Relevant bibliographies by topics / Turks in opera

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

Academic literature on the topic 'Turks in opera'

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

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Journal articles on the topic "Turks in opera"

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Hooker, Lynn. "Turks, Hungarians, and Gypsies on Stage: Exoticism and Auto-Exoticism In Opera and Operetta." Hungarian Studies 27, no. 2 (2013): 291–311. http://dx.doi.org/10.1556/hstud.27.2013.2.7.

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Mosusova, Nadezda. "Prince of zeta by Petar Konjovic: Opera in five/four acts on the 125th anniversary of the composer's birth." Muzikologija, no. 8 (2008): 151–63. http://dx.doi.org/10.2298/muz0808151m.

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Petar Konjovic (Curug, May 5, 1883 - Belgrade, October 1, 1970) stands out among Serbian composers as an author of instrumental and vocal compositions. Studies at the Prague Conservatory (1904-1906) acquainted Konjovic with Czech music, Wagner's opus, and the Russian national-romantic school, which contributed to the evolution of his talent for both music and stage, enabling him to express his ideas more explicitly in operatic works. It was in the Prague that the second opera - Prince of Zeta - was conceived, with new musical vividness and dramatic appeal (first version composed 1906-1926, the second and final 1929-1939), followed by Kostana (1928), Peasants (1951) and Fatherland (1960). Konjovic's mature operas are characterized by his masterful handling of form, both in close-ups and in detail, as well as his deeply individual assimilation of musical folklore into his work. The Prince of Zeta is not to be understood as a folk opera, but some main themes are directly derived from folk music, precisely from the Montenegrin folk songs quoted in the Mokranjac's Ninth Garland and treated in Konjovic's post-romantic, almost expressionistic way, interwoven with some Italianate leitmotifs, so as to present the opera's two worlds, Montenegrin and Venetian. In the process of forming Konjovic's operatic style, with vocal parts based mainly on the principle of declamation, the opera Prince of Zeta (first performed in Belgrade, 1929, conducted by Lovro von Matacic) proved to be a work of great impact. Hardly anyone grasped then the wide sweep of inspiration which allowed the composer to set and to solve several important problems connected with music drama, essential also in his subsequent stage works. First of all, Konjovic had to handle in his own way the verbal drama the prototype of his opera, Maxim Crnojevic by the Serbian poet Laza Kostic (1841-1910). Permission came from the playwright in the first decade of the 1900, Prince of Zeta being partly set musically, but from then on with new interventions in the poet's text. Being a highly skilled writer, poet musicologist and essayist (he wrote four books and a great number of articles on music and the theatre, and translated opera librettos of Wagner and Moussorgsky), Konjovic felt free to introduce some daring alterations to the literary works he used for his music dramas. So it was with the play Maxim Crnojevic, premiered in Novi Sad in 1870 (printed in the same place in 1846 and 1866). On the other hand, the young poet Kostic (he was in his early twenties when he wrote Maxim Crnojevic) had the prototype for his play in the folkpoem The Marriage of Maxim Crnojevic, turning a naturalistic folk-story into a Hellenic-Shakespearian drama of friendship and love, full of chivalrous deeds and emotions. The once handsome Maxim, his face ruined by heavy disease, can no longer make his marriage with the doge's daughter Angelica (with whom he was already acquainted). The nobles of Montenegro particularly Ivo Crnojevic, who in the meanwhile, proud of his son, boasted in Venice, conspire a doublecrossing plot (with another man, Milos resembling Maxim as bridegroom) which works in the folk-poem, in some ways in drama, but not in the opera, with the story changed by Konjovic. The difference between drama and folk poetry is essential: in Montenegro Maxim murders Milos for the doge's daughter's dowry, on their way back. In the play, too, the tragic event takes place in Montenegro: on the way home Maxim kills Milos, thinking Milos is going to keep the beautiful Angelica for himself (the agreement was that he will hand over the bride to Maxim immediately after the wedding in Venice), then commits suicide realizing his fatal mistake. The girl, deeply disappointed leaves Montenegro. In the opera Maxim reveals the truth to Angelica in Venice, before she is to be wedded with Milos, and stabs himself. She chooses death also, drinking poison - a dramatically and musically very capturing finale in the style of Romeo and Juliet! In some recently performed versions of the opera (1989) the director (Dejan Miladinovic) and conductor (Oskar Danon) returned to the playwright's original denouement, avoiding the Shakespearian end of Konjovic (although in the spirit of Kostic who was also appreciated as a skillful translator of Shakespeare into Serbian language). In the opera Prince of Zeta Konjovic focuses on Ivo Crnojevic, making his role dominant to that of Maxim. The unhappy father, the tragic Hellenic figure, is with his son Maxim the main historical personality in both opera and drama. Zeta forms part of present-day Montenegro but was independent for a short period, then came under Byzantium, and eventually Rashka-Serbia. After the fall of last remnants of the Serbian vassal state in 1439, Zeta was partly independent protected by Venetians under the ruler Ivo Crnojevic, before the Turks grasped Montenegro. Serbian drama, which is usually trochaic, took an iambic course in Kostic's play. The composer preserved the poet's iambs, following the musically accented flexions of spoken language, which remains the main feature of his style. The impressive vocal parts, especially those of Ivo Crnojevic, starting from the Prologue and the first act, are supported by the dynamic and highly symphonized orchestra. For effective choral music the monks' ensemble in the second act (in the final version) and the dramatic Venetian carnival scene with the stylized Montenegrin folk-dances should be noted in both versions. With Prince of Zeta the author definitely made a distinguished name as a composer in Serbian culture, with a strong influence on younger generations of Serbian musicians.
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Young, Toby. "Triptych, Opera Erratica; The Print Room, London." Tempo 68, no. 270 (2014): 79–80. http://dx.doi.org/10.1017/s0040298214000412.

