Relevant bibliographies by topics / Traviata

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Traviata'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Traviata"

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Green, London. "La traviata." Opera Quarterly 5, no. 2-3 (1987): 210–18. http://dx.doi.org/10.1093/oq/5.2-3.210.

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Marasco, Alessandra, Barbara Balbi, and Donatella Icolari. "Augmented La Traviata." International Journal of Art, Culture and Design Technologies 7, no. 2 (July 2018): 41–64. http://dx.doi.org/10.4018/ijacdt.2018070104.

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The purpose of this article is to explore how the components of the opera can be remediated and enhanced through augmented reality. To this end, a multidisciplinary approach is adopted that integrates studies in the areas of humanities, design technology and marketing and a framework is proposed that identifies the relevant components for the remediation of opera. Based on the framework and previous studies, the case of La Traviata is analyzed in its several declinations through early and new media to discuss the requirements for a meaningful remediation of opera and the strengths of augmented reality in this context. Based on previous research and the case analysis, it is argued that augmented reality can be a powerful medium for opera, enhancing and encompassing its multimodal structure and multiple experience dimensions.
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Grier, Francis. "La Traviata y Edipo." International Journal of Psychoanalysis (en español) 1, no. 2 (March 4, 2015): 414–41. http://dx.doi.org/10.1080/2057410x.2015.1363519.

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Rishoi, Niel. "La traviata. Giuseppe Verdi." Opera Quarterly 11, no. 2 (1995): 188–94. http://dx.doi.org/10.1093/oq/11.2.188.

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Prag, R. "La traviata. Giuseppe Verdi." Opera Quarterly 13, no. 3 (January 1, 1997): 159–62. http://dx.doi.org/10.1093/oq/13.3.159.

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Rishoi, N. "La traviata. Giuseppe Verdi." Opera Quarterly 17, no. 4 (January 1, 2001): 752–53. http://dx.doi.org/10.1093/oq/17.4.752.

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Ashbrook, William. "La traviata. Giuseppe Verdi." Opera Quarterly 4, no. 4 (1986): 107–8. http://dx.doi.org/10.1093/oq/4.4.107.

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Green, London. "La traviata. Giuseppe Verdi." Opera Quarterly 7, no. 3 (1990): 171–72. http://dx.doi.org/10.1093/oq/7.3.171.

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Kowals, Rebecca, Giuseppe Verdi, Francesco Maria Piave, and Fabrizio Della Seta. "La traviata: Melodramma in Three Acts." Notes 55, no. 4 (June 1999): 991. http://dx.doi.org/10.2307/899625.

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PEARSON, EDWARD HAGELIN. "The Other Traviata Hamilton Forrest's Camille." Opera Quarterly 11, no. 2 (1995): 17–38. http://dx.doi.org/10.1093/oq/11.2.17.

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Dissertations / Theses on the topic "Traviata"

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Myřátská, Libuše. "Giuseppe Verdi: La Traviata." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2009. http://www.nusl.cz/ntk/nusl-79117.

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The main chapter of this work is more detailed analysis of the Violetta´s part from the opera La Traviata by Giuseppa Verdi. The emphasis is put on the singing part, technical difficulty and the own view. The main topic is completed by the chapter describing composer´s about their creation. A big part is put in comparing diferent interpretations of the main part. A huge selection of the famous sopranos from the beginning of the 20th century to the presentis contained here.
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Solomon, Roxanne Elizabeth. "A critical study of Franco Zeffirelli's La Traviata /." Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10692782.

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Thesis (Ed. D.)--Teachers College, Columbia University, 1987.
Typescript; issued also on microfilm. Sponsor: Louis Forsdale. Dissertation Committee: Raymond P. McDermott. Bibliography: leaves 217-225.
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Milotová, Eliška. "La Traviata na cestě světem za sto let." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-253929.

