Giovanni Paisiello's Barber of Seville, although no longer an opera that is frequently performed, was very popular in the eighteenth and early nineteenth centuries. Based on a play by Pierre-Augustin Caron de Beaumarchais, Le barbier de Seville (1775), was translated into many different languages, and performed by companies all over Europe and America. Paisiello's work was so successful that Mozart, inspired by the idea, wrote a sequel in 1786, The Marriage of Figaro in collaboration with Da Ponte. When Rossini presented his own version of Barber of Seville in Rome in 1816, the public hissed with indignation and outrage to demonstrate a predilection for Paisiello. Giovanni Paisiello (1740 - 1816) was a Neapolitan composer who worked at St. Petersburg, Russia from 1776 - 1784 in the court of Catherine II where he was appointed Kapelmeister of Italian opera. The composer chose the French play by Beaumarchais as his point of departure, having it adjusted and rewritten in Italian verse in order to please his patroness. Due to the restrictions set upon the duration of the spectacle and the subject matter, the comedy was shortened and its socio-political critique eliminated. Thus Le barbier de Seville, which the Empress essentially considered democratizing and harmful to the absolute monarchy, was transformed into an opera buffa, Il barbiere di Siviglia, that involved harmless clowning. Il barbiere is significant because its creation demonstrates how Italian opera buffa became a vehicle to distract the public from considering the issues that were in the air prior to the French Revolution. This thesis examines the many contradictory factors involved in allowing this sort of entertainment at the Imperial Court. The study explores Catherine the Great and her character, as well as her clever ability to maintain a successful image as an Enlightened Despot. The differences and similarities between the French play and the Italian libretto are surveyed in order to demonstrate the simplifications that had to be made. A discussion treating the shift of focus that resulted by moving attention away from Figaro toward Dr. Bartholo, will indicate how the play was transformed into a libretto which proved to be emasculated and irregular. The music and how the composer dealt with the text will be discussed. Paisiello's buffo characterization of the old miserly doctor will be considered through use of musical examples. Additionally, the composer's setting of ensembles will be examined given their particular prominence in this work. The use of unifying elements will also be surveyed. The ideas of the era of Enlightenment affected both the bourgeoisie and the aristocracy. However, each group interpreted education and rationalism in its own way. While the members of the middle class attempted to change the structure of society (ancien regime), the authorities needed to maintain it. Through Italian opera buffa, however, both seemed to find the middle ground for compromise. It was acceptable because it was musical theatre that was made to appear harmless. / Arts, Faculty of / Music, School of / Graduate

Texte remanié : thesis Ph. D. : ? : University of Texas at Austin : 1999 : The public Sade: Les crimes de l'amour in context. / Bibliogr. p. [215]-223. Index.

Diss.--Philosophische Fakultät I--Friedrich-Alexander-Universität Erlangen-Nürnberg, 1984.