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There was a pleasantly informal atmosphere at The Print Room during the premiere run of Opera Erratica's new Triptych this May. Comprising three short operas for voices and electronics, Triptych presented a new interpretation of contemporary chamber opera, incorporating elements of multimedia – including live video and photographic projections – alongside elements of more traditional art forms, such as a strikingly cartoonish set by the Young British Artist Gavin Turk.
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LÜTTEKEN, LAURENZ. "NEGATING OPERA THROUGH OPERA: COSÌ FAN TUTTE AND THE REVERSE OF THE ENLIGHTENMENT." Eighteenth Century Music 6, no. 2 (2009): 229–41. http://dx.doi.org/10.1017/s1478570609990017.

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ABSTRACTAmong the operas on which Mozart and Da Ponte collaborated, Così fan tutte is a special case. In some ways, the libretto is more conventional than those provided for Le nozze di Figaro or Don Giovanni, and Mozart was not the first composer asked to set it. To understand the work best, it is necessary to read the text closely. This article concentrates on a few, highly significant characteristics – in particular, the locations in which the opera takes place. Such details provide the foundations for surprising insights into the opera. First, the libretto deals with central issues in eighteenth-century aesthetics, but the mechanist philosophy that informs the plot (reminiscent of that theorized by Julien Offray de La Mettrie in L'Homme machine) defuses these issues over the course of the action. Secondly, the music that turns the libretto into an opera resonates with specialist issues of eighteenth-century music aesthetics, often to turn them, once again, on their heads. In the last analysis, Così fan tutte is an opera in which both text and music question truth and reliability, and the consequences are serious for the opera, for music and for the very Enlightenment itself.
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Borkowska-Rychlewska, Alina. "Zamek na Czorsztynie Karola Kurpińskiego – romantyczność in statu nascendi?" Roczniki Humanistyczne 67, no. 1 (2019): 53. http://dx.doi.org/10.18290/rh.2019.67.1-5.

