Bringing together current intermedial discourses on Shakespeare, music, and dance with the affective turn in the humanities, Dramaturgies of Love in Romeo and Juliet offers a unique and highly innovative transdisciplinary discussion of "unspeakable" love in one of the most famous love stories in literary history: the tragic romance of Romeo and Juliet. Through in-depth case studies and historical contextualisation, this book showcases how the "woes that no words can sound" of Shakespeare’s iconic lovers nevertheless have found expression not only in his verbal poetry, but also in non-verbal adaptations of the play in 19th-century symphonic music and 20th- and 21st-century theatre dance. Combining methodological approaches from diverse disciplines, including affect theory, musicology, and dance studies, this study opens up a new perspective onto the artistic representation of love, defining amorous emotion as a generically transformative constellation of dialogic performativity. To explore how this constellation has become manifest across the arts, this book analyses and compares dramatic, musical, and choreographic dramatisations of love in William Shakespeare’s early modern tragedy, French composer Hector Berlioz’s dramatic symphony Roméo et Juliette (1839), and the staging of Berlioz’s symphony by German contemporary choreographer Sasha Waltz for the Paris Opera Ballet (2007). Chapters 1 and 4 of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
Whenever people from different cultural and religious backgrounds converge, it produces tension and ambivalence. This study delves into conflicts in interreligious educational processes in both theory and practice, presenting the results of empirical research conducted at schools and universities and formulating ground-breaking practical perspectives for interreligious collaboration in various religious-pedagogical settings.
This study is among the first works in English to comprehensively address the Scandinavian First World War experience in the larger international context of the war. It surveys the complex relationship between the belligerent great powers and Northern Europe's neutral small states in times of crisis and war. The book's overreaching rationale draws upon three underlying conceptual fields: neutrality and international law, hegemony and great power politics as well as diplomacy and policy-making of small states in the international arena. From a variety of angles, it examines the question of how neutrality was understood and perceived, negotiated and dealt with both among the Scandinavian states and the belligerent major powers, especially Britain, Germany and Russia. For a long time, the experience of neutral countries during the First World War was seen as marginal, and was overshadowed by the experiences of occupation and collaboration brought about by the Second World War. In this book, Jonas demonstrates how this perception has changed, with neutrality becoming an integral part of the multiple narratives of the First World War. It is an important contribution to the international history of the First World War, cultural-historically influenced approaches to diplomatic history and the growing area of neutrality studies.
Bringing together current intermedial discourses on Shakespeare, music, and dance with the affective turn in the humanities, Dramaturgies of Love in Romeo and Juliet offers a unique and highly innovative transdisciplinary discussion of "unspeakable" love in one of the most famous love stories in literary history: the tragic romance of Romeo and Juliet. Through in-depth case studies and historical contextualisation, this book showcases how the "woes that no words can sound" of Shakespeare’s iconic lovers nevertheless have found expression not only in his verbal poetry, but also in non-verbal adaptations of the play in 19th-century symphonic music and 20th- and 21st-century theatre dance. Combining methodological approaches from diverse disciplines, including affect theory, musicology, and dance studies, this study opens up a new perspective onto the artistic representation of love, defining amorous emotion as a generically transformative constellation of dialogic performativity. To explore how this constellation has become manifest across the arts, this book analyses and compares dramatic, musical, and choreographic dramatisations of love in William Shakespeare’s early modern tragedy, French composer Hector Berlioz’s dramatic symphony Roméo et Juliette (1839), and the staging of Berlioz’s symphony by German contemporary choreographer Sasha Waltz for the Paris Opera Ballet (2007). Chapters 1 and 4 of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
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