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The diploma work is focused on analysis of particular stagings of Verdi´s La traviata that have been assessed independently, without being influenced by other sources (reviews), on the basis ov videorecordings of life performances. These opera performances are compared from singer´s, director´s and staging point of view. All opera versions are sorted out into various parts according to common aspects and then are analysed. A brief description of Verdi´s work compiled chronologically as well as a historical portfolio of the opera La traviata (its first night both in Venice and in our country) are included.
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Angelini, Maria Luisa. "Fonte per la storia materiale dell'opera verdiana La Traviata." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21190.

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If one painstakingly analyzes and compares the novel, the theatrical and the libretto versions of Marguerite-Violetta, a several-time reborn character from the novel and drama Camille, one notices striking differences and gleans useful insights as to the peculiarity of the three genres involved (novel, theatre and opera) and as to the reductive work of the libretto writer who, by modifying the roles of the characters and the values they channel, achieves a synthesis that has no match in the works he draws from.
This thesis aimed precisely at highlighting the intervening differences among the three genres, while pointing out the changes which were introduced and the peculiar nature of the final product, the libretto of La Traviata .
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Angelini, Maria Luisa. "Fonte per la storia materiale dell'opera verdiana La Traviata." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0027/MQ50493.pdf.

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Garibaldi, Bárbara Bueno. "Aspectos analíticos da Ópera La Traviata de Giuseppe Verdi." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/19971.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-04-10T13:59:07Z No. of bitstreams: 1 Bárbara Bueno Garibaldi.pdf: 1862608 bytes, checksum: c688dab92ed4bbf9d82b57e1e1de2dc0 (MD5)
Made available in DSpace on 2017-04-10T13:59:07Z (GMT). No. of bitstreams: 1 Bárbara Bueno Garibaldi.pdf: 1862608 bytes, checksum: c688dab92ed4bbf9d82b57e1e1de2dc0 (MD5) Previous issue date: 2017-03-31
The 19th century Europe has passed for many transformations, among they, the setting of italian unification. This political process had the support of some personalities, as Giuseppe Verdi, one of the most important italian opera composers. Between his most famous compositions, La Traviata stands out for its big sucess in the after year of debut. In its first presentation, this opera were strongly criticized. This research discusses the reception of this drama by the bourgeoisie, through the libretto and literary and historical plot, analyzes few aspects of period. Thus, this opera were considered imoral and offensive for good customs of italian bourgueois society, who recognized his own defects in this spectacle
A Europa do século XIX passou por diversas transformações, entre elas, a consolidação da unificação italiana. Este processo político contou com o apoio de algumas personalidades, como Giuseppe Verdi, um dos mais importantes compositores de ópera italianos. Entre suas composições mais famosas, La Traviata destaca-se por seu grande sucesso, no ano posterior à sua estreia. Em sua primeira apresentação, esta ópera foi duramente criticada. Esta pesquisa, discute a recepção da obra pela burguesia, através do libreto e tramas literária e histórica, analisa alguns aspectos do período. Desta forma, esta ópera foi considerada imoral e ofensiva aos bons costumes da sociedade burguesa italiana, que reconheceu seus próprios defeitos neste espetáculo
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Santos, Hellem Pimentel. "La Traviata à brasileira: diálogos culturais na sambópera de Augusto Boal." Universidade Federal de Minas Gerais, 2011. http://hdl.handle.net/1843/AAGS-9EHH37.