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Karol Kurpiński’s operatic works played a unique role in the process of shaping new trends in Polish opera theatre and in theatrico-musical criticism at the border of Enlightenment and Romanticism. The article presents press discussions devoted to the operas of the author of Zamek na Czorsztynie [The Czorsztyn Castle] in the 1920s, i.e. at the time of their first stagings in the National Theatre in Warsaw. Numerous controversies and contradictions that appear in the 19th-century reviews of Kurpiński’s operas testify to how difficult it was for his contemporary critics to explicitly classify and evaluate these works. A thorough review of the press at that time also shows that the dramatic and musical works by the author of Pałac Lucypera [Lucyper’s Palace], as great examples of the genological complexity of opera forms at that time and an important element of the process of formation of the so-called national opera programme, constituted an excellent starting point for discussions between the two opposition socio-cultural camps formed in Warsaw in the last years of the 1920s, which represented different aesthetic ideals and understood the tasks and functions of theatre criticism in two different ways. However, as it turns out, the statements of the representatives of the antagonistic camps about Kurpiński’s works did not follow a single, simple scheme – on the contrary, the controversies between the Classicist critics and their opponents were arranged in a very complicated and heterogeneous pattern. This multi-faceted reflection of the 19th-century critics on his works perfectly illustrates the fluidity and fuzziness of tendencies regarded in the research tradition as contradictory, i.e. the “Classical” and “Romantic” tendencies, which leads to the verification of some judgments about the composer and the reception of his output formulated in the contemporary works of music, theatre and literary historians.
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Giger, Andreas. "Behind the Police Chief's Closed Doors: The Unofficial Censors of Verdi in Rome." Nineteenth-Century Music Review 7, no. 2 (2010): 63–99. http://dx.doi.org/10.1017/s147940980000361x.

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A certain Filippo Nardoni, upon completing his review of the libretto of Giuseppe Verdi'sDon Alvaro(the Roman version ofLa forza del destino), wrote to the director of the police: ‘I have marked in pencil the proposed corrections, which I have thought advisable for the wretched subject of the opera. If you don't like them, they can be easily erased with sandarac’. It seems strange that an ostensible censor would correct a libretto and then not mind seeing his corrections erased; censors were, after all, gatekeepers of morality and political propriety, and no libretto was supposed to be permitted without their approval. As it turns out, Nardoni was not an official Roman censor, and yet, he and other prominent personalities were more important in censoring Verdi's operas than their official colleagues. They were not only more rigorous when it came to identifying potentially dangerous passages but also worked as a team, passing the libretto around among themselves until an acceptable alternative was found.
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Lavelle, Katherine L. "As Venus Turns: A Feminist Soap Opera Analysis of Venus Vs." Journal of Sports Media 10, no. 2 (2015): 1–16. http://dx.doi.org/10.1353/jsm.2015.0010.

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Colas, Damien. "Questioning the frenchness of Le comte Ory." Studia Musicologica 52, no. 1-4 (2011): 373–92. http://dx.doi.org/10.1556/smus.52.2011.1-4.27.

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To talk about the Frenchness of Le comte Ory might sounds like provocation. Being basically a rifacimento of his Viaggio a Reims, Rossini’s penultimate stage work belongs to the corpus of Italo-French operas. Yet there are three reasons for looking at Le comte Ory as an authentic French opera. Firstly, in the newly composed parts of the work, Rossini avoided the traditional features of the closed numbers typical of the Italian tradition by inserting recitatives inside the numbers and by merging closed numbers and subsequent recitatives, especially at the end of Act II. Secondly, the French lines written by Scribe to fit the already composed music follow poetic patterns from the Middle Ages, of which the prosodic features were closer to Italian than Classical French. Last, the very choice of the legend of Ory is typical of the troubadour style that had been fashionable in Paris since the last decades of the 18th century, and it turns out that this particular legend was extremely popular back then, as witnessed by the variety of local variants that were published in the 19th century.
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Cattaneo, Alberto S., Benoit Dherin, and Giovanni Felder. "Formal Lagrangian Operad." International Journal of Mathematics and Mathematical Sciences 2010 (2010): 1–36. http://dx.doi.org/10.1155/2010/643605.

