By Victoria Johnson, Jane F. Fulcher, Thomas Ertman
This edited quantity brings jointly educational experts writing at the multi-media operatic shape from a variety of disciplines: comparative literature, heritage, sociology, and philosophy. The presence within the volume's name of Pierre Bourdieu, the top cultural sociologist of the overdue 20th century, signs the editors' purpose to synthesise advances in social technological know-how with advances in musicological and different scholarship on opera. via a spotlight on opera in Italy and France, the participants to the quantity draw on their respective disciplines either to extend our wisdom of opera's background and to illustrate the categories of contributions that stand to be made by way of diverse disciplines to the learn of opera. the quantity is split into 3 sections, each one of that's preceded by means of a concise and informative creation explaining how the chapters in that part give a contribution to our knowing of opera.
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Extra resources for Opera and Society in Italy and France from Monteverdi to Bourdieu
4 This paradigm has limited the ability of historians to examine thoroughly the relations between the political and the philosophical ideas of a historical era and the translation of these ideas into artistic movements, including those that have structured the world of opera over the centuries. 5 But they have largely remained unable or unwilling to come to terms with 3 4 Victoria Johnson the importance of opera as a site of social, cultural, and political interaction in modern European history.
Faire de l’histoire (Paris: Gallimard, 1974). See, for example, Charles Tilly, As Sociology Meets History (New York: Academic Press, 1981); Theda Skocpol, States and Social Revolutions: A Comparative Analysis of France, Russia and China (New York: Cambridge University Press, 1979); and Arthur Stinchcombe, Theoretical Methods in Social History (New York: Academic Press, 1978). , Vision and Method in Historical Sociology (Cambridge: Cambridge University Press, 1984). For an overview of more recent trends, see Julia Adams, Elisabeth S.
How are the parts of tradition that result in or depend on written records to be related to those that do not? How do elite and popular participants in tradition influence it (and each other)? Is it always innovation that is in need of explanation or should analysis focus as much on the recuperative, reproductive capacity of tradition? My point is not, alas, that social science has the perfect theory of tradition and musicologists need only to import it. Rather, the point is that opera is a terrific site for the interrogation of what tradition means and how its different dimensions interrelate.
Opera and Society in Italy and France from Monteverdi to Bourdieu by Victoria Johnson, Jane F. Fulcher, Thomas Ertman