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sexual-difference

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Journal Articles
19th-Century Music (2008) 32 (2): 160–177.
Published: 01 November 2008
... fairy tale's mythic framework nevertheless reasserts itself within the fairytale enclosure in the guise of sexuality, in particular sexual difference: As Siegfried begins asking troubling questions about his paternity, Mime is thrust into the role of unitary origin, culminating in his desperate claim...
Journal Articles
19th-Century Music (2019) 42 (3): 225–248.
Published: 01 April 2019
... explicit sexual content, have Brahms emerging strengthened from the trials of a low-income childhood that forced him to work at night in less-than-respectable establish- ments. These differing versions represent two general narrative models in Brahms biography: one heroic model of adversity overcome, and...
Journal Articles
19th-Century Music (2020) 43 (3): 194–208.
Published: 01 March 2020
...: Representations of Gender and Sexuality in Opera, ed. Mary Ann Smart (Princeton: Princeton University Press, 2000), 206. 12Carolyn Abbate, Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton: Princeton University Press, 1991), x. 13Richard Taruskin, She Do the Ring in Different Voices...
Journal Articles
19th-Century Music (2019) 43 (1): 17–37.
Published: 01 July 2019
... view of masculine sexuality in a period when what Martha Feldman calls a dimorphic view of gender and sexuality was increasingly becoming not just an a priori building block of the bourgeois psyche, but quickly became the only acceptable viewpoint on the subject.6 Crowe, Giambattista Velluti in...
Journal Articles
19th-Century Music (2019) 43 (1): 38–60.
Published: 01 July 2019
... feedback on drafts of this article. 2William Cheng, Hearts for Sale: The French Romance and the Sexual Traffic of Musical Mimicry, this journal 35/1 (2011): 34 71, 65. Propaganda and Reception in Nineteenth-Century Music Criticism: Maurice Schlesinger, Henri Herz, and the Gazette musicale SHAENA B. WEITz...
Journal Articles
19th-Century Music (2019) 42 (3): 157–183.
Published: 01 April 2019
... these intricate aspects of the evidence, this article analyzes staged parlor performances of Schubert s Ständchen in three diverse period films from two different eras of filmmaking.6 These are the operetta- influenced Schubert picture Leise flehen meine Lieder (1933), in which operetta star Mártha...
Journal Articles
19th-Century Music (2017) 41 (2): 95–120.
Published: 01 November 2017
... sud- denly draws a curtain: everything that ought to have remained . . . hidden . Schelling links the Unheimliche to a lack of modesty. It is only at the end that the sexual threat emerges. But it had always been there, in the coupling itself and in the proliferation of the Heimliche and of the...
Journal Articles
19th-Century Music (2017) 41 (1): 75–92.
Published: 01 July 2017
...- letic, has become something of a critical reflex. The theater historian Hanna Järvinen, even while noting the ballet s context, nevertheless suggests that, after all, Jeux was not about sport as much as it was about modernity and sexual games. 22 Other scholars simply decline to give the ballet s...
Journal Articles
19th-Century Music (2017) 40 (3): 185–188.
Published: 01 March 2017
..., Song, Music and Poetry: The Nineteenth Century and After (Berkeley: Uni- versity of California Press, 1984), revised for publication in Song Acts: Writings on Words and Music (Leiden: Brill, 2017), and Franz Schubert: Sexuality, Subjectivity, Song (Cambridge: Cambridge University Press, 1998), esp. 28...
Journal Articles
19th-Century Music (2017) 40 (3): 239–256.
Published: 01 March 2017
... galantes (1869) provoke both kinds of song, the latter embodied through the shadowy figures of the commedia dell'arte . In the case of two such poems, “En sourdine” and “Clair de lune,” Debussy produced two different settings of the same text, ten years apart. The usual account is that these show the...
Journal Articles
19th-Century Music (2017) 40 (3): 283–300.
Published: 01 March 2017
... This springtime is suffused with tragedy and death; the language is heavily laden with epithets. Strauss was often drawn to poetic and musical expressions of sexual de- sire, most obviously in his operas and tone poems, but even at times in the usually less explicit realm of the Lied (for instance in...
Journal Articles
19th-Century Music (2016) 40 (2): 159–181.
Published: 01 November 2016
... the broader European con- cern with feminized Slavic topics, see Alfred Thomas, The Bohemian Body: Gender and Sexuality in Modern Czech Culture (Madison: University of Wisconsin Press, 2007), 19 21 and 31 38. 7See Andrea Orzoff, Battle for the Castle (New York: Ox- ford University Press, 2009), 11...
Journal Articles
19th-Century Music (2016) 40 (1): 7–19.
Published: 01 July 2016
...), 135 69. 18Elizabeth D. Leonard, Mary Walker, Mary Surratt, and Some Thoughts on Gender in the Civil War, in Battle Scars: Gender and Sexuality in the American Civil War, ed. Catherine Clinton and Nina Silber (New York: Oxford University Press, 2008), 106. 14 19TH CENTURY MUSIC positions derived from...
Journal Articles
19th-Century Music (2016) 40 (1): 56–78.
Published: 01 July 2016
... establish the source of music diegetically, and the use of subservient black voices to support the emo- tional state of the white female lead. Different as they may seem, these strategies are impli- cated in each other. Although African Ameri- can bodies were held in place by the tension between social...
Journal Articles
19th-Century Music (2016) 39 (3): 272–289.
Published: 01 March 2016
... overarching goal. It s front and center, but it s there to expose the hypocrisy of bour- geois morality. In Mine-haha, sex and sexual- ity are a kind of ambient glow, and though they never take center stage, it s clear that the book is ultimately about them. It is this ambience that accounts for Mine- haha s...
Journal Articles
19th-Century Music (2015) 39 (1): 3–34.
Published: 01 July 2015
... materialist logic, that is, the ideology of the West since the fall of the Berlin Wall, our sexual universe has in this way dispensed with its tonic key (the musical metaphor is his), leading to a deep desire for atony : To deconstruct sexual difference as a binary opposition, to re- place it with a...
Journal Articles
19th-Century Music (2015) 39 (1): 35–55.
Published: 01 July 2015
..., though, she locates this new meaning in the impact of disjunction, which she argues creates a distancing effect on one s experience of the music s typically enchanting qualities (131). 15There are some differences: the faun encounters seven rather than two nymphs in the ballet, and the sexuality of the...
Journal Articles
19th-Century Music (2015) 38 (3): 272–301.
Published: 01 March 2015
..., complains that it is almost pornographic in its illustrative wildness, but it lacks shape and formal direc- tion, wasting away eventually in hopeless ex- haustion. 49 I argue to the contrary that what these listeners hear as empty or lacking shape and direction has to do with female sexuality coming to...
Journal Articles
19th-Century Music (2015) 38 (3): 193–218.
Published: 01 March 2015
... course makes a part of the affair. 7 Even Clara Schumann, no uncritical admirer, wrote in 1851: He played, as always, with a truly demonic bravura. He lorded it over the piano like a devil (I cannot express it differ- ently8 The ascription of diabolical powers to a supremely gifted performer like Liszt...
Journal Articles
19th-Century Music (2014) 38 (2): 169–190.
Published: 01 November 2014
... contingent and emergent properties of self as it is negoti- ated by society, but rather focused on prescrib- ing a monumentalist model of self that is sin- gular, foundational, and subsumes difference and contingency under its command.5 This is not to say that the violinist-authors in ques- tion appeal...