optic-nerve
发表于 2025-3-23 13:26:22
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Throttle
发表于 2025-3-23 16:31:30
https://doi.org/10.1007/978-3-030-46091-4Italian poets; Italian Opera; 20th century Italy; music and literature; Italian literature; Futurism; infl
Malfunction
发表于 2025-3-23 21:31:52
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byline
发表于 2025-3-23 22:29:01
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Headstrong
发表于 2025-3-24 02:53:45
Introduction, better understanding the relationship between these two art forms. This book focuses on a group of influential twentieth-century poets, who made opera a cornerstone of their artistic craft: D’Annunzio, Saba, Montale, and Caproni. To contextualize these authors’ operatic debts and themes, the introd
ORE
发表于 2025-3-24 06:41:28
,From Bayreuth to Fiume: D’Annunzio, Wagner, and the Death of Italian Opera,ngagement with opera was built on a restless dissatisfaction with its conventions and clichés: harshly critical of contemporary productions, he found that Italian composers did not live up to the ideals established first by the Florentine Camerata. Initially, D’Annunzio pointed to Richard Wagner as
Foregery
发表于 2025-3-24 11:24:51
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随意
发表于 2025-3-24 16:10:44
More Than Words: ,, Opera, and the Miracle of Counter-Eloquence,le’s works are an integral part of his philosophically oriented quest for a new poetic language. In his first book, Montale stated that he was obeying “a need for musical expression” and claimed to be the most “musical” poet of his generation, comparing himself to Pascoli and D’Annunzio. Montale’s m
很是迷惑
发表于 2025-3-24 21:39:03
,Heart of Darkness: Saba’s Operatic Eroticism, ., comprising poems written between 1922 and 1931. This book is dense with quotations from opera librettos, as well as images, motifs, and dramatic situations borrowed from the operatic repertoire. For Saba, the power of these operatic references lay in their ability to convey the conflicting eleme
In-Situ
发表于 2025-3-25 00:59:21
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