Skip to main content Accessibility help
×
Home
Hostname: page-component-99c86f546-n7x5d Total loading time: 0.676 Render date: 2021-12-07T22:59:57.837Z Has data issue: true Feature Flags: { "shouldUseShareProductTool": true, "shouldUseHypothesis": true, "isUnsiloEnabled": true, "metricsAbstractViews": false, "figures": true, "newCiteModal": false, "newCitedByModal": true, "newEcommerce": true, "newUsageEvents": true }

Select Bibliography

Published online by Cambridge University Press:  24 August 2018

Harriet Boyd-Bennett
Affiliation:
University of Nottingham
Get access
Type
Chapter
Information
Opera in Postwar Venice
Cultural Politics and the Avant-Garde
, pp. 206 - 218
Publisher: Cambridge University Press
Print publication year: 2018

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Abbate, Carolyn. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton: Princeton University Press, 1991.CrossRefGoogle Scholar
Abbate, Carolyn. ‘Debussy’s Phantom Sounds’. Cambridge Opera Journal 10/1 (1998): 6796.CrossRefGoogle Scholar
Abbate, Carolyn. In Search of Opera. Princeton: Princeton University Press, 2001.Google Scholar
Abbiati, Franco. ed. Giuseppe Verdi. Milan: Teatro alla Scala, 1951.Google Scholar
Abbiati, Franco. Giuseppe Verdi, 4 vols. Milan: Ricordi, 1959.Google Scholar
Adamson, Walter. Avant-Garde Florence: From Modernism to Fascism. Cambridge: Harvard University Press, 1993.CrossRefGoogle Scholar
Adlington, Robert, ed. Red Strains: Music and Communism Outside the Communist Bloc. Oxford: Oxford University Press/British Academy, 2013.CrossRefGoogle Scholar
Adorno, Theodor W.Bourgeois Opera’ (1955). Reprinted in Levin, David, ed. and trans. Opera Through Other Eyes. Stanford: Stanford University Press, 1994, 2543.Google Scholar
Adorno, Theodor W. and Horkheimer, Max. Essays on Music. Edited by Leppert, Richard. Berkeley: University of California Press, 2002.Google Scholar
Adorno, Theodor W. and Horkheimer, Max. Quasi una Fantasia: Essays on Modern Music. Translated by Livingstone, Rodney. London: Verso, 2002 [1963].Google Scholar
Adorno, Theodor W. and Horkheimer, Max. Philosophy of New Music. Edited and translated by Hullot-Kentor, Robert. Minneapolis: University of Minnesota Press, 2006 [1947].Google Scholar
Adorno, Theodor W. and Horkheimer, Max. Dialectic of Enlightenment. Translated by Jephcott, Edmund. Stanford: Stanford University Press, 2002 [1947].Google Scholar
Agamben, Giorgio. Homo Sacer: Sovereign Power and Bare Life. Translated by Heller-Roazen, Daniel. Stanford: Stanford University Press, 1998.Google Scholar
Agamben, Giorgio. State of Exception. Translated by Attell, Kevin. Chicago: University of Chicago Press, 2005.CrossRefGoogle Scholar
Albertoni, Ettore, Antonini, Ezio and Palmieri, Renato, eds. La generazione degli anni difficili. Bari: Laterza, 1962.Google Scholar
Albright, Daniel, ed. Modernism and Music: An Anthology of Sources. Chicago: University of Chicago Press, 2004.Google Scholar
Alexander, Tamsin. ‘Tales of Cultural Transfer: Russian Opera Abroad, 1866–1906’. Dissertation: University of Cambridge, 2015.
Alloway, Lawrence. The Venice Biennale, 1895–1968: From Salon to Goldfish Bowl. London: Faber and Faber, 1969.Google Scholar
D’Amico, Federico. I casi della musica. Milan: Il Saggiatore, 1962.Google Scholar
Anderson, Perry. The New Old World. London: Verso, 2009.Google Scholar
Andriessen, Louis and Schönberger, Elmer. The Apollonian Clockwork: On Stravinsky. Translated by Hamburg, Jeff. Oxford: Oxford University Press, 1989.Google Scholar
Angelis, Augusto De. Le sette picche doppiate. Romanzo poliziesco. Con una prefazione sul romanzo ‘giallo’, ‘Il romanzo “giallo”. Confessioni e meditazioni’. Milan: Sonzogno, 1940.Google Scholar
D’Annunzio, Gabriele. Il fuoco. Milan: Mondadori, 1989 [1900].Google Scholar
Antonello, Pierpaolo and Mussgnug, Florian, eds. Postmodern Impegno: Ethics and Commitment in Contemporary Italian Culture. Oxford: Peter Lang, 2009.Google Scholar
Ascoli, Albert Russell and von Henneberg, Krystyna, eds. Making and Remaking Italy: The Cultivations of National Identity around the Risorgimento. Oxford: Berg, 2001.Google Scholar
Barański, Zygmunt G. and Lumley, Robert, eds. Culture and Conflict in Postwar Italy: Essays on Mass and Popular Culture. London: Palgrave Macmillan, 1990.CrossRefGoogle Scholar
Barański, Zygmunt G. and West, Rebecca J., eds. The Cambridge Companion to Modern Italian Literature. Cambridge: Cambridge University Press, 2008 [2001].Google Scholar
Barbato, Andrea, ed. Avanguardia e neo-avanguardia. Milan: Sugar, 1966.Google Scholar
Baroni, Francesco. ‘Idealism and Magic in 20th Century Italy (1910–1940): How Italian Scholars Discovered Western Esotericism’ (2012). Available online: https://contern.org//.
Barthes, Roland. S/Z. Translated by Miller, Richard. New York: Hill and Wang, 1974 [1973