pós-Gradução em Artes, no. 12 (May 20, 2022): 76. http://dx.doi.org/10.18542/arteriais.v0i12.12678.

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ResumoO presente artigo aborda a pintura acadêmica histórica Últimos dias de Carlos Gomes (1899), de Domenico de Angelis e Giovanni Capranesi. Esta obra de aspecto narrativo apresenta personagens reais num ambiente ficcional e alegórico, representa o momento da morte do compositor, rodeado por vinte e duas figuras masculinas que são identificadas como personagens históricos, tais como jornalistas, músicos, políticos, militares, um representante da Igreja e os próprios artistas que assinam a obra e se autorretratam. Na composição pictórica, além do retrato de Carlos Gomes, observam-se mais três

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Shchetynsky, O. S. "Musical iconography of Annunciation: personal experience." Aspects of Historical Musicology 17, no. 17 (2019): 74–89. http://dx.doi.org/10.34064/khnum2-17.05.

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Background. The objective of the article is to analyze the interaction, for sake of artistic unity of a work, of the musical, textural and theatrical structures and solutions in the contemporary opera as in a synthetic genre. The author uses his chamber opera “Annunciation” as an example of these processes and shows the ways certain dramatic and theatrical ideas determine musical solutions. Although since the middle of the 19th century composers sometimes wrote an opera text themselves, the common case was still a collaboration of two (sometimes more) creators: a composer and a librettist, eac

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Graham-Jones, Jean. "“The Truth Is . . . My Soul Is with You”: Documenting a Tale of Two Evitas." Theatre Survey 46, no. 1 (2005): 67–78. http://dx.doi.org/10.1017/s0040557405000050.

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One evening in 1973, or so the story goes, Tim Rice caught the last part of a BBC program about Eva Perón on his car radio. Intrigued enough to make a point of tuning into a later rebroadcast, he became fascinated with this woman, whose single saving grace—he later stated—was that “she had style, in spades.” In late 1976, after more than two years spent researching, writing, composing, and recording (and one or two trips to Buenos Aires), Rice and Andrew Lloyd Webber released the studio album of Evita, their rock-opera follow-up to the hugely successful Jesus Christ Superstar. They would not w

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Lunardini, Valentina. "Lessici mediolatini on-line. L’esperienza di Mirabile." Archivum Latinitatis Medii Aevi 77, no. 1 (2019): 401–9. http://dx.doi.org/10.3406/alma.2019.2584.

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Nel saggio è descritto il progetto LeMeL (Lessici Mediolatini) che, all’interno della Sezione Lessicografica della S. I. S. M. E. L., è strutturato in tre fasi : il reperimento di testi dispersi in varie biblioteche e presso case editrici non sempre accessibili ; la resa in formato elettronico dei testi. Ciò ha permesso la scansione di tutti i testi immessi in LeMeL ; la riduzione in pdf ricercabile di tutti questi testi per poter permettere la reperibilità dei vocaboli. Il materiale inserito in LeMeL comprende opere di grandezza variabile, fra le quali le raccolte edite nel Corpus Glossarioru

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Savkina, Natalia P. "About Serge Prokofiev’s American Tour at the End of 1920." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 33–49. http://dx.doi.org/10.21638/spbu15.2022.102.

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Prokofiev’s enormous correspondence reflects a universe that is densely populated and reflects the enormous amount of his correspondence. The multifaceted nature of his inner-self is revealed in his letters to different people, which displays great diversity in style. Varied accents and perspectives appear in his letters: some personality traits come forward, new facts emerge, some creative aspects appear in unaccustomed ways. Prokofiev’s fourteen letters to his mother chronologically cover a little more than the last two months out of three that he spent in America in the winter of 1920. One

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Kinasih, Trisila Wahyu, and Matheus Wasi Bantolo. "KOREOGRAFI SANCTAE FAMILIAE KARYA MATHEUS WASI BANTOLO." Greget: Jurnal Pengetahuan dan Penciptaan Tari 18, no. 2 (2020): 180–89. http://dx.doi.org/10.33153/grt.v18i2.2877.