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Given a symplectic manifoldM, we may define an operad structure on the the spacesOkof the Lagrangian submanifolds of(M¯)k×Mvia symplectic reduction. IfMis also a symplectic groupoid, then its multiplication space is an associative product in this operad. Following this idea, we provide a deformation theory for symplectic groupoids analog to the deformation theory of algebras. It turns out that the semiclassical part of Kontsevich's deformation ofC∞(ℝd) is a deformation of the trivial symplectic groupoid structure ofT∗ℝd.
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Basheer, Zendal, and Gonegai Abdelkader. "Impact Des Feuilletons Turcs Sur Le Telespectateur Arabe : Cas De Maroc Et Yemen." European Scientific Journal, ESJ 12, no. 17 (2016): 431. http://dx.doi.org/10.19044/esj.2016.v12n17p431.

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This work aims to find out the impact of Turkish soap operas on Arab viewer in two different populations in the political and economic situation such as Morocco and Yemen, a survey is conducted on two universities: the University Hassan II in Morocco with about 151 students (48.40%) and the University of Sanaa in Yemen with 161 students (51.60%). The results of the survey showed that participants spend hours watching TV (over 3 hours) to 4.5% (depending on circumstances) to 57.1%. The lack of good Arabic drama is the main reason to watch Turkish soap operas for more than (79%) following the presentation of interesting and attractive subjects as for more than (79%), romantic themes, the performance of Turkish actors , the sets were remarkably beautiful (80%), physical beauty of the actors (70%), the attractiveness of the filming locations (88.14%) and dubbing in Arabic especially in Syrian dialect (57%). The study concluded the impact of Turkish soap operas on the Arab viewer by Turkish fashion (almost 60%) following by the beautiful nature of Turkey (more than 78%), put the ringtone of a Turkish song (45%). Most of the sample who thought of the acquisition of weapons as in the Turkish soap operas are from Yemen (80% Yemeni and 20% Moroccan) and dream to travel to Turkey is hoping to (more than 94%).
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Dissertations / Theses on the topic "Turks in opera"

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Schachter, Tammy. "As her world turns : women and soap opera." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21264.

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Mass produced narratives that have been designed and targeted for predominantly female audiences have been marginalized by dominant culture. Throughout the history of art and English literature, women have been both objectified and misrepresented. All that has been deemed domestic, emotional and of the personal sphere has been declared valueless by patriarchy. The soap opera genre reverses this negative valorization. It is one that perpetuates the feminine tradition of creating communities through words---talk, gossip, testimony. In this work, the American soap opera is discussed as a venue for the exploration of issues that concern women's lives, as a site for the generation of female pleasure, and as the mother of subcultural networks that inform a female community. While the narratives address women's concerns, the soap opera fan magazines and fan clubs celebrate a form that highlights orality, emotion and empathy in a culture that often depreciates them.
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Schachter, Tammy. "As her world turns, women and soap opera." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0026/MQ50571.pdf.

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Books on the topic "Turks in opera"

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Betzwieser, Thomas. Exotismus und Türkenoper in der französischen Musik des Ancien Régime: Studien zu einem ästhetischen Phänomen. Laaber-Verlag, 1993.

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Fulton, Eileen. As my world still turns: The uncensored memoirs of America's soap opera queen. Carol Pub. Group, 1995.

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The As the world turns quiz book: Celebrating forty years of the popular soap opera. Carol Pub. Group, 1996.

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As the wonderful world of daytime soap operas turns: A compilation of published articles about daytime soap operas and its talented, exciting people. Xlibris, 2007.

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Wolff, Larry. Singing Turk: Ottoman Power and Operatic Emotions on the European Stage from the Siege of Vienna to the Age of Napoleon. Stanford University Press, 2018.

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The singing Turk: Ottoman power and operatic emotions on the European stage from the siege of Vienna to the age of Napoleon. Stanford University Press, 2016.