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The aim of this paper is to present a study showing the characteristics that underlie the gender created by Augusto Boal in 1999 called sambópera and identify the elements that conceptualize it as a multicultural gender, putting into perspective such concepts as hybridity, identity and the concept of opera as musical theater. Sambópera consists in rereading operas of classic-romantic tradition, contextualizing them culturally. This rereading, besides being a social critic, discusses the issue of multiculturalism within the Brazilian society. Taking as an object of research the work "A Traviata: A Metáfora do Desejo (2002), we assume that sambópera is a cultural gender, result of Boal experience in exile, and that is part of the artistic context built in post-modernity, signaling to the plural, for multiplicity. From the methodological point of view we related the documentary sources with the audio-visual sources, in order to identify how Boal, along with Marcos Leite, Jayme Vignoli and Celso Branco have developed multiculturalism in the creation of sambópera.
No ano de 1999 o dramaturgo Augusto Boal inaugura sua mais nova criação, a sambópera, que consiste na releitura de obras operísticas da tradição clássico-romântica, contextualizando-as culturalmente. Esta releitura, além de uma crítica social, problematiza a questão do multiculturalismo no seio da sociedade brasileira. Tomando como objeto de investigação A Traviata: A Metáfora do Desejo (2002), o presente trabalho pretende, portanto, discutir as características que fundamentam a sambópera e identificar os elementos que a conceituam como um gênero multicultural, colocando em perspectiva conceitos como hibridismo, identidade e a concepção da ópera como teatro-musical. Partimos do pressuposto de que a sambópera é um gênero intercultural, resultado da experiência de Boal no exílio, e que faz parte das manifestações artísticas construídas no contexto da pós-modernidade, sinalizando para o plural, para a multiplicidade. Sob o ponto de vista metodológico procuramos confrontar as fontes documentais com as fontes audiovisuais, buscando identificar a forma como Boal, juntamente com Marcos Leite, Jayme Vignoli e Celso Branco, desenvolvem o multiculturalismo na construção da sambópera.
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Pacheco, Ramos José Juan. "De la Dame aux Camélias a la Traviata: un ensayo comparativo." Doctoral thesis, Universitat de les Illes Balears, 2021. http://hdl.handle.net/10803/672462.

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[spa] En esta tesis se hace una comparación de la novela y de la pieza teatral tituladas La Dame aux camélias, de Alexandre Dumas fils y de la ópera La Traviata, de Giuseppe Verdi, obras basadas en la figura de la célebre cortesana francesa del siglo XIX, Marie Duplessis, para verificar cómo la misma historia ha sido recreada a partir de géneros artísticos dife-rentes, bajo la hipótesis de que las diferentes artes se iluminan recíprocamente. Un objetivo de este trabajo es estudiar el proceso de creación de estas obras, desde su contexto social y cultural, analizando las personas reales y los personajes implicados. Otro objetivo es confrontar los elementos constitutivos de cada obra, para verificar simi-litudes y divergencias entre ellas, así como para constatar las fases de los distintos proce-sos de adaptación que han tenido lugar en su creación, así como el papel de la dramaturgia. Bajo el arco que va desde la Literatura hasta la Música se han desarrollado varios gé-neros artísticos que han utilizado tanto el lenguaje literario como el lenguaje dramático y el musical, para crear diferentes obras estéticas en un proceso de adaptación que permite descubrir los mismos motivos y la misma trama en la novela, en el drama y en la ópera.
[eng] En aquesta tesi es fa una comparació de la novel.la i de la peça teatral titulades La Dame aux camélias, d’Alexandre Dumas fils i de l’òpera La Traviata, de Giuseppe Verdi, obres basades en la figura de la cèlebre cortesana francesa de segle XIX, Marie Duplessis, per verificar com la mateixa història ha estat recreada a partir de gèneres artístics diferents, sota la hipòtesi que les diferents arts s’il·luminen recíprocament. Un objectiu d’aquest treball és estudiar el procés de creació d’aquestes obres, des del seu context social i cultural, analitzant les persones reals i els personatges implicats. Un altre objectiu és confrontar els elements constitutius de cada obra, per verificar similituds i divergències entre elles, així com per constatar les fases dels diferents processos d’adaptació que han tingut lloc en la seva creació, així com el paper de la dramatúrgia. Sota l’arc que va des de la Literatura fins la Música s’han desenvolupat diversos gèneres artístics que han utilitzat tant el llenguatge literari com el llenguatge dramàtic i el musical, per crear diferents obres estètiques en un procés d’adaptació que permet descobrir els mateixos motius i la mateixa trama en la novel.la, en el drama i en l’òpera.
[eng] A comparison is made among three famous works of art: La Dame aux camélias, the novel written by Alexander Dumas, Jr., the play of the same name written by the same author based on his novel, and La Traviata, the opera by Giuseppe Verdi. The three deal with the figure of the famous 19th century French courtesan Marie Duplessis. The pur-pose of the present work is to show that the same story has been created on the basis of different artistic genres, with the hypothesis being that different works of art can contribute to and shed light on one another. One goal of this work is to study the creation process of the three pieces of art, from their social and cultural context to the analysis of the people and the characters involved. Another goal is to compare the components of each work in order to see similarities and divergences, while also contrasting the phases of the various adaptation processes expe-rienced in their creation and exploring the role that dramaturgy has played. It is believed that in the spectrum that goes from literature to music, various artistic genres have been developed, which make use of literary language as well as dramatic and musical language. Thus, works of art have been created through a process of adaptation that reveals the same reasons, the same events, and the same plots, in novels, dramas, and operas.
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Mayorga, Martínez Arturo. "Non-destructive approaches for quality evaluation of eggplant («Solanum melongena» L. cv. Traviata)." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=123223.

