伙伴
发表于 2025-3-25 05:58:18
,Poetry and the Beast: Giorgio Caproni’s Simulations of Opera,nd aspiring composer, Caproni eventually abandoned musical studies and turned to poetry. But he would still make music the centerpiece of both his fiction and his theoretical writings: in his later, most ambitious collections—. (1975), . (1982), and . (1986)—Caproni sought to imitate opera through t
Spirometry
发表于 2025-3-25 10:14:57
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和平主义
发表于 2025-3-25 15:23:45
Book 2020ence and sheds light on their role in shaping that great poetic tradition. This is the first work in English to analyze the influence of opera on modern Italian poetry, uncovering a fundamental but neglected relationship between the two art forms. A group of Italian poets, from Gabriele D’Annunzio t
Gudgeon
发表于 2025-3-25 16:59:56
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傲慢人
发表于 2025-3-25 20:59:05
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Barrister
发表于 2025-3-26 00:26:18
Conclusions, These poets did not use operatic tropes as mere poetic ornamentation, but engaged with operatic themes and with the language of librettos in the hopes of overcoming the expressive limitations of lyrical poetry.
流浪者
发表于 2025-3-26 04:44:57
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责难
发表于 2025-3-26 12:12:33
Socially Responsible Investing,usical ambition came to pervade his language of antagonism toward his predecessors. His poetic aspiration was to penetrate more fully into the essence of the phenomenal world than these predecessors had, and he saw music—in particular opera—as his means to accomplish this goal.
动作谜
发表于 2025-3-26 15:05:04
https://doi.org/10.1007/978-3-658-15340-3nts of his soul—most notably, his sexuality. These references manifested his inner conflicts by allowing the poet to stage mini-dramas within his works, using familiar refrains (from popular operas) for his own recurring themes, in particular the “mending” of his broken heart, a metonym of his neuroses and conflicted identity.
Constrain
发表于 2025-3-26 17:52:45
https://doi.org/10.1007/978-3-031-27864-8 By addressing this dissatisfaction through developing thematics of opera, Montale begins to aspire to a new form of tragedy, one that has its roots in ancient Greek theater, but that can be applied to the atrocities of the twentieth century.