Literature, Music, Drama and Performance

Grażyna Bystydzieńska, Magdalena Pypeć

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ISBN/ISSN:

978-83-235-4088-5

DOI:

https://doi.org/10.31338/uw.9788323540885

Wydawnictwo:

Uniwersytet Warszawski

Rok wydania:

2019

Liczba stron:

160

XML:ISBN/ISSN:

ONIX MARC21

Bibliografia:

. Literature, Music, Drama and Performance. Red. Bystydzieńska, Grażyna; Pypeć, Magdalena . Warszawa: Uniwersytet Warszawski, 2019, 160 s. ISBN 978-83-235-4088-5, doi: https://doi.org/10.31338/uw.9788323540885

Bibliografia refWorks:

RT Book, Whole

SR Electronic(1)

A2 Bystydzieńska, G.

A2 Pypeć, M.

T1 Literature, Music, Drama and Performance

PB Uniwersytet Warszawski

PP Warszawa

YR 2019

SN 978-83-235-4088-5

DOI https://doi.org/10.31338/uw.9788323540885

Bibliografia BibTex:

@Book{ 240087, author = "", editor = "Bystydzieńska, Grażyna and Pypeć, Magdalena", title = "Literature, Music, Drama and Performance", publisher = "Uniwersytet Warszawski", year = "2019", address = "Warszawa", isbn = "978-83-235-4088-5", doi = "https://doi.org/10.31338/uw.9788323540885" }

Bibliografia endNote:

TY - BOOK

AU -

ED - Bystydzieńska, Grażyna

ED - Pypeć, Magdalena

TI - Literature, Music, Drama and Performance

PB - Uniwersytet Warszawski

CY - Warszawa

PY - 2019

SN - 978-83-235-4088-5

ER -

DOI - https://doi.org/10.31338/uw.9788323540885

Netografia (standard APA):

. Red. Bystydzieńska, Grażyna; Pypeć, Magdalena. Literature, Music, Drama and Performance [baza danych online] Warszawa: Uniwersytet Warszawski, 2019 [dostęp: 01 05 2024]. Dostęp w Ibuk Libra: https://libra.ibuk.pl/reader/literature-music-drama-and-performance-grazyna-bystydzienska-240087. doi: https://doi.org/10.31338/uw.9788323540885

muzyka, teatr, XIX wiek, XVIII wiek, music, kultura brytyjska, literatura brytyjska, british literature, british culture, 18th-century, 19th-century, theatre

Eseje zawarte w tomie omawiają różne aspekty związków między literaturą, muzyką, teatrem i sztukami performatywnymi w osiemnasto- i dziewiętnastowiecznej Wielkiej Brytanii. Autorzy prezentują różne punkty widzenia i metodologie oraz możliwości kry...

Więcej

ISBN/ISSN:

978-83-235-4088-5

DOI:

https://doi.org/10.31338/uw.9788323540885

Wydawnictwo:

Uniwersytet Warszawski

Rok wydania:

2019

Liczba stron:

160

XML:ISBN/ISSN:

ONIX MARC21

From the Editors7
Part One:Literature and Music in the Long 18th and 19th CenturiesPierre DuboisMusic and the Georgian Novel, or the Divorce of Adam and Eve11
Maria BłaszkiewiczHandel’s Samson and the Art of Adaptation29
Małgorzata Łuczyńska-HołdysThe Aeolian Harp and the Strain of Poetry – Musical Imagery in P.B. Shelley’s Selected Verse45
Anna Krawczyk-ŁaskarzewskaContent, Syntax, Punctuation – the Uses of Music inThe Old Nurse’s Story by Elizabeth Gaskell57
Joanna KokotDisharmonious Harmonies. Music as Theme in Charles Dickens’s The Mystery of Edwin Drood67
Part Two:Interconnections — Literature/Theatre/ Drama/Performance and Music in the Long 18th and 19th CenturiesJacek MydlaHorace Walpole’s The Mysterious Mother – a Gothic Oedipus?83
Spectacle of Pity: Hypocrisy and the Performance of Sentiment in Henry Mackenzie’s The Man of Feeling103
Marek BłaszakElements of Theatrical Performance and Sailors as Performers in Capt. Marryat’s Sea Novels115
Let’s Dance a Gavotte, Mr. Frankenstein. Some Remarkson the Theatrical Adaptations of Mary Shelley’s Novel129
Magdalena PypećThe Theatrical Trope as a Narrative Device in Dickens’sThe Mystery of Edwin Drood143

FromtheEditors

Theessaysinthisvolumeexplorevariousaspectsofcreativeinterconnections

betweenliterature,music,theatreandperformancein18thand19th-

centuryBritain,bringinganenhancedunderstandingoftheliterarytexts

thatarediscussed.TheywerepresentedattwointerrelatedWarsawLiterary

Meetingsin2018:theﬁrstwasdedicatedtoliteratureandmusic,thesecond

-toliterature,dramaandperformance.Theessaysadoptdiversecritical

standpointsandmethodologies,demonstratingnumerousinterpretative

possibilitiesofthethemes,andhavebeenarrangedintwoparts:ﬂMusic”

andﬂTheatreandPerformance.”

PierreDuboisinvestigates-withaparticularfocusonsuchauthorsas

HenryFielding,SamuelRichardson,LawrenceSterneandFrancesBurney-

themeaningandroleofmusicalreferencesintheGeorgiannovel,arguing

that,paradoxically,theybothenrichandshowthelimitationsofthenovelist’s

art.IntheearlyGeorgiannovelofRichardsonandFielding,musicisusedto

enactamoralandaestheticclassiﬁcationofthecharactersandhasnocritical

autonomy.AsPierreDuboisargues,itsroleisradicallydiferentinthenovels

ofSternewhenwordsproveinadequateforexpressingideasorfeelingssince

thenovelistquestionstheabilityofwordstoconveyanyaccuratemeaning.

Conversely,inthenovelsofsensibility,especiallythosewrittenbyfemale

authors(Radclife,Edgeworth,Burney)musicoftenreplacesspeechasthe

bestmediumfortheheroinetoexpressherself.MariaBłaszkiewiczdissects

GeorgeFredericHandel’sadaptationofJohnMilton’stragicclosetdrama

SamsonAgonistes(1671).SheclaimsthatinHandel’sBaroquethree-act

oratorio,whichwasdesignedwithspeciﬁcallytheatricalobjectivesinmind,

thetripartitethematicstructuremirrorsthedesignofMilton’stragedy,

allowingthecomposertodisplayhistalentbyafullspectrumofemotional

appeal.MałgorzataŁuczyńska-Hołdys,inturn,examinesmusicalimageryin

PercyByssheShelley’sﬂOdetotheWestWind,”AlastorandﬂToConstantia,

Singing,”particularlyinrelationtotheimageoftheAeolianharp.The

authoralsoaddressestheissueofthegenderimplicationsoftheAeolian

lyreandfeminisationofpoetryandthepoetinShelley’spoeticalworksand

literarycriticism.Finally,AnnaKrawczyk-Łaskarzewska’sarticleanalyses

thecomplexityofsoundscapesinElizabethGaskell’sTheOldNurse’sStory

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