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The Angel's Cry: Beyond the Pleasure Principle in Opera - Poizat, Michel
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Poizat, Michel:

The Angel's Cry: Beyond the Pleasure Principle in Opera - hardcover

1992, ISBN: 0801423880

ID: 14094930290

[EAN: 9780801423888], [PU: Cornell University Press], Music|Appreciation, Music|Opera, This Book is in Good Condition. Clean Copy With Light Amount of Wear. 100% Guaranteed. Summary: Is "passion" too strong a word to describe what drives people to stand outdoors for a dozen hours or more, regardless of the weather, to purchase fold-out seats behind the upper-tier boxes for a performance of Tristan und Isolde? Not at all, says Michel Poizat, who here guides his readers on a voyage to discover why opera rewards its devotees with such profound pleasure, mingled with equally powerful feelings of horror and loss. His fascinating book, first published in French in 1986, is now available in Arthur Denner's fluid and sensitive English translation. Predictably, Poizat's route is not at all a conventional one. Rather than taking as his point of departure the intentions of composers and librettists, he is primarily concerned with the expectations and desires of the audience. He reports on an informal group interview with overnight standees on the Paris Opera House steps as they compare notes on how opera became an addiction. They are there for a "fix", they agree. How, Poizat asks, doesthis "monstrous phenomenon", which stretches its interpreters to their absolute limits, captivate its audience, making them oblivious of hard seats or overheated halls and eliciting copious and unashamed tears? Poizat sees the history of opera in terms of the evolution of the voice from song to cry, from verbal expressions of emotion to such wordless outbursts as Lulu's final scream at the end of Alban Berg's opera. Calling on the insights and methods of Lacanian psychoanalysis, he distinguishes mere pleasure from jouissance--pleasure being the joy experienced when one's expectations are satisfied, and jouissance, the climactic high beyond self-control. For Poizat, the quarrel between Gluckistsand Piccinists, the disputes among composers as to which is more important, "le parole" or "la musica", become examples that demonstrate or underscore the differences between pleasure and jouissance. What is the sound of the

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The Angel's Cry - Poizat, Michel
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Poizat, Michel:

The Angel's Cry - hardcover

ISBN: 9780801423888

[ED: Hardcover], [PU: Cornell University Press], Is "passion" too strong a word to describe what drives people to stand outdoors for a dozen hours or more, regardless of the weather, to purchase fold-out seats behind the upper-tier boxes for a performance of Tristan und Isolde? Not at all, says Michel Poizat, who here guides his readers on a voyage to discover why opera rewards its devotees with such profound pleasure, mingled with equally powerful feelings of horror and loss. His fascinating book, first published in French in 1986, is now available in Arthur Denner's fluid and sensitive English translation. Predictably, Poizat's route is not at all a conventional one. Rather than taking as his point of departure the intentions of composers and librettists, he is primarily concerned with the expectations and desires of the audience. He reports on an informal group interview with overnight standees on the Paris Opera House steps as they compare notes on how opera became an addiction. They are there for a "fix", they agree. How, Poizat asks, does this "monstrous phenomenon", which stretches its interpreters to their absolute limits, captivate its audience, making them oblivious of hard seats or overheated halls and eliciting copious and unashamed tears? Poizat sees the history of opera in terms of the evolution of the voice from song to cry, from verbal expressions of emotion to such wordless outbursts as Lulu's final scream at the end of Alban Berg's opera. Calling on the insights and methods of Lacanian psychoanalysis, he distinguishes mere pleasure from jouissance--pleasure being the joy experienced when one's expectations are satisfied, and jouissance, the climactic high beyond self-control. For Poizat, the quarrel between Gluckistsand Piccinists, the disputes among composers as to which is more important, "le parole" or "la musica", become examples that demonstrate or underscore the differences between pleasure and jouissance. What is the sound of the angel's cry? Poizat believes that the voice-obje black & white illustrations Versandfertig in über 4 Wochen, [SC: 0.00], Neuware, gewerbliches Angebot

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The Angel´s Cry - Michel Poizat
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Michel Poizat:
The Angel´s Cry - new book