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The goal of this study was to examine the use of non-destructive compression tests, and hyperspectral imaging for determining physical quality attributes of eggplant (Solanum melongena L. cv. Traviata). The effects of source (farms where samples came from), light and temperature conditions during storage were studied. Non-destructive compression tests were conducted to obtain surface stiffness (S) parameter whereas the hyperspectral-imaging technique was used in the near infrared (NIR) spectral range (900-1,700 nm), to indicate the peel gloss (G) of fresh and stored eggplants. Eggplant density (D) was computed by dividing its weight (W) by its volume (V). Laboratory tests were carried out to develop a freshness index for an American variety of eggplant fruit (Solanum melongena L. cv. Traviata). It was determined that source (farm) was a highly significant factor on quantitative and qualitative quality parameters. Light and temperature conditions had as well significant impact on such parameters, and their respective ratios, at different storage periods. Surface stiffness and peel gloss decreased during postharvest storage. On the contrary, density increased significantly over time. Based on this, a freshness index (If) of eggplant was defined as the product of surface stiffness and peel gloss ratios divided by the density ratio.If was then plotted vs. mass, density, surface stiffness, and peel gloss ratios, and storage period (h) in order to apply kinetic approaches to fit models with which it was possible to predict such index. The values of correlation coefficient (CC) and Mean Square Error (MSE) were assessed to see how well the curves fitted. If as a function of surface stiffness loss (SL) was the best model; it showed the highest CC (0.99) and the lowest MSE values (0.0014). The least accurate predictor was If as a function of peel gloss loss (GL). Stepwise regressions were performed to determine which wavelengths were significant for If. The models built with such wavelengths for fruits stored at 10 and 27°C showed CC values of about 0.73 and 0.90, respectively. Freshness index is a concept that may be helpful to avoid over or underestimations of eggplant quality and, hence, to fix fair prices. Nevertheless, more varieties of eggplant should be studied to validate this concept. More temperature conditions should be studied in the future in order to apply the Arrhenius' equation.
Des essais en laboratoire ont été effectués pour développer un indice de fraîcheur pour une variété américaine d'aubergine (Solanum melongena L. cv. Traviata). Des essais de compression non destructifs et d'imagerie hyperspectrale dans le proche infrarouge (NIR, 900 à 1 700 nm), ont été réalisées pour mesurer la fermeté (S) et la brillance de la peau des aubergines fraîches et entreposées sous différentes conditions de luminosité et de température). La densité de fruit (D) a été calculée en divisant la masse (W) par le volume (V). Il a été démontré que la provenance des fruits (ferme) a été un facteur important qui a affecté les paramètres quantitatifs et qualitatifs. La lumière et la température ont aussi eu un impact sur ces paramètres et de leurs rapports respectifs, à des périodes d'entreposage différentes. Les paramètres S et G ont diminué au cours de l'entreposage post-récolte, tandis que le paramètre D a augmenté de façon significative au cours de la période d'entreposage. Sur cette base, un nouvel indice de fraîcheur (If) de l'aubergine a été défini comme étant le produit du rapport de fermeté de la surface (Sr) et le rapport de pelage brillant (Gr), divisé par le rapport de densité (Dr).Par la suite, les relations entre If et les paramètres Wr, Dr, Sr, et Gr, et la période de stockage (t) ont été établies en tenant compte de la cinétique (loi d'Arrhenius) ont permis d'établir des modèles permettant de prédire cet indice. Les valeurs du coefficient de corrélation (CC) et l'erreur quadratique moyenne (MSE) ont été évalués pour identifier les meilleurs modèles. Le modèle exprimant If en fonction de la perte de rigidité de la surface (SL; 1 – Sr) était le meilleur modèle avec la plus haute valeur de CC (0,99) et la plus basse valeur de MSE (0,0014). Le modèle le moins précis était lorsqu'on exprimait If en fonction de la perte de brillance de la peau (GL; 1 - Gr). Régressions par étapes ont permis d'identifier les longueurs d'onde les mieux corrélées à l'If. Les modèles construits avec de ces longueurs d'onde pour les fruits entreposés à 10 et 27°C étaient caractérisés par des valeurs de CC 0,73 et 0,90, respectivement. Indice de fraîcheur est un concept qui peut être utile pour éviter de sous-estimer la qualité des aubergines et, par conséquent, de fixer des prix équitables. Néanmoins, plusieurs variétés d'aubergines doivent être étudiés afin de valider ce concept. De plus, plus de températures doivent être étudiées afin d'accroître la précision des modèles prédicatifs basés sur la loi d'Arrhenius.
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Salter, Frank William. "An examination of certain dramaturgical devices in the operas of Verdi up to 'La Traviata'." Thesis, Open University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244427.

