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The psychiatrist John Cordingly examines twelve operatic heroes
under six sub-categories of personality disorder, placing them
within the histories of mental disorder, sexuality, Byronismand
their cultural contexts. The retired psychiatrist and former music
graduate John Cordingly examines twelve operatic heroes under six
sub-categories of personality disorder. He justifies his view that
they are not 'mad' by tracing the histories of mental disorder,
sexuality and Byronism, and by placing each opera within its
cultural context. He also considers what professional treatment is
needed according to modern criteria. His gallery of heroes includes
the hubristic Otello and Godunov, the psychopathic Iago and
Claggart, the schizoid Wozzeck and Grimes, the borderline Werther
and Herman, the narcissistic Don Giovanni and Onegin, and the
repressed and melancholic Faust and Aschenbach. Each is considered
within the overall design of their respective work. Cordingly also
probes the reception of each opera and draws comparisons with cases
from life. The book is a landmark in being the first of its kind
and weaves a fascinating tapestry of concerns. It is also eminently
readable. JOHN CORDINGLY (author) is a Fellow of the Royal College
of Psychiatrists. CLAIRE SEYMOUR (editor) is Head of Senior College
at Queen's College London and the author of The Operas of Benjamin
Britten [Boydell Press].
An essay collection which examines Britten's juvenilia, influences
such as Shostakovich and Verdi, his opera Owen Wingrave and a
libretto written by Australian novelist Patrick White with the hope
of a future collaboration. Benjamin Britten: New Perspectives on
his Life and Work reveals the extent to which Britten scholarship
is reaching outside the confines of Anglo-American criticism. The
volume engages with juvenilia and other orchestral works from the
1920s and examines a broad range of influences on Britten,
including the works of Shostakovich and Verdi, the poetry of Ovid,
and the cinema. Among his operatic works the dramatic qualities of
Owen Wingrave arediscussed through a close study of Piper's
libretto and we witness the genesis of a libretto written by
Australian novelist Patrick White and submitted to Britten with the
hope of a future collaboration. The volume uncovers the generally
hostile reception Britten's operas received in Paris until around
the 1990s. Britten's status as 'outsider' in both the USA and in
his own country when he returned in 1942 is discussed: the
possibility is that Britten wasbecoming nervous of the gathering US
involvement in the war and the real chance he may be called up to
serve in the US forces is also discussed here.
With an Introduction and Notes by Dr Claire Seymour, University of
Kent at Canterbury. Under the Greenwood Tree is Hardy's most
bright, confident and optimistic novel. This delightful portrayal
of a picturesque rural society, tinged with gentle humour and quiet
irony, established Hardy as a writer. However, the novel is not
merely a charming rural idyll. The double-plot, in which the love
story of Dick Dewey and Fancy Day is inter-related with a tragic
chapter in the history of Mellstock Choir, hints at the poignant
disappearance of a long-lived and highly-valued traditional way of
life.
This controversial analysis of Britten's operatic works
demonstrates how he used music to explore his most private
concerns. Claire Seymour examines ways in which Britten's operas
explored and articulated the inherent ambiguity and latent
sexuality of music, particularly song, and suggests that they may
illustrate his search for a public "voice" which would embody,
communicate, and perhaps resolve his private beliefs and anxieties.
She demonstrates how the delicate balance between private and
public communication, and the tension between art as
self-expression and art as moral resolution were key concerns in
Britten's music. Analyses of Britten's operas from Paul Bunyan to
Death in Venice, the three Church Parables, and several of the
"children's operas" offer evidence that, for Britten, opera was the
natural medium through which to explore, express and,
paradoxically, repress his private concerns.
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Life's Little Ironies (Paperback)
Thomas Hardy; Introduction by Claire Seymour; Notes by Claire Seymour; Series edited by Keith Carabine
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R128
R93
Discovery Miles 930
Save R35 (27%)
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Ships in 9 - 15 working days
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Introduction and Notes by Dr Claire Seymour, University of Kent at
Canterbury. The proverbial phrase 'life's little ironies' was
coined by Hardy for his third volume of short stories. These tales
and sketches possess all the power of his novels: the wealth of
description, the realistic portrayal of the quaint lore of Wessex,
the 'Chaucerian' humour and characterisation, the shrewd and
critical psychology, the poignant estimate of human nature and the
brooding sense of wonder at the essential mystery of life. The
tales which make up Life's Little Ironies tenderly re-create a
rapidly vanishing rural world and scrutinise the repressions of
fin-de-siecle bourgeois life. They share the many concerns of
Hardy's last great novels, such as the failure of modern marriage
and the insidious effects of social ambition on the family and
community life. Ranging widely in length and complexity, they are
unified by Hardy's quintessential irony, which embraces both the
farcical and the tragic aspects of human existence.
With an Introduction and Notes by Dr Claire Seymour, University of
Kent at Canterbury. The Turn of the Screw is the classic ghost
story for which James is most remembered. Set in a country house,
it is a chilling tale of the supernatural told by a master of the
genre. The Aspern Papers is a tale of Americans in Europe, a theme
in which Henry James is at his most assured and accomplished. The
author cleverly evokes the drama of comedie humaine against the
settings of a Venetian palace.
The psychiatrist John Cordingly examines twelve operatic heroes
under six sub-categories of personality disorder, placing them
within the histories of mental disorder, sexuality, Byronism and
their cultural contexts. The retired psychiatrist and former music
graduate John Cordingly examines twelve operatic heroes under six
sub-categories of personality disorder. He justifies his view that
they are not 'mad' by tracing the histories of mental disorder,
sexuality and Byronism, and by placing each opera within its
cultural context. He also considers what professional treatment is
needed according to modern criteria. His gallery of heroes includes
the hubristic Otello and Godunov, the psychopathic Iago and
Claggart, the schizoid Wozzeck and Grimes, the borderline Werther
and Herman, the narcissistic Don Giovanni and Onegin, and the
repressed and melancholic Faust and Aschenbach. Each is considered
within the overall design of their respective work. Cordingly also
probes the reception of each opera and draws comparisons with cases
from life. The book is a landmark in being the first of its kind
and weaves a fascinating tapestry of concerns. It is also eminently
readable. JOHN CORDINGLY (author) is a Fellow of the Royal College
of Psychiatrists. CLAIRE SEYMOUR (editor) is Head of Senior College
at Queen's College London and the author of The Operas of Benjamin
Britten [Boydell Press].
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