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  ▼a  9780190915087
  ▼q  (electronic book)

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  ▼a  0190915080
  ▼q  (electronic book)

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  ▼a  0190915072
  ▼q  (electronic book)

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  ▼a  9780190915063
  ▼q  (electronic book)

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  ▼a  0190915064
  ▼q  (electronic book)

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  ▼a  9780190915070
  ▼q  (electronic book)

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  ▼z  9780190915056
  ▼q  (hardcover)

• 020

  ▼z  0190915056
  ▼q  (hardcover)

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  ▼a  2576093
  ▼b  (N$T)

• 035

  ▼a  (OCoLC)1147887094

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  ▼a  YDX
  ▼b  eng
  ▼c  YDX
  ▼d  UIU
  ▼d  OH1
  ▼d  OCLCQ
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  ▼a  MAIN

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  ▼a  ML1704
  ▼b  .C78 2020eb

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  ▼a  782.1094/09034
  ▼2  23

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  ▼a  Cruz, Gabriela Gomes da,
  ▼d  1965-,
  ▼e  author.

• 245

  ▼a  Grand illusion:
  ▼b  phantasmagoria in nineteenth-century opera /
  ▼c  Gabriela Cruz.

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  ▼a  New York, NY:
  ▼b  Oxford University Press,
  ▼c  [2020].

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  ▼a  2007

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  ▼a  1 online resource:
  ▼b  illustrations, music.

• 336

  ▼a  text
  ▼b  txt
  ▼2  rdacontent

• 337

  ▼a  computer
  ▼b  c
  ▼2  rdamedia

• 338

  ▼a  online resource
  ▼b  cr
  ▼2  rdacarrier

• 504

  ▼a  Includes bibliographical references and index.

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  ▼a  Introduction. The Modernity of Grand Opera -- Opera and Beauty -- Gaslight and Phantasmagoria at the Opéra -- The Diorama, Apparitions and Dream Image in Robert le Diable -- The Phantom Ship in Der fliegende Holländer and L'Africaine -- The Poetics of Sensation in L'Africaine and Tristan und Isolde -- Aida, Egyptomania and the After-Life of Grand Opera.

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  ▼a  "Grand Illusion is a new history of grand opera as an art of illusion facilitated by the introduction of gaslight illumination at the Académie Royale de Musique (Paris) in the 1820s. It contends that gaslight and the technologies of illusion used in the theater after the 1820s spurred the development of a new lyrical art, attentive to the conditions of darkness and radiance, and inspired by the model of phantasmagoria. Karl Marx, Walter Benjamin and Theodor Adorno have used the concept of phantasmagoria to arrive at a philosophical understanding of modern life as total spectacle, in which the appearance of things supplants their reality. The book argues that the Académie became an early laboratory for this historical process of commodification, for the transformation of opera into an audio-visual spectacle delivering dream-like images. It shows that this transformation began in Paris and then defined opera after the mid-century. In the hands of Giacomo Meyerbeer (Robert le Diable, L'Africaine), Richard Wagner (Der fliegende Holländer, Lohengrin and Tristan und Isolde) and Giuseppe Verdi (Aida), opera became an expanded form of phantasmagoria"--
  ▼c  Provided by publisher.

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  ▼a  Description based on online resource; title from web page (Oxford Scholarship Online, viewed on September 18, 2020).

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  ▼a  Master record variable field(s) change: 050

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  ▼a  1800-1899
  ▼2  fast

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  ▼a  Opera
  ▼y  19th century.

• 650

  ▼a  Opera
  ▼x  Production and direction
  ▼x  History
  ▼y  19th century.

• 650

  ▼a  Opera.
  ▼2  fast
  ▼0  (OCoLC)fst01046145

• 650

  ▼a  Opera
  ▼x  Production and direction.
  ▼2  fast
  ▼0  (OCoLC)fst01046164

• 655

  ▼a  History.
  ▼2  fast
  ▼0  (OCoLC)fst01411628

• 655

  ▼a  Electronic books.

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  ▼i  Print version:
  ▼a  Cruz, Gabriela Gomes da, 1965-
  ▼t  Grand illusion.
  ▼d  New York : Oxford University Press, 2020,
  ▼z  9780190915056
  ▼w  (DLC) 2019058678
  ▼w  (OCoLC)1133663411

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  ▼a  NA000000
  ▼b  00000140

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  ▼3  EBSCOhost
  ▼u  https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2576093

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  ▼a  YBP Library Services
  ▼b  YANK
  ▼n  16711893

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  ▼a  EBSCOhost
  ▼b  EBSC
  ▼n  2576093

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  ▼a  최영란

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  ▼a  eBook

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  ▼a  92
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