Orientador: Luiz Roberto Monzani / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T19:18:19Z (GMT). No. of bitstreams: 1 Joaquim_AnaCristina_M.pdf: 815425 bytes, checksum: 750c6d509dc25ba6d6987ef757c0e304 (MD5) Previous issue date: 2011 / Resumo: A problemática discursiva na qual se insere a obra de Donatien Alphonse François de Sade (Marquês de Sade: 1740-1814) é considerada mediante os aspectos filosóficos e literários dos quais se compõem os seus textos. Levando em conta o romance filosófico enquanto gênero frequentemente praticado entre diversos autores do século XVIII francês que, como Voltaire, Diderot e Rousseau - para citar os mais expressivos - almejavam o largo alcance de suas idéias mediante a popularização da filosofia, pretende-se complexificar esse intento em Sade. Uma vez que no caso do Marquês existe a dificuldade ou impossibilidade de transposição do seu pensamento para o campo da política e da moral (dada a precedência do prazer em detrimento de uma convivência pacífica, e até mesmo em detrimento da vida - valores caros a qualquer comunidade política), considera-se de grande importância o caráter fictício de seus escritos: de acordo com o ponto de vista proporcionado pela ficção, descortina-se uma nova leitura de proposta política e moral em sua obra. Para tanto, tomam-se emprestadas algumas noções da hermenêutica Ricoeuriana, entre elas, a idéia de uma 'ontologia da obra de arte'; a noção de fictício de Wolfagang Iser; e as noções de verdade e interpretação de Luigi Pareyson; diretrizes que desembocam numa idéia de ficção tanto como ação política, quanto como forma de conhecimento. Pensar a obra sadiana mediante os artifícios ficcionais possibilita, assim, uma redimensionalização da sua filosofia. Os textos de Sade mais frequentemente utilizados para o propósito foram Nota sobre romances e Os 120 dias de Sodoma, além dos circunstancialmente evocados: A filosofia na alcova, Histoire de Juliette, Diálogo entre um padre e um Moribundo e Os infortúnios da virtude / Abstract: The problematic discoursive in which falls the work of Donatien Alphonse François de Sade (Marquis de Sade: 1740-1814) is regarded by the literary and philosophical aspects of which are composed his texts. Taking into account the philosophical novel as a genre often practiced among many authors of the french eighteenth century who, like Voltaire, Diderot and Rousseau - to name the most significant - longed for the wide reach of their ideas through the popularization of philosophy, it is necessary to problematize this intent on Sade. Since in the case of the Marquis there is the difficulty or impossibility of transposing their thinking to the field of politics and morality (as since he gives precedence over the pleasure of a peaceful coexistance, and even at the expense of life - values appreciated to any political community), it is very important the fictitious character of his writings, according to the view afforded by fiction, opens up a new reading of politics and moral proposal of his work. For that, it is necessary to take some borrowed notions of Ricoeur's hermeneutics, among them, the idea of an 'ontology of the artwork', the notion of fictitious of Wolfagang Iser, and the notions of truth and interpretation of Luigi Pareyson; guidelines that lead an idea of fiction as much as political action, and as a form of knowledge. To think Sade's work through the fictional devices enables thus a re-reading of his philosophy. Sade's texts most often used for the purpose of note were the An Essay on Novels and The 120 Days of Sodom, in addition to the evoked eventually: Philosophy in the Bedroom, Histoire de Juliette, Dialogue between a Priest and a Dying Man and The Misfortunes of the Virtue / Mestrado / Historia da Filosofia / Mestre em Filosofia

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James Boswell (1740-1795), biographer of Samuel Johnson and lifelong diarist, provided one of the most detailed descriptions of eighteenth-century London life in his <i>London Journal: 1762-1763</i>. In it, Boswell chronicled his self-conscious attempts to refashion himself from the uncultivated Scottish youth that he worried he was into the refined London gentleman he desperately wanted to become. Moving to London at a time when Post-Union Britain was supposedly ushering in a new era of Britishness, Boswells musings offer a different perspective, one in which nationalism specifically, English and Scottish nationalism played an important role in Boswells quest to construct his idealized genteel identity. Examinations of Boswells <i>Journal</i> reveal important insight into his views on national identity, masculinity, and the city of London itself, as well as how all of these aspects relate to each other in shaping Boswells quest to shape his character.

James Boswell (1740-1795), biographer of Samuel Johnson and lifelong diarist, provided one of the most detailed descriptions of eighteenth-century London life in his <i>London Journal: 1762-1763</i>. In it, Boswell chronicled his self-conscious attempts to refashion himself from the uncultivated Scottish youth that he worried he was into the refined London gentleman he desperately wanted to become. Moving to London at a time when Post-Union Britain was supposedly ushering in a new era of Britishness, Boswells musings offer a different perspective, one in which nationalism specifically, English and Scottish nationalism played an important role in Boswells quest to construct his idealized genteel identity. Examinations of Boswells <i>Journal</i> reveal important insight into his views on national identity, masculinity, and the city of London itself, as well as how all of these aspects relate to each other in shaping Boswells quest to shape his character.

Texte remanié de: Ph. D.--Hist.--Princeton University, 2005. / Bibliogr. p. 542-559.

Inaug.-diss.--Greifswald. / At head of title: Deutsche geschichte. Lebenslauf. "Literatur": p. [6]-7.

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