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Salieri, Antonio. Mass in D Major. Edited by Jane Schatkin Hettrick. A-R Editions, 1994. http://dx.doi.org/10.31022/c039.

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Although Salieri achieved his greatest fame as an opera composer, he also composed over a hundred sacred works, including five masses. This edition presents Salieri's first orchestral mass, written in 1788 for a celebration of the return of Emperor Joseph II from battle with the Turks. A work of impressive beauty, the Mass in D Major is a landmark in the history of music at the Vienna court chapel, where Salieri presided as Hofkapellmeister for thirty-six years.
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Walden, Joshua S. Celebrity, Music, and the Multimedia Portrait. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190653507.003.0005.

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Chapter 4 examines hybrid works of multimedia portraiture and the genre of the portrait opera. The chapter first views the Voom Portraits of the American avant-garde director Robert Wilson, an ongoing series of multimedia video portraits of celebrities begun in 2004, looking in particular at his portraits of actors Robert Downey Jr. and Winona Ryder, which combine high-resolution film image with eclectic sound effects and scores by composers Tom Waits and Michael Galasso. The chapter then turns to the portrait opera Einstein on the Beach, created by Wilson, Philip Glass, and choreographer Lucinda Childs, to explore how they produced a multimedia portrait of Einstein that employs disparate allusions to popularly known elements from his life in a highly abstract work of opera that leaves the viewer to engage in a particularly imaginative act of interpretation about how the music describes this well-known modern icon.
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Shea, Suzanne Strempek, and Elizabeth Searle. Soap Opera Confidential: Writers and Soap Insiders on Why We'll Tune in Tomorrow As the World Turns Restlessly by the Guiding Light of Our Lives. McFarland & Company, Incorporated Publishers, 2017.

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Weber, William. The Problem of Eclectic Listening in French and German Concerts, 1860–1910. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.4.

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Between 1820 and 1870, European musical culture changed. Previously, a certain type of program had dominated the musical sphere: contemporary works spanning various genres including opera. In the 1870s new actors emerged. A learned world of classical music came into being, focusing on orchestral and chamber pieces, with less of a connection to opera. New kinds of songs, increasingly termed “popular,” began to make their mark in roughly similar European venues. In these contexts, listening practices reflected radically different social values and expectations. But did mixed programming remain in some concert performances? Did listeners demonstrate eclectic musical tastes? Taking examples from Paris, Frankfurt, Leipzig, and Berlin, this chapter shows how links were made between contrasting repertoires by the importation or adaptation of works. A process that seems at first to have been an exception turns out to have been a conventional system of exchange.
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Book chapters on the topic "Turks in opera"

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Stock, Jonathan P. J. "Huju and The Politics of Revolution, POST-1949." In Huju. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262733.003.0005.

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This chapter examines how music becomes inscribed with social power. Topics considered include the reorganization of huju troupes in the new People's Republic of China, post-1949; the impact of the specialist composer since the 1950s; the changing role of the performer; and the expression of political content in dramatic situations, words, actions, and music. Regional opera styles, such as Shanghai opera, it turns out, led the way in the reform of traditional opera in mainland China, with adaptations applied in these styles later transplanted to more established historical forms such as Beijing opera. It is argued that music in huju makes a special contribution to the ‘envoicing’ of the weak, a tendency that becomes problematic at times when the ordinary folk who people these operas must be portrayed as dauntless revolutionaries. Ironically, perhaps, the operas produced at the most publicly politicized periods of China's recent history are those that now appear the least eloquent in terms of their political argument.
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LEHMANN, FABIAN, WILFRIED ZOUNGRANA, and ANDREA REIKAT. "The ‘African Opera Village’ Turns Ten." In African Theatre 19. Boydell & Brewer, 2020. http://dx.doi.org/10.2307/j.ctv105bbfp.15.

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"4. The Turkish Subjects of Gluck and Haydn: Comic Opera in War and Peace." In The Singing Turk. Stanford University Press, 2020. http://dx.doi.org/10.1515/9780804799652-006.