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Sanctae Familliae is a work created by Matheus Wasi Bantolo to commemorate the Christmas feast day in 2014. The problem in this study was (1) how the choreography Sanctae Familiae and (2) How the creativity of Matheus Wasi Bantolo in the work. In this study using qualitative research methods, with the approach of choreography. To get an answer from the problem about the form of the work of Sanctae Familiae using the concept of Sumandiyo Hadi on the elements of dance consisting of A.) Motion Dance, B.) Makeup and clothing, C.) Dance accompaniment, D.) Lighting, E.) Number of dancers and genders

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Goja, Bojan. "Maestro di Pico i iluminacije u inkunabuli De Civitate Dei (Nicolas Jenson, Venecija, 1475.) u samostanu Sv. Duje u Kraju na Pašmanu." Ars Adriatica, no. 4 (January 1, 2014): 235. http://dx.doi.org/10.15291/ars.497.

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The Franciscan Monastery of St Domnius at Kraj on the island of Pašman houses an incunable edition of Augustine’s The City of God (De Civitate Dei) which was printed in Venice by Nicolas Jenson in 1475. The incunable features beautiful Renaissance multi-coloured illuminations painted in tempera, sepia, ink and water colours while gold foils and gold dust were used on fol. 17 (the page number is not original but was subsequently added in pencil; this folio contains the beginning of Book 1) and a number of other folios. The illumination on fol. 17 consists of two phytomorphic initials, a decorat

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Veksler, Yulia S. "Arnold Schönberg’s and Alban Berg’s Personal Libraries as a Source of Study of Artistic Biographies." Contemporary Musicology, no. 4 (2023): 29–49. http://dx.doi.org/10.56620/2587-9731-2023-4-029-049.

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Composers’ personal libraries began to be the objects of research relatively recently, only about a hundred years ago. Meanwhile, it presents a valuable source for research of composers’ artistic biographies, which bears the imprint of the personalities both of the owner of the book collection and of his or her entire generation. The library makes it possible to evaluate the tastes and the predilections of the composer in question, helps reconstruct his or her artistic ideas, at times contains various types of marginalia, which in modern source studies have acquired the status of texts. The fa

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Dill, Charles. "Angels and Monsters: Male and Female Sopranos in the Story of Opera, 1600–1900. By Richard Somerset-Ward. pp. xiv + 325. (Yale University Press, New Haven and London, 2004, £25. ISBN 0‐300-09968-1.)." Music and Letters 87, no. 2 (2006): 308–9. http://dx.doi.org/10.1093/ml/gci148.

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Iyer, Hari S., Scarlett L. Gomez, Chidinma Opara, et al. "Abstract B085: Associations of African genetic ancestry and neighborhood social environment with cancer-specific mortality in the Multiethnic Cohort." Cancer Epidemiology, Biomarkers & Prevention 32, no. 12_Supplement (2023): B085. http://dx.doi.org/10.1158/1538-7755.disp23-b085.

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Abstract Importance: Evaluating contributions of both genetic and social environmental factors to cancer mortality in Black populations is necessary for prioritizing interventions to reduce racial disparities and inequities. We examined multilevel associations of African genetic ancestry (AGA) and the neighborhood social environment with cancer-specific mortality in Black participants in the Multiethnic Cohort Study. Methods: From 1993 through 1996, participants who self-identified as Black as their primary race, and were aged 45-75 years residing in Los Angeles County completed baseline demog

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Chung-Santos, Rebecca. "Ariston G. Bautista, MD (1921-2014)." Philippine Journal of Otolaryngology-Head and Neck Surgery 29, no. 2 (2014): 48. http://dx.doi.org/10.32412/pjohns.v29i2.445.

