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Intro -- Contents -- About the Editors and Authors -- Law in the Opera, Law on the Opera, Law Around the Opera: A Multidisciplinary Approach -- 1 Conceptual Premises -- 2 Law in Opera -- 3 Law on Opera, Law Around Opera -- 4 Conclusion (to the Introduction) -- References -- Part I: Law in Opera -- Scalia/Ginsburg: The Rhythm of the US Federal Supreme Court -- 1 The Plot -- 2 Two Different Justices -- 3 Theories of Interpretation and the Principle of Separation of Powers -- 4 The Myth of the Supreme Court of the United States -- References -- Exile and Identity: Findings of Fact and Opinions of Law, in Bellini´s La Straniera -- 1 Introduction -- 2 Reasons for a Choice -- 2.1 Identity Basics: il ver rispondi: chi sei tu? -- 2.2 Facts Connected by Weak Causation: Act 1 [1h.26mn.] -- 2.3 Thoughts After Curtains -- References -- Fiat iustitia et pereat mundus. The Tragic Conflicts of the Judge in I Due Foscari -- 1 Between Law and Justice -- 2 The Doge and the Father -- 3 The Paradox of the Undecidable -- 4 The Triumph of the Reason of State -- 5 The Blindfold of Justice -- 6 Beyond the Law -- References -- ``That May Be Japanese Law but Not in My Country!´´ Marriage, Divorce, and Private International Law in Giacomo Puccini´s Mad... -- 1 Introduction -- 2 Origin and Plot -- 3 Legal Issues -- 4 Applicable Law -- 5 Conclusions -- References -- Crime, Prosecution, and Justice in Giuseppe Verdi´s Otello -- 1 Honor Killing or Premeditated Murder? -- 2 The Sources of Othello -- 3 The Criminal Legislation in Cyprus During the Venetian Rule -- 4 Honor Killing at Verdi´s Time: Criminal Legislation and Public Opinion -- 5 The Libretto and the Score -- References -- Further Reading -- The Marriage of Figaro and the Sunset of Ancien Rgime Legacy on Modern Legal Culture -- 1 Introduction -- 2 ``Le droit du seigneur´´ (ius primae noctis)

Jede Annäherung an das sensitive und vielschichtige Thema 'Judentum' erfordert ein multiperspektivisches Vorgehen. Es gilt, Religion, Historie, Tradition zu reflektieren und Perzeptionen des Jüdischen zu diskutieren und zu hinterfragen. Die Publikation versucht ein möglichst breites Spektrum abzudecken, um der Komplexität der Zielsetzung gerecht zu werden: Ganz im Sinne der Aufgabe der Europäischen Musiktheater-Akademie als Forum des Dialogs von Forschung und Praxis versammelt sie Beiträge internationaler Wissenschaftler und (Theater-)Praktiker wie Komponisten, Regisseure, Opernsänger, Synagogen-Kantoren, Intendanten und Kulturkritiker aus Europa, Israel und den USA, um Einsichten aus ganz unterschiedlichen Blickwinkeln zu garantieren. Der Titel des Buches mag wohl vordergründig provokativ auf Richard Wagners unheilvolles antisemitisches Traktat "Das Judentum in der Musik" verweisen, dennoch ist dieses viel diskutierte Pamphlet nicht Thema der vorliegenden Beiträge. Vielmehr macht sich dieser Band zur Aufgabe, gerade den bereichernden Einfluss und die schöpferische Kreativität von jüdischer Kultur und jüdischen Künstlern im Bereich der Oper in den Fokus zu nehmen.

The publication is devoted to the consideration of the peculiarities of the reception of Russian opera tradition in the Chinese opera of 20th century. The significant role of the historical and the cultural events that affected the spread Russian opera in China is analyzed. Particular attention is paid to the study of the activities of representatives the Russian emigration in the field of opera art. It was emphasized that the influence of Russian and foreign opera contributed to the formation of the genre the Chinese opera of the European type.