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Books on the topic "Traviata"

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Giuseppe, Verdi. La Traviata. Arles: Opéra de Marseille/Actes Sud, 2000.

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Verdi, Giuseppe. La traviata. London: J. Calder, 2004.

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Giuseppe, Verdi, Eyre Richard, Humphrey Burton, Angela Gheorghiu, Bob Crowley, and Peter Maniura. La traviata. London, England: Decca, 1995.

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Giuseppe, Verdi. La traviata. London: J. Calder, 2004.

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Verdi, Giuseppe. Verdi's La traviata. Coral Gables, FL: Opera Journeys Pub., 2001.

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Zaidan, Shin Kokuritsu Gekijō Un'ei. Tsubakihime: La traviata. Tōkyō-to Shibuya-ku: Shin Kokuritsu Gekijō Un'ei Zaidan, 2015.

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Giuseppe, Verdi. Verdi's La traviata. Coral Gables, FL: Opera Journeys Pub., 2001.

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McNally, Terrence. The Lisbon traviata. New York: Dramatists Play Service, 1992.

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The Lisbon Traviata. New York (440 Park Ave. S., New York 10016): Dramatists Play Service, 1992.

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McNally, Terrence. The Lisbon traviata. New York, N.Y. (440 Park Ave. S., New York 10016): Dramatists Play Service, 1986.

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Book chapters on the topic "Traviata"

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Wagner, Hans-Joachim. "La traviata." In Verdi Handbuch, 404–11. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-02717-7_37.

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Wagner, Hans-Joachim. "La traviata." In Verdi Handbuch, 454–62. Stuttgart: J.B. Metzler, 2013. http://dx.doi.org/10.1007/978-3-476-05186-8_40.

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Gerhartz, Leo Karl. "Klangplädoyer für die humane Gesellschaft Der Sonderfall La traviata in Verdis Schaffen." In »Die Wirklichkeit erfinden ist besser«, 177–86. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02817-4_21.

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Ardizzoni, Sabrina. "Revising the Chinese Translation of Verdi’s Opera “La Traviata” Linguistic and Methodological Issues." In Diverse Voices in Chinese Translation and Interpreting, 319–39. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4283-5_13.

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Hipkins, Danielle, and Katharine Mitchell. "Le Traviate: Suffering Heroines and the Italian State Between the Nineteenth and Twenty-First Centuries." In Prostitution and Sex Work in Global Cinema, 195–217. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64608-4_10.

