| 036a | XD-US |
| 037b | eng |
| 087q | 978-0-19-061209-2 |
| 100 | Dorf, Samuel N. ¬[VerfasserIn]¬ |
| 331 | Performing Antiquity |
| 335 | Ancient Greek Music and Dance from Paris to Delphi, 1890-1930 |
| 410 | Oxford |
| 412 | Oxford University Press |
| 425 | 2018 |
| 425a | 2019 |
| 433 | 1 Online-Ressource |
| 451b | Oxford scholarship online |
| 501 | Description based on publisher supplied metadata and other sources |
| 527 | Erscheint auch als (Druck-Ausgabe)ISBN: 978-0-19-061209-2 |
| 540a | ISBN 978-0-19-061212-2 electronic |
| 540a | ISBN 978-0-19-061210-8 electronic |
| 700b | |780.938 |
| 700c | |ML169 |
| 700g | 127069328X AP 83500 |
| 700g | 1270770837 FB 4161 |
| 700g | 1271605686 LG 8100 |
| 700g | 1271421534 LR 53188 |
| 750 | Performing Antiquity tells the captivating story about some of the most intriguing Belle Époque personalities -archaeologists, philologists, classicists, and musicologists - and the dancers, composers, choreographers and musicians who brought their research to life at the birth of Modernism. |
| 753 | Performing Antiquity investigates collaboration between French and American scholars of Greek antiquity (archaeologists, philologists, classicists, and musicologists) and the performing artists (dancers, composers, choreographers, and musicians) who brought their research to life at the birth of modernism. The book tells the story of performances that took place at academic conferences, the Paris Opéra, ancient amphitheaters in Delphi, and private homes. These musical and dance collaborations were built on reciprocity: the performers gained new insight into their craft while leaning new techniques or repertoire, and the scholars got to see theory become practice; that is, they had a chance to see/hear/feel what they had studied and imagined. The performers received the imprimatur of scholarship, the stamp of authenticity, and validation for their creative activities. Drawing from methods and theory from musicology, dance studies, performance studies, queer studies, archaeology, and classics, Performing Antiquity shows how new scholarly methods and technologies altered the performance and ultimately the reception of music and dance of the past. Acknowledging and critically examining the complex relationship performers and scholars had with the pasts they studied does not undermine their work. Rather, understanding their own limits, dreams, obsessions, desires, loves, and fears enriched the ways they performed the past. |
| 756 | Cover -- Performing Antiquity -- Copyright -- Contents -- List of Figures -- List of Music Examples -- Acknowledgments -- 1 Musicology, Archaeology, Performance: Models and Methods -- 2 Gabriel Fauré and Théodore Reinach: Hidden Pianos and L'Hymne à Apollon -- 3 Performing Sappho's Fractured Archive, or Listening for the Queer Sounds in the Life and Works of Natalie Clifford Barney -- 4 Performing Scholarship for the Paris Opéra: Maurice Emmanuel's Salamine (1929) -- 5 "To Give Greece Back to the Greeks": Archaeology, Ethnography, and Eva Palmer Sikelianos's Prometheus Bound -- 6 Scholars and Their Objects of Study -- or, Loving Your Subject -- Notes -- Bibliography -- Index |
| 902g | 208922857 Frankreich |
| 902g | 208942076 Großbritannien |
| 902s | 209165146 Wissenschaftler |
| 902s | 209001941 Künstler |
| 902g | 208941401 Griechenland |
| 902s | 209174544 Antike |
| 902s | 209042346 Musik |
| 902s | 209129018 Tanz |
| 902s | 20966634X Rekonstruktion |
| 902z | |Geschichte 1890-1930 |
| 012 | 516481940 |
| 081 | Dorf, Samuel N.: Performing Antiquity |
| 100 | E-Book Oxford |
| 125a | Elektronischer Volltext - Campuslizenz |
| 655e | $uhttp://dx.doi.org/10.1093/oso/9780190612092.001.0001 |