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Newcomb, Roger. "As the World Turns’ Luke and Noah and Fan Activism." In The Survival of Soap Opera. University Press of Mississippi, 2010. http://dx.doi.org/10.14325/mississippi/9781604737165.003.0034.

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"2. Erneuerung aus der Theaterwissenschaft und performative turns." In Oper als Aufführung. transcript-Verlag, 2014. http://dx.doi.org/10.14361/transcript.9783839424933.63.

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Mordden, Ethan. "With One Look I’ll Be May." In Pick a Pocket Or Two. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190877958.003.0013.

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This chapter looks in greater detail at the career of Andrew Lloyd Webber, who commands many styles, freely moving from one to another within a single score. The Phantom Of the Opera (1986) dabbles in pastiche of vintage opera forms, yet its title song is disco. Evita (1978) opens with a choral requiem, which is dissonantly modern, but then Che Guevarra turns around and addresses the audience in rock. The through-sung scores set soothing melody right next to jagged recitative. Ultimately, Lloyd Webber's music is a paradox, and this is one reason why he has detractors. After Jesus Christ Superstar (1971) and Evita, Lloyd Webber’s subsequent projects attracted intense interest. Many people regarded Cats (1982) as a folly. But Cats proved irresistible then and after, in part because it turned pop opera joyful after the hieratic ceremonies of its two founding titles. Superstar is not a comedy and Evita's “comedy” is actually bitter irony; but Cats is all for fun, tempered only by the occasional solemnity.
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Jackson Williams, Kelsey. "Stupendous Fabricks." In The First Scottish Enlightenment. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198809692.003.0006.

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This chapter turns towards artefacts, tracing the sudden rise in interest in prehistoric sites and monuments across Scotland during this period. It shows that cutting-edge approaches to the study of material as diverse as Roman forts and ancient megaliths could interact with older syncretist theories of knowledge and human origins to produce surprising, sometimes radical, reinterpretations of the distant past. Archaeologists and writers as diverse as the opera singer-turned-antiquary Alexander Gordon and the freethinker John Toland used these ancient monuments as telescopes through which to glimpse an almost unimaginable antiquity, one which could exert a dramatically destabilizing effect on present-day hierarchies of culture and geography.
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Sorensen, Janet. "John Gay’s Overloaded Languages." In Strange Vernaculars. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691169026.003.0004.

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This chapter turns to John Gay's method of deploying cant languages, which marks a return to its older associations with violation and outsiders in order to represent a Britain in which self-serving cant-speakers were difficult to distinguish from corrupt members of “legitimate” society. The disorienting mixture of respectable and cant languages in The Beggar's Opera signals disturbing, if also creatively productive, breakdowns of distinctions between high and low, right and wrong. Although a shift in thinking about cant was taking place in some quarters in the eighteenth century, Gay makes use of an ongoing understanding of cant as the sine qua non of criminals, a language of dangerous outsiders that illegitimately departs from given meaning.
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Fludernik, Monika. "The Prison as World—The World as Prison." In Metaphors of Confinement. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198840909.003.0001.

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Chapter 1 deals with two types of metaphors: those that liken the prison to the (or a) world, seeing the prison as a microcosm, and those that project an inverse scenario, in which the world is metaphorically depicted as a prison. After pointing out how prison, as a heterotopia (like hell) is conceived both as lying outside the world and as sharing numerous structural features with it, Section 1.2 moves on to a consideration of early modern similitudes in the ‘character’ literature of Overbury, Dekker, Mynshul, and Fennor. An analysis of two city comedies, Eastward Ho (1605) and The City Gallant (1614) illustrates how prisons were perceived to mirror early modern society. From these instances of the PRISON AS WORLD metaphor, the chapter turns to the WORLD AS PRISON trope, which is exemplified by The Beggar’s Opera as well as in Samuel Beckett’s prose and Edward Bond’s play Olly’s Prison.
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Roth, Leon. "Baruch Spinoza His Religious Importance for the Jew of Today." In Is There a Jewish Philosophy? Liverpool University Press, 1999. http://dx.doi.org/10.3828/liverpool/9781874774556.003.0006.

