Revision of thesis (Ph.D.)--Universität Göteborg, 2004. / Includes bibliographical references (p. 673-703).

Universiẗat, Diss., 2003--München.

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The Italian seicento has been considered a dead century by many literary scholars. As this study demonstrates, such a conclusion ignores important literary developments in the field of librettology. Indeed, the seventeenth-century operatic libretto stands as a monument to literary invention. Critical to the development of this new literary genre was the prologue, which provided writers with a context in which to experiment and achieve literary transcendence. This study identifies approximately 260 dramatic works written in Venice between the years 1637 and 1682, drawn together for the first time from three sources: librettos in the Drammaturgia di Leone Allacci accresciuta e continuata fino all'anno MCDDLV; the musical manuscripts listed in the Codici Musicali Contariniani; and a chronological list of seventeenth-century Venetian operas found in Cristoforo Ivanovich's Minerva al Tavolino. Of the 260 Venetian works identified, over 98 begin with self-contained prologues. This discovery alone warrants a reconsideration of the seventeenth-century Italian libretto and the emergence of the dramatic prologue as a new and important literary genre.

We compare the features of drama and libretto, based on the text The Makropulos Affair by Karel Čapek (drama) and Leoš Janáček (libretto). We would like to show not only common dramatic features, but also the specific librettist features, which Janáček used by transformation Čapek's drama into opera libretto. We demonstrated, that dramatic features are in libretto at the level of structure and the specific librettist features are at the level of story, single figures and its constellation. The analysis confirmed the preliminary hypotheses.

Student Number : 0318162X - MA research report - School of Literature and Language Studies - Faculty of Humanities / This Research Report comprises the preface to an opera libretto based on the English translation by Charles Eglington (1964) of Etienne Leroux’s novel Seven Days at the Silbersteins (1962), and the libretto itself. In the preface I discuss the genre of operatic libretto and the literary and personal context in which Leroux worked, by way of explaining why Seven Days made such a compelling challenge to adapt as libretto. I consider some of the issues involved in transposing a rambling allegorical narrative produced in Afrikaans in the 1960s in the lineage of the plaasroman, into a tighter postapartheid discourse in English in the 2000s, one that creates space for live music, singing, acting, staging, setting and pre-recorded audio-visuals – some of which take over the ‘layered’ significations of Leroux’s earlier literary discourse. A work of great poetic resonance in the original language (beautifully captured by poet and critic Charles Eglington in translation), this surrealist novel, so rooted in cultural and ideological tropes unique to Leroux’s time and yet presented by him as if they belonged to a timeless world, presents opportunities for a new kind of realisation as an operatic text in our own time.

Thesis (Ph.D.)--Tampereen yliopisto, 2004. / Includes bibliographical references (p. 253-263) and discography (p. 251-252). Also available online.

Univ. Köln, Diss., 2007 (überarb.).

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2722. Adviser: John Walter Hill. Includes bibliographical references (leaves 187-193) Available on microfilm from Pro Quest Information and Learning.

<p>Validerat; 20130513 (global_studentproject_submitter)</p>