AbstractPeking opera epitomizes the traditional Chinese performing arts, and all six factors concerning the story and performance of Peking opera, namely plot, role type, song, speech, acting, and combat, can produce humorous effects among the audience. The present paper is a tentative study on humor and sensing humor in Peking opera. The scale study testified that all six factors were able to produce humorous effects and that they had different degrees of comprehension difficulty and humor for different contributing factors. The degree of comprehension difficulty can assert negative influence upon the degree of humor. Different from the traditionally held nonmonotonic (inverted-U) correlation between the two, a monotonic inverse proportion between the two has been detected. The interview analyses revealed that the humorous effects had something to do with incongruity but that resolution might not necessarily be involved. The scale study and the interview analysis both support this finding.

Resumo Se, por um lado, foi a riqueza produzida pela mão de obra escrava que financiou a importação da ópera europeia para o Brasil, por outro, a proibição do tráfico negreiro foi instrumental para a instalação definitiva de um sistema de ópera no império tropical, uma vez que, como nota Luiz Felipe de Alencastro, um dos efeitos da Lei Eusébio de Queiróz foi o aumento da importação de bens de consumo supérfluos ou de luxo, que substituíram os africanos como lastro na balança comercial brasileira. A literatura e a imprensa deixaram ricos testemunhos das venturas, desventuras e contradições desse momento. A partir da peça O demônio familiar (1857), de José de Alencar, bem como da polêmica travada entre Francisco Otaviano e Paula Brito a propósito dela, este artigo pretende explorar os vasos comunicantes entre os universos do teatro lírico e do regime escravista, no Rio de Janeiro ao redor de 1850.

This essay examines a Korean opera-film Chunhyang (2000) to show how it departs from the standard practice of Western opera-film and how its uniqueness is generated by the characteristics of indigenous Korean opera P'ansori. In spite of its uniqueness, however, Chunhyang shows its affinities with its Western sisters by confirming what has been criticized by many feminist scholars as one of the most serious problems in the Western tradition of cinema, especially Hollywood's classical films: namely, the gendered politics of the voice. ; Čunhjang je korejska opera-film proizvedena 2000. godine u režiji Kvon Taek Ima, dobitnika nagrade za najboljeg reditelja u Kanu 2002. Ovaj film je kinematografska produkcija pansorija, koreanskog žanra koji se može smatrati operom samo u vrlo širokom smislu. U ovom radu se razmatra kako se Čunhjang razlikuje od standardnih praksi zapadnjačke "opere-filma" (kinematografske produkcije opere) i te razlike se povezuju sa karakteristikama koje pansori odvajaju od zapadnjačke opere, uz posvećivanje naročite pažnje dvostrukoj ulozi pevača pansorija kao operskih likova i naratora. Analizom centralne scene filma može se pokazati kako ova dvostruka uloga doprinosi da odnos između operskog glasa i filmske slike bude raznovrsniji, složeniji i sofisticiraniji od onih u standardnom zapadnjačkom tipu opere-filma. Uprkos ovim razlikama u odnosu na zapadnjačku tradiciju Čunhjat pokazuje iznenađujuću bliskost sa svojim zapadnim sestrama utoliko što potvrđuje ono što su mnogi feministički pisci kritikovali kao jedan od najozbiljnijih problema u zapadnjačkoj filmskoj tradiciji, naročito klasičnoj holivudskoj: rodno definisanu politiku glasa. Čunhjang poprima formu pozorišta u pozorištu: on predstavlja lažno scensko izvođenje predstave pansori Čunhjanga koja se prekida i preseca sa vizuelnom ilustracijom pansori narativa. Usredsređujući se na ono što definišemo kao "dvostruko oglašavanje" ("double voicing"), t.j. na simultanu upotrebu operskog pevajućeg glasa i filmskog govornog glasa, demonstriramo da je ženski glas sveden na zvučni efekt, lišen diskurzivne snage, dok je muški glas predstavljen kao sveznajuća moć (kao glas koji prekriva ostale - a voice-over) i kao autorska moć nad filmskim slikama - moć koja se može uporediti sa onim što Džudit Mejn zove "primitivnim naratorom" u filmu spektakla. U zaključku se razmatra kulturni identitet žanra opere-filma. Iako se današnji istraživači područja na preseku opere i filma fokusiraju na Zapadnu Evropu i Ameriku, tvrdi se da su takvi preseci transkulturni fenomeni i da su uzajamni uticaji između opere i filma mogli da se uoče i u azijskim zemljama.