"Walhall ist Wallstreet" : Geld und Gold in Richard Wagners "Ring des Nibelungen"

Richard Wagner hatte ein gebrochenes Verhältnis zum Geld: Er benötigte viel, hatte aber meist so wenig, dass er auf Pump leben musste. Nicht selten war er auf der Flucht vor seinen Gläubigern. Die Erfindung des Geldes hielt er für einen Sündenfall, das Eigentum für die Wurzel allen Übels. Im »Ring des Nibelungen « spiegelt er im Mythos vom Fluch des Goldes die moderne Erfahrung der Macht des Geldes

Sound-Spelling Correspondences

The introduction to the American Heritage Dictionary contains a list showing the variety of spellings which give particular sounds. Although it gives most of the common spellings, it omits many others. This list is an attempt to fill in the gaps

“Music Evoked Pictures in Her Mind”: Sensory and Artistic Synaesthesia in Kate Chopin’s "The Awakening"

Music dominates Kate Chopin’s literature but in her most acclaimed novel, The Awakening, it becomes a powerful leitmotif that evokes transformation, awareness and initiation. In various ways, Chopin emphasizes the emotional power of music and Edna Pontellier’s awakening is accompanied by music throughout the novel. Nevertheless, critics have surprisingly ignored the decisive role music has in the novel as a sensorial structure and synaesthetic channel in Edna’s rebirth as a new woman in the sense that music is the natural way through which the protagonist channels her emotions and her artistic creativity. This essay explores how Kate Chopin creates in The Awakening an enduring artistic and sensorial synaesthesia, through the extensive use of music, in which one type of sensation triggers another sensorial response in a different perceptual domain. In this way, music, which is the most relevant artistic leitmotif and sensation in the novel, evokes and blends not only images in Edna’s mind, but all types of physical and emotional feelings that contribute in a decisive way to the protagonist’s transcendental metamorphosis

Doppiaggio e immagine culturale

Nella dimensione filmica la comunicazione tra due culture diverse è resa decisamente più agevole dalla compresenza dell'elemento visivo e di quello fonico che comunque aiutano lo spettatore anche quando la lingua dell'originale gli è sconosciuta. Particolarmente semplice dovrebbe quindi risultare il compito del traduttore del copione di un film il cui soggetto si identifichi con situazioni, storie, personaggi appartenenti al paese dove si parla la lingua ad essi propria. Di fatto, in una certa misura, si presenta il problema di una retrotraduzione, che evidenzia la presenza di due difficoltà. Per la presente analisi sono stati presi in considerazione La caduta degli dei (Götterdämmerung) e Roma città aperta (Rom offene Stadt), due classici della storia del cinema

A Concise History of Western Music for Film-makers

The use of music in films has become almost ubiquitous in both drama and documentary. Music is used regularly in cinema, broadcasting and more recently, in interactive media. Yet audiences often criticise makers for its overuse, especially in actuality television. The problem is not merely concerned with the volume and placement of music, but of the internal nature and structure of the musical material itself. This article contextualises the history of western music in a way which may be able to help inform film makers and broadcasters about how music might be used more advantageously to accompany moving pictures

Publications “Playwrights’ Progress: The Evolution of the Play Cycle, from Shaw’s ‘Pentateuch’ to Angels in America

Traces the development of playwright George Bernard Shaw\u27s play cycles. Analysis of his plays Man and Superman , Heartbreak House , and Back to Methuselah ; His belief about the importance of lengthy works; Production difficulties of his plays; Comparison of Shaw\u27s views with play cycles