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 One can never really say all that is in one's heart about a person who has passed on, in a given limited time. But from my experience, such endearing memories come in patches, when you’re alone, when you hear a particular strain of music or when you visit a certain place-- glimpses of memories. And so this afternoon, I stand here before you in behalf of the ENT department, the department that Dr. Ariston Gella Bautista spearheaded and formed in 1982. The department has trained and since then graduated 30 or so doctors who benefited from his strict but fatherly training until the day he

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Zwitscher-Maschine., Journal on Paul Klee /. Zeitschrift für internationale Klee-Studien. "Editorial ZM17." Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien 17 (May 31, 2025): 1–4. https://doi.org/10.5281/zenodo.15564495.

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The Zentrum Paul Klee is celebrating its 20th anniversary this summer (https://www.zpk.org/en/20years). Since its inception, it has aimed to establish an interdisciplinary cultural space that does justice to the complex artistic practice and multifaceted personality of Paul Klee. Klee was not only a visual artist but also a musician, an enthusiastic opera and theatergoer, a poet, writer, art theorist, and a committed art educator. This extraordinary artistic and intellectual versatility has provided impetus in various cultural and scientific fields, fostering both an international reception of

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Toutant, Ligia. "Can Stage Directors Make Opera and Popular Culture ‘Equal’?" M/C Journal 11, no. 2 (2008). http://dx.doi.org/10.5204/mcj.34.

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Cultural sociologists (Bourdieu; DiMaggio, “Cultural Capital”, “Classification”; Gans; Lamont & Foumier; Halle; Erickson) wrote about high culture and popular culture in an attempt to explain the growing social and economic inequalities, to find consensus on culture hierarchies, and to analyze cultural complexities. Halle states that this categorisation of culture into “high culture” and “popular culture” underlined most of the debate on culture in the last fifty years. Gans contends that both high culture and popular culture are stereotypes, public forms of culture or taste cultures, each

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"FIRST PERFORMANCES." Tempo 66, no. 262 (2012): 49–62. http://dx.doi.org/10.1017/s004029821200037x.

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Los Angeles: John Adams's ‘The Gospel According to the Other Mary’ Michael PalmeseLondon, Royal Opera House: Judith Weir's ‘Miss Fortune’ Paul ConwayLondon, Coliseum: Detlev Glanert's ‘Caligula’ Guy RickardsLondon, Barbican Theatre: Glass's ‘Einstein on the Beach’ Keith PotterBirmingham, Symphony Hall: Jonathan Harvey's ‘Weltethos’ Arnold WhittallFurther reports from Huddersfield, Manchester, Nottingham, Birmingham and London Paul Conway, Tim Mottershead, Peter Palmer, Jill Barlow

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"George Martin. Verdi at the Golden Gate: Opera and San Francisco in the Gold Rush Years. Foreword by Lotfi Mansouri. Berkeley and Los Angeles: University of California Press. 1993. Pp. xxii, 321. $30.00." American Historical Review, February 1995. http://dx.doi.org/10.1086/ahr/100.1.235.

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Degott, Pierre. "Représentations d’opéra et représentation de l’opéra dans deux romans de l’époque victorienne et édouardienne." Cahiers victoriens et édouardiens 59 Printemps (2004). https://doi.org/10.4000/147td.

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This paper aims at studying the function of opera performances, as staged in two novels from the Victorian and Edwardian period: Henry James’s The American and E. M. Forster’s Where Angels Fear to Tread. The paper mainly focuses on the intertextual value of the musical pieces included in the two novels, but also on the nature of the performing act per se. In James’s work, opera is used to illuminate some of the elements of the plot, although it can also contribute to the ambiguities of the novel. Opera also plays a major structural role in both works, quickening and catalysing the action. Howe

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"The angel's cry: beyond the pleasure principle in opera." Choice Reviews Online 30, no. 03 (1992): 30–1426. http://dx.doi.org/10.5860/choice.30-1426.

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"Angels & monsters: male and female sopranos in the story of opera, 1600-1900." Choice Reviews Online 42, no. 03 (2004): 42–1466. http://dx.doi.org/10.5860/choice.42-1466.

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Maher, Laura-Jane. "You Got Spirit, Kid: Transmedial Life-Writing across Time and Space." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1365.

