MARC Record from marc_columbia

LEADER: 03712cam a2200541 i 4500
001 14975284
005 20221111172507.0
006 m o d
007 cr cnu---unuuu
008 200402t20202020nyuag ob 001 0 eng d
035 $a(OCoLC)on1147887094
035 $a(NNC)14975284
040 $aYDX$beng$erda$epn$cYDX$dOCLCQ$dUIU$dYDXIT$dOH1$dN$T$dIUL$dCUT$dUKAHL$dQGJ
020 $a9780190915087$q(electronic book)
020 $a0190915080$q(electronic book)
020 $a0190915072$q(electronic book)
020 $a9780190915063$q(electronic book)
020 $a0190915064$q(electronic book)
020 $a9780190915070$q(electronic book)
020 $z9780190915056$q(hardcover)
020 $z0190915056$q(hardcover)
035 $a(OCoLC)1147887094
050 00 $aML1704$b.C78 2020eb
082 04 $a782.1094/09034$223
049 $aZCUA
100 1 $aCruz, Gabriela Gomes da,$d1965-$eauthor.
245 10 $aGrand illusion :$bphantasmagoria in nineteenth-century opera /$cGabriela Cruz.
263 $a2007
264 1 $aNew York, NY :$bOxford University Press,$c[2020]
264 4 $c©2020
300 $a1 online resource (xx, 290 pages) :$billustrations
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
504 $aIncludes bibliographical references and index.
505 0 $aIntroduction. The Modernity of Grand Opera -- Opera and Beauty -- Gaslight and Phantasmagoria at the Opéra -- The Diorama, Apparitions and Dream Image in Robert le Diable -- The Phantom Ship in Der fliegende Holländer and L'Africaine -- The Poetics of Sensation in L'Africaine and Tristan und Isolde -- Aida, Egyptomania and the After-Life of Grand Opera.
520 $a"Grand Illusion is a new history of grand opera as an art of illusion facilitated by the introduction of gaslight illumination at the Académie Royale de Musique (Paris) in the 1820s. It contends that gaslight and the technologies of illusion used in the theater after the 1820s spurred the development of a new lyrical art, attentive to the conditions of darkness and radiance, and inspired by the model of phantasmagoria. Karl Marx, Walter Benjamin and Theodor Adorno have used the concept of phantasmagoria to arrive at a philosophical understanding of modern life as total spectacle, in which the appearance of things supplants their reality. The book argues that the Académie became an early laboratory for this historical process of commodification, for the transformation of opera into an audio-visual spectacle delivering dream-like images. It shows that this transformation began in Paris and then defined opera after the mid-century. In the hands of Giacomo Meyerbeer (Robert le Diable, L'Africaine), Richard Wagner (Der fliegende Holländer, Lohengrin and Tristan und Isolde) and Giuseppe Verdi (Aida), opera became an expanded form of phantasmagoria"--$cProvided by publisher.
588 $aDescription based on online resource; title from web page (Oxford Scholarship Online, viewed on September 18, 2020).
650 0 $aOpera$y19th century.
650 0 $aOpera$xProduction and direction$xHistory$y19th century.
650 7 $aOpera.$2fast$0(OCoLC)fst01046145
650 7 $aOpera$xProduction and direction.$2fast$0(OCoLC)fst01046164
648 7 $a1800-1899$2fast
655 4 $aElectronic books.
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
776 08 $iPrint version:$aCruz, Gabriela Gomes da, 1965-$tGrand illusion.$dNew York : Oxford University Press, 2020$z9780190915056$w(DLC) 2019058678$w(OCoLC)1133663411
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio14975284$zAll EBSCO eBooks
852 $blweb