This second edition of a unique companion to Thackeray's great novel enables the reader to follow the novelist step by step through the maze of his erudition, clarifying the immense range of references in the novel. Since these annotations are keyed to Thackeray's chapters, not to the page numbers of any particular edition of the novel, they can be consulted in connection with any edition of Vanity Fair the reader happens to own. Within each chapter of this book, the entries follow the order in which they appear in the novel. In addition to the words, phrases, and allusions which obviously or possibly require annotation, the compilers have occasionally commented upon subtleties of narrationowithout intruding critical opinions upon the readeroand entered a few remarks on Thackeray's own illustrations. They have also addressed textual matters, questions of composition and publication, connections with other areas of Thackeray's oeuvre, and the influence of other works of literature on the novel. Intended for undergraduate and graduate students studying the English Novel. Also of interest to scholars in the field of Victorian Literature as well as general readers."

In Queer Opera, Andrew Sutherland argues that operas often reflect characteristics of the society and epistime in which they are written but that they also do much more than that; operas have agency. LGBTQ+ social, cultural, and political issues have become an increasingly defining feature of twenty-first century life, and as agency for change, composers have turned to opera to underscore the lived queer experience. Sutherland posits that operas written before the sexual revolution of the mid-twentieth century utilized a codified language both in the libretto and score, communicating with those observers open to a queer reading. He explores the growing trend of local, small-scale, independent opera companies seen around the world towards the end of the first decade of the twenty-first century and argues that this has emboldened queer artists to reclaim opera as a queer space. He further argues that for several centuries, opera houses have been safe havens for queer composers, librettists, performers, and designers, and yet it is only relatively recently that any serious attempt at queer representation in operatic works has begun to be realized. In this book, he examines narratives and music of selected operas to walk through queer history in Western societies and shines a light on how many of opera’s well-known characters, based on historical figures who represent pivotal moments in the queer story, are responsible in a variety of ways for the continued struggle for queer acceptance.

The teaching and learning of music around the world have evolved in diverse ways as social, industrial, and cultural developments have influenced the ways humans understand, organize, and collectivize music education. Revolutions in Music Education: Historical and Social Explorations chronicles major changes in music education that continue to shape practices in the twenty-first century. The contributors investigate the organizational, pedagogical, and strategic approaches to teaching music across the ages. The universality of music is manifest in the chapters of this book, providing meaning and insight from all geographic, socio-political, and economic contexts.