ISBN: 9780801423888

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Is ´´passion´´ too strong a word to describe what drives people to stand outdoors for a dozen hours or more, regardless of the weather, to purchase fold-out seats behind the upper-tier boxes for a performance of Tristan und Isolde? Not at all, says Michel Poizat, who here guides his readers on a voyage to discover why opera rewards its devotees with such profound pleasure, mingled with equally powerful feelings of horror and loss. His fascinating book, first published in French in 1986, is now available in Arthur Denner´s fluid and sensitive English translation. Predictably, Poizat´s route is not at all a conventional one. Rather than taking as his point of departure the intentions of composers and librettists, he is primarily concerned with the expectations and desires of the audience. He reports on an informal group interview with overnight standees on the Paris Opera House steps as they compare notes on how opera became an addiction. They are there for a ´´fix´´, they agree. How, Poizat asks, does this ´´monstrous phenomenon´´, which stretches its interpreters to their absolute limits, captivate its audience, making them oblivious of hard seats or overheated halls and eliciting copious and unashamed tears? Poizat sees the history of opera in terms of the evolution of the voice from song to cry, from verbal expressions of emotion to such wordless outbursts as Lulu´s final scream at the end of Alban Berg´s opera. Calling on the insights and methods of Lacanian psychoanalysis, he distinguishes mere pleasure from jouissance--pleasure being the joy experienced when one´s expectations are satisfied, and jouissance, the climactic high beyond self-control. For Poizat, the quarrel between Gluckistsand Piccinists, the disputes among composers as to which is more important, ´´le parole´´ or ´´la musica´´, become examples that demonstrate or underscore the differences between pleasure and jouissance. What is the sound of the angel´s cry? Poizat believes that the voice-obje Beyond the Pleasure Principle in Opera Buch (fremdspr.) Bücher>Fremdsprachige Bücher>Englische Bücher, Cornell University Press

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The Angel's Cry - Michel Poizat
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Michel Poizat:
The Angel's Cry - new book

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Beyond the Pleasure Principle in Opera Is "passion" too strong a word to describe what drives people to stand outdoors for a dozen hours or more, regardless of the weather, to purchase fold-out seats behind the upper-tier boxes for a performance of Tristan und Isolde? Not at all, says Michel Poizat, who here guides his readers on a voyage to discover why opera rewards its devotees with such profound pleasure, mingled with equally powerful feelings of horror and loss. His fascinating book, first published in French in 1986, is now available in Arthur Denner's fluid and sensitive English translation. Predictably, Poizat's route is not at all a conventional one. Rather than taking as his point of departure the intentions of composers and librettists, he is primarily concerned with the expectations and desires of the audience. He reports on an informal group interview with overnight standees on the Paris Opera House steps as they compare notes on how opera became an addiction. They are there for a "fix", they agree. How, Poizat asks, does this "monstrous phenomenon", which stretches its interpreters to their absolute limits, captivate its audience, making them oblivious of hard seats or overheated halls and eliciting copious and unashamed tears? Poizat sees the history of opera in terms of the evolution of the voice from song to cry, from verbal expressions of emotion to such wordless outbursts as Lulu's final scream at the end of Alban Berg's opera. Calling on the insights and methods of Lacanian psychoanalysis, he distinguishes mere pleasure from jouissance--pleasure being the joy experienced when one's expectations are satisfied, and jouissance, the climactic high beyond self-control. For Poizat, the quarrel between Gluckistsand Piccinists, the disputes among composers as to which is more important, "le parole" or "la musica", become examples that demonstrate or underscore the differences between pleasure and jouissance. What is the sound of the angel's cry? Poizat believes that the voice-obje Bücher / Fremdsprachige Bücher / Englische Bücher 978-0-8014-2388-8, Cornell University Press

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The Angel's Cry - Michel Poizat
book is out-of-stock
(*)
Michel Poizat:
The Angel's Cry - new book

