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Porté par l'engagement de toute une vie consacrée à l'opéra, l'homme qui s'est trouvé à la tête des plus grandes institutions européennes et s' apprête, après l'Opéra de Paris, à diriger le Teatro Real à Madrid, décide de faire le ménage dans les idées toutes faites sur l'opéra, trop souvent empoussiéré. Selon Gérard Mortier, cet art n'est pas plus un objet décoratif qu'une "distraction": il est résolument politique et le miroir de notre condition humaine. L'opéra donne à entendre quelque chose qui interroge et bouscule, dont on ne sort pas indemne, observe l'auteur. On aura compris, en le lisant, que rien ne remplace le magnétisme de ce qu'il appelle " l'homme chantant", cette grande secousse émotionnelle ne pouvant avoir lieu sinon dans le dispositif théâtral qui place en quelque sorte le spectateur face à lui-même.

Candida Höfer's works have something timeless about them, and opera is perhaps the most timeless cultural delight. Having dedicated a photographic series to the cathedrals of knowledge that are libraries, Höfer in her most recent cycle captures opera houses, the palaces of performing arts. Höfer's earlier pictures of public spaces--libraries, lecture halls, museums, meeting rooms--forever devoid of people, made us sense the presence of those absent. Her opera photographs take us one step beyond: empty foyers, orchestras, stages, wings, and boxes make us imagine both theprotagonists--performers and audience--and the fictitious figures, plots, and places that populate these venues during a night at the opera. In her most recent publication Candida Höfer portrays two Paris opera houses that are exemplary for their age and time: the neoclassicist Palais Garnier (1875), original Phantom of the Opera site, and the modern-style Opéra Bastille (1989).

How had it ever happened here?”, Thomas Pynchon's protagonist Oedipa Maas asks towards the end of his second novel The Crying of Lot 49. This question is taken up in this book to explore Pynchon's novels in the light of constructivist theory. It begins with a detailed reading of The Crying of Lot 49, which is carried into readings of Pynchon's other novels (V., Gravity's Rainbow, Vineland, Mason & Dixon, Against The Day, and Inherent Vice). All are shown to critically deal with the social construction of reality as a central theme, and a development of this theme is traced throughout Pynchon's novels.

The story of how a trinity of California-based creatives pushed the boundaries to re-imagine a radical Tristan und Isolde opera for our times, resulting in a sensational major body of artwork by visionary American artist Bill Viola

This seventh volume in the annual series of Congolese documents compiled by the Centre de Recherche et d'Information Socio-Politiques in Brussels consists of official statements and memoranda, proceedings of conferences, etc. In French, with an English introduction by Herbert Weiss. Originally published in 1967. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Oper als Passion, Oper-Machen als Leidenschaft. Gerard Mortier gilt als einer der bekanntesten und einflussreichsten Opernintendanten des zeitgenössischen Musiktheaters. Zeit seines Lebens stand er für moderne Inszenierungen und die Heranführung eines jungen Publikums an die Oper des 20. Jahrhunderts. Mit diesem Buch zieht er die Summe seines Lebenswerkes und räumt mit den verstaubten Vorstellungen über die Kunstform Oper auf, die für ihn nicht dekoratives Beiwerk war, sondern entschieden politisch und ein Spiegel der condition humaine . Ein anregendes und engagiertes Buch, pointiert formuliert und mit faszinierenden Einblicken in die praktische Theaterarbeit mit den großen Künstlern der Welt.

Candida Höfer's works have something timeless about them, and opera is perhaps the most timeless cultural delight. Having dedicated a photographic series to the cathedrals of knowledge that are libraries, Höfer in her most recent cycle captures opera houses, the palaces of performing arts. Höfer's earlier pictures of public spaces--libraries, lecture halls, museums, meeting rooms--forever devoid of people, made us sense the presence of those absent. Her opera photographs take us one step beyond: empty foyers, orchestras, stages, wings, and boxes make us imagine both theprotagonists--performers and audience--and the fictitious figures, plots, and places that populate these venues during a night at the opera. In her most recent publication Candida Höfer portrays two Paris opera houses that are exemplary for their age and time: the neoclassicist Palais Garnier (1875), original Phantom of the Opera site, and the modern-style Opéra Bastille (1989).

Published to observe the twelfth centenary of the Battle of Roncevaux, the event that inspired the Chanson de Roland, this edition provides the first systematic analysis of the entire poem. Professor Brault's edition also incorporates the considerable scholarly work done in the half century since the Bedier and Jenkins editions appeared. The underlying theme of this new edition is that the poem is a Christian hero. As imagined by the poet Turoldus&—writing about 1100, at the time of the First Crusade&—Roland, the nephew of Charlemagne, had no faults and accomplished mighty deeds in warring against the Saracens. The introduction compares the known historical facts about the Battle of Roncevaux with the Roland legend, with various versions of the poem, and with the Oxford text. Christian thought and sensibility are shown to permeate the Chanson de Roland, in its character portrayal and narrative development, as well as in its tone and diction&—and to provide its thematic unity and metaphorical consistency. Influences of the oral tradition of the chansons de geste are demonstrated, as are evidences of the accompanying gestures used by the jongleurs in interpreting these works. The Commentary organizes discussion of the 4002 verses into 49 units. The method of analysis is eclectic, combining thematic criticism with philology, exegetical interpretation with iconography. The 66 illustrations, primarily from Romanesque works of art, clarify key passages