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Elías, Rodolfo, Claudia Silvia Bremec, Paulo da Cunha Lana, and José María Orensanz. "Opheliidae (Polychaeta) from the Southwestern Atlantic ocean, with the description of Travisia amadoi n. sp., Ophelina gaucha n. sp. and Ophelina alata n. sp." In Advances in Polychaete Research, 75–85. Dordrecht: Springer Netherlands, 2003. http://dx.doi.org/10.1007/978-94-017-0655-1_8.

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Roos, Hilde. "The La Traviata Affair: From Courtesan to Lover." In La Traviata Affair, 45–57. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520299887.003.0003.

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Chapter 2 deals exclusively with the group’s First Arts Festival, during which the group’s historic performance of La Traviata—as the first production of this opera by a non-European cast—took place. The preparations for the festival, the festival itself, and, more importantly, the aftermath and political fallout of their performance for apartheid’s government dignitaries are presented. The chapter illustrates how the nature of the group’s political compromise is large ignored.
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Roos, Hilde. "Eoan’s Best Opera Success: An Amorous Fantasy." In La Traviata Affair, 58–97. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520299887.003.0004.

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Chapter 3 deals with the group’s opera productions between 1957 and 1963, which, in hindsight, proved to be artistically their best years. At the time, the idea of a colored opera group that produced Verdi operas continued to mesmerize Cape Town’s white audiences and situated the group in the center of Cape Town’s Western art and music activities. Eoan was, indeed, the first non-European group in South Africa to formally and consistently produce opera on a semiprofessional level. A sense of excitement and wonder is palpable throughout this period, not only in documentation on the reception of the group, but also in the many artifacts in the Eoan Group Archive that document the internal operations of the group.
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Roos, Hilde. "Introduction." In La Traviata Affair, 1–17. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520299887.003.0001.

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The introduction opens with the watershed moment in Eoan’s history, when Verdi’s La Traviata is performed for the first time by an all-colored cast, in 1956. Despite being described as “an unqualified artistic success,” this event laid bare the controversy that surrounded their engagement with Western art music and one that led to the demise of their opera productions twenty years later. The event presents the full spectrum of perspectives on Eoan, which included the many conflicted meanings that opera held for participants and audiences. The notion of “colored identity” as a uniquely South African experience that is different from how American readers understand the concept is discussed.
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Roos, Hilde. "We Live to Serve: A Demimonde before Art." In La Traviata Affair, 18–44. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520299887.003.0002.

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Abstract:
Chapter 1 deals with the twenty-five years that preceded Eoan’s first performance of Verdi’s La Traviata, in 1956, a period during which the group consolidated its existence as a cultural and welfare organization in District Six and other colored residential areas in the Cape Peninsula. This period saw the drafting of the group’s constitution, which set the tone for how management, operational policy, and the group’s stance on politics were to influence opera production and human resources within the group in later years. Special attention is given to the trajectory along which the Eoan Group choir developed into an amateur opera company.
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Conference papers on the topic "Traviata"

1

Babin, S., K. Bay, and S. Okulovsky. "TRAVIT: software tool to simulate dry etch in maskmaking." In 21st European Mask and Lithography Conference. SPIE, 2005. http://dx.doi.org/10.1117/12.637291.

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2

Babin, Sergey, and Konstantin Bay. "Evolution of etch profile and CD variation in maskmaking and SPT: simulations using TRAVIT software." In Photomask and NGL Mask Technology XVII, edited by Kunihiro Hosono. SPIE, 2010. http://dx.doi.org/10.1117/12.868147.

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3

Babin, S., K. Bay, and S. Okulovsky. "Prediction of etch profile and CD variation due to dry etch using TRAVIT software tool." In Photomask and Next Generation Lithography Mask Technology XII, edited by Masanori Komuro. SPIE, 2005. http://dx.doi.org/10.1117/12.617070.

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You might also be interested in the extended bibliographies on the topic 'Traviata' for particular source types:
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