ISBN: 9780801423888

ID: c5b4a1e3b4188e925e35a5490ee8cb6a

The Angel's Cry Is "passion" too strong a word to describe what drives people to stand outdoors for a dozen hours or more, regardless of the weather, to purchase fold-out seats behind the upper-tier boxes for a performance of Tristan und Isolde? Not at all, says Michel Poizat, who here guides his readers on a voyage to discover why opera rewards its devotees with such profound pleasure, mingled with equally powerful feelings of horror and loss. His fascinating book, first published in French in 1986, is now available in Arthur Denner's fluid and sensitive English translation. Predictably, Poizat's route is not at all a conventional one. Rather than taking as his point of departure the intentions of composers and librettists, he is primarily concerned with the expectations and desires of the audience. He reports on an informal group interview with overnight standees on the Paris Opera House steps as they compare notes on how opera became an addiction. They are there for a "fix", they agree. How, Poizat asks, does this "monstrous phenomenon", which stretches its interpreters to their absolute limits, captivate its audience, making them oblivious of hard seats or overheated halls and eliciting copious and unashamed tears? Poizat sees the history of opera in terms of the evolution of the voice from song to cry, from verbal expressions of emotion to such wordless outbursts as Lulu's final scream at the end of Alban Berg's opera. Calling on the insights and methods of Lacanian psychoanalysis, he distinguishes mere pleasure from jouissance--pleasure being the joy experienced when one's expectations are satisfied, and jouissance, the climactic high beyond self-control. For Poizat, the quarrel between Gluckistsand Piccinists, the disputes among composers as to which is more important, "le parole" or "la musica", become examples that demonstrate or underscore the differences between pleasure and jouissance. What is the sound of the angel's cry? Poizat believes that the voice-obje Bücher / Fremdsprachige Bücher / Englische Bücher 978-0-8014-2388-8, Cornell University Press

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Details of the book
The Angel's Cry: Beyond the Pleasure Principle in Opera
Author:

Poizat, Michel

Title:

The Angel's Cry: Beyond the Pleasure Principle in Opera

ISBN:

9780801423888

Is "passion" too strong a word to describe what drives people to stand outdoors for a dozen hours or more, regardless of the weather, to purchase fold-out seats behind the upper-tier boxes for a performance of Tristan und Isolde? Not at all, says Michel Poizat, who here guides his readers on a voyage to discover why opera rewards its devotees with such profound pleasure, mingled with equally powerful feelings of horror and loss. His fascinating book, first published in French in 1986, is now available in Arthur Denner's fluid and sensitive English translation. Predictably, Poizat's route is not at all a conventional one. Rather than taking as his point of departure the intentions of composers and librettists, he is primarily concerned with the expectations and desires of the audience. He reports on an informal group interview with overnight standees on the Paris Opera House steps as they compare notes on how opera became an addiction. They are there for a "fix", they agree. How, Poizat asks, does this "monstrous phenomenon", which stretches its interpreters to their absolute limits, captivate its audience, making them oblivious of hard seats or overheated halls and eliciting copious and unashamed tears? Poizat sees the history of opera in terms of the evolution of the voice from song to cry, from verbal expressions of emotion to such wordless outbursts as Lulu's final scream at the end of Alban Berg's opera. Calling on the insights and methods of Lacanian psychoanalysis, he distinguishes mere pleasure from jouissance--pleasure being the joy experienced when one's expectations are satisfied, and jouissance, the climactic high beyond self-control. For Poizat, the quarrel between Gluckistsand Piccinists, the disputes among composers as to which is more important, "le parole" or "la musica", become examples that demonstrate or underscore the differences between pleasure and jouissance. What is the sound of the angel's cry? Poizat believes that the voice-obje

Details of the book - The Angel's Cry: Beyond the Pleasure Principle in Opera


EAN (ISBN-13): 9780801423888
ISBN (ISBN-10): 0801423880
Hardcover
Publishing year: 1992
Publisher: CORNELL UNIV PR
220 Pages
Weight: 0,426 kg
Language: eng/Englisch

Book in our database since 16.03.2007 10:16:58
Book found last time on 19.12.2016 21:09:01
ISBN/EAN: 9780801423888

ISBN - alternate spelling:
0-8014-2388-0, 978-0-8014-2388-8

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