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In November 2015 the progressive rock band, Coheed and Cambria, released their latest album and art-book, both titled The Color before the Sun (Color) (2015). This album deviates from their previous six releases by explicitly using a biographical frame for the art-book, the album, and their paratexts. This is a divergence from the band’s concept album approach, a transmedia storyworld, The Amory Wars (TAW) (2002-17), which fictionalised the life experiences of Claudio Sanchez, the band’s lead singer. When scholars discuss transmedia they often refer to fantastic and speculative fictions, such

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Dutra, Larissa Rodrigues, and Rodrigo Pires Leandro. "Influência da degradação do agregado na permeabilidade de lastros ferroviários." Matéria (Rio de Janeiro) 25, no. 4 (2020). http://dx.doi.org/10.1590/s1517-707620200004.1177.

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RESUMO A principal função da estrutura ferroviária é fornecer estabilidade e segurança para que o transporte opere de maneira eficiente. Os principais elementos constituintes dessa estrutura sobre o subleito são o sublastro, o lastro, os dormentes e os trilhos. O lastro é a camada granular que apresenta como funções fornecer estabilidade aos dormentes, a distribuição de esforços e a drenagem da superestrutura. Essa camada é posicionada entre os dormentes e o sublastro. No entanto, os esforços de impacto provocados pela passagem dos trens podem provocar a degradação do agregado, resultando na f

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Qiu, Difan. "Phenomenon of Female Composer in Musical Culture of China in the Twentieth Century." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 2 (September 3, 2023). http://dx.doi.org/10.32461/2226-3209.2.2023.286905.

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The purpose of the article is to identify the specifics of the role of women composers in the musical culture of China in the twentieth century. The research methodology consists in applying the methods of analysis and synthesis, systematisation of facts, comparison and generalisation of the research results. The systemic-historical method allowed the author to consider the formation of female archetypes in the Chinese musical culture of the twentieth century. With the help of the comparative method, the stages of the creative development of women composers in the Chinese national culture of t

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Leishman, Kirsty. "And the Winner Is Fiction." M/C Journal 2, no. 1 (1999). http://dx.doi.org/10.5204/mcj.1739.

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In Australia, we are more prepared for the year 2000 than many. With regard to the technical difficulties that might be experienced, we have the honour of being the 12th most prepared nation in the event of worst predictions. In addition to the usual effects the impending millennium is wreaking however, Australia is also anticipating the year we will be hosting the Olympic games. The fervour that has seen religious cult members invest in matching pairs of Nike trainers (and coincidentally, buy plane tickets to Australia) has also infected this nation's official image-makers, who have been busy

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Morgan, Carol. "Capitalistic Ideology as an 'Interpersonal Game'." M/C Journal 3, no. 5 (2000). http://dx.doi.org/10.5204/mcj.1880.

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"Outwit, Outplay, Outlast" "All entertainment has hidden meanings, revealing the nature of the culture that created it" ( 6). This quotation has no greater relevance than for the most powerful entertainment medium of all: television. In fact, television has arguably become part of the "almost unnoticed working equipment of civilisations" (Cater 1). In other words, TV seriously affects our culture, our society, and our lives; it affects the way we perceive and approach reality (see Cantor and Cantor, 1992; Corcoran, 1984; Freedman, 1990; Novak, 1975). In this essay, I argue that the American te

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Bianchino, Giacomo. "Afterwork and Overtime: The Social Reproduction of Human Capital." M/C Journal 22, no. 6 (2019). http://dx.doi.org/10.5204/mcj.1611.

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In the heady expansion of capital’s productive capacity during the post-war period, E.P. Thompson wondered optimistically at potentials accruing to humanity by accelerating automation. He asked, “If we are to have enlarged leisure, in an automated future, the problem is not ‘how are men going to be able to consume all these additional time-units of leisure?’ but ‘what will be the capacity for experience of the men who have this undirected time to live?’” (Thompson 36). Indeed, linear and economistic variants of Marxian materialism have long emphasised that the socialisation of production by th

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