Kirjahaku

Aubrey Beardsley and British Wagnerism in the 1890s is an interdisciplinary study of the influence of the operas, writing, and personality of Richard Wagner (1813-1883) on the work of Aubrey Beardsley (1872-1898). Examining Beardsley's drawings and prose of the 1890s the study considers the ways in which Wagner's works were appropriated by this seminal figure of the British decadent movement. Despite recent critical interest in Beardsley and the 'fin-de-siècle', and considerable research on Wagnerism, Aubrey Beardsley and British Wagernism in the 1890s is the first study in English to consider at length Wagner's presence in Beardsley's work. Beardsley combined allusions to the German composer with many of the touchstones of decadent art - the exotic, the morbid, the erotic, and the mannered. In exploring Beardsley's often iconoclastic versions - or perversions - of Wagner's work Aubrey Beardsley and British Wagernism in the 1890s aims to investigate the role of Wagnerism with 'fin-de-siècle' British culture, in particular the relations between Wagnerism and contemporary decadence.

Virginia Woolf, by her own admission, spent her 'youth' in Covent Garden Opera House, as an adult listened almost daily to recordings and broadcasts of classical music, and stated, in 1940, that 'I think of all my books as music before I write them,' This groundbreaking study explores the formative influence of classical music on Woolf's writing, illustrating the importance of music to Woolf's domestic, social and creative lives. Discussing all the novels as well as selected essays and short fiction, Emma Sutton offers detailed commentaries on Woolf's numerous allusions to classical repertoire and to composers including Bach, Mozart, Beethoven and Wagner. Sutton explores Woolf's interest in the politics of music, illustrating Woolf's attention to nationalism, class, anti-Semitism and gender in her portraits of musical performance and consumption. The study also examines Woolf's responses to musical aesthetics, exploring the way in which genres including Romantic opera and the string quartet influenced the structure and formal qualities of Woolf's prose. The analysis of music's role in Woolf's aesthetics and fiction is complemented by critical discussion of her musical education, her extensive consumption of music at public performances and at home, and her friendships and acquaintance with musicians including Ethel Smyth, Nadia Boulanger, Ralph Vaughan Williams and Bruno Walter. In addition, Woolf's enduring, protean interest in music is contextualised within the aesthetic experiments of the Bloomsbury group and her Modernist contemporaries. Key Features *The first book-length study on Woolf and (classical) music, incorporating groundbreaking research *Innovative close readings of all Woolf's novels, and of selected essays and short fiction; unprecedented extended readings of the musical allusions and sub-texts *Places the fiction in fresh biographical, aesthetic and socio-political contexts (eg explores relations between the novels, pre-war musicology and nationalism) *Accessibly written: aimed at advanced undergraduates as well as postgraduates and the scholarly community

The king is dead. With war hanging treacherously over the allies of the western kingdom of Ethor, Daria, the ward of Queen Lucia, finds herself struggling to stay ahead of political intrigue and a pending marriage to an affectionate, patronizing Grand Duke. She throws herself into heading an undercover operation to rescue young women from the same horrors of her own childhood, but even her dreams of running a safe haven for the girls come to a halt when the return of the queen's runaway son draws a new threat from the past. Tangled in secrets, greed, and murder, Daria must enlist in an unlikely alliance to protect her girls and stop a growing power from the south as truths about her own history surface and bind her and everything she loves to the fate of the Continent.

This study is a groundbreaking investigation into the formative influence of music on Virginia Woolf's writing. In this unique study Emma Sutton discusses all of Woolf's novels as well as selected essays and short fiction, offering detailed commentaries on Woolf's numerous allusions to classical repertoire and to composers including Bach, Mozart, Beethoven and Wagner. Sutton explores Woolf's interest in the contested relationship between politics and music, placing her work in a matrix of ideas about music and national identity, class, anti Semitism, pacifism, sexuality and gender. The study also considers the formal influence of music - from fugue to Romantic opera - on Woolf's prose and narrative techniques. The analysis of music's role in Woolf's aesthetics and fiction is contextualized in accounts of her musical education, activities as a listener, and friendships with musicians; and the study outlines the relationship between her 'musicalized' work and that of contemporaries including Joyce, Lawrence, Forster, Mansfield and Eliot. It analysis of music, national identity and war in The Voyage Out, Jacobs Room and Mrs Dalloway. It offers a close reading of Wagner's influence on the plot and narrative techniques of The Voyage Out. It analysis of music and philo and anti Semitism in The Years. It offers innovative reading of the 'fugal' structure of Mrs Dalloway.