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This chapter turns to Baruch Spinoza. Spinoza was born in Amsterdam in 1632, and died at the Hague in 1677. His fame rests principally on two books, the Tractatus Theologico-politicus published anonymously in 1670 and the Ethica published in 1677 by his friends as a part of his Opera posthuma. Of these two books it was the former, the Tractatus Theologico-politicus, which in its time created the stir. The Ethica waited for notice a full hundred years. Yet, once noticed, the Ethica came into its own; the Tractatus passed into history. The Tractatus belongs to time, the Ethica to eternity; and it is this distinction, the distinction between the things of time and the things of eternity, so strikingly exemplified in the history of Spinoza's own work, which is the main lesson that men of religion today can derive from the study of Spinoza.
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Conference papers on the topic "Turks in opera"

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Zunno, Antonio. "La fortezza e il suo giardino: uno sguardo dal mare." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11368.

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The fortress and its garden: a view from the seaThe Fortress was built from 1554, on the ruins of an ancient convent, at the behest of Philip of Austria, and it was completed in about 55 years under the direction of Giulio Cesare Falco, knight of the Order of Malta and Captain General against the Turks. The maine structure, called Forte a Mare, was joined with the Opera a Corno, a mighty rampart with the function of enclosure of the intermediate island, separated from the other island in 1598 by the construction of the Angevin canal: here were arranged the lodgings of the troops and garrisons. Castello and Forte, were named by the Spaniards Isla Fortalera que abre el Puerto Grande, because of its particular position to protect the port. The complex was entrusted to the Germans in 1715, then conquered by the French Revolutionaries and, in 1815, re-annexed to the Kingdom of Naples and destined to lazaretto. A period of decline follows until the end of the 19th century when Brindisi became a first class naval base and the fort became a garrison of the Royal Navy, destined, during the Great War, to recover torpedoes and detonators The recovery of the complex, starting in the 1980s, allowed the conservation of the structures but was never included in a real valorisation program. With this intervention in progress, a first visit is expected through the visit from the walkways through a circular route from the Castle to the whole Opera in Corno: the itinerary will allow you to retrace the history of the Fortress and enjoy a unique view from the high towards the sea, also through the passage in a curtain of Mediterranean scrub that has colonized the walls over the centuries, creating a veritable hanging garden on the sea. The aim is to lead the visitor to the rediscovery a forgotten place that is closely connected to the coastal landscape, for which it is a privileged point of view also in relation to the city and the port.
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Vermisso, Emmanouil, Marco Mandra, Juanita Bernal, and Sitki Sipahi. "Adjustable Casts." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intlp.2016.12.

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The design proposals Jørn Utzon completed for the structural resolution of t the Sydney Opera House (1956-57/completed1973), Kuwait National Assembly (1971-71/completed 1985)and Zurich Theatre (1964, unbuilt), examine the relationship between shape (structural profile) and material performance. Virtually, the roof modules of these projects consist of infinite numbers of structurally efficient profiles which are expressed through a geometric continuity. Using profile succession from ‘T’ to ‘’U”, among other combinations, Utzon explored the location of “material where it is structurally most useful” (M A Andersen 2014). These studies examine the analogue algorithm used by Ove Arup and Jørn Utzon to design the concourse beams (often called the “moment” beams) at the Sydney Opera House. The beam design is based on optimal material arrangement, in an attempt to unite form and structure: towards mid-span, where bending moment is greater, the beam cross-section assumes the shape of a “T” while the cross-section at the end conditions turns into a “U”. The surface geometry of the beam is defined by interpolating between these three conditions (U to T to U), resulting in a fluid, doubly curved geometry that ranges between these two shapes, thereby creating a ‘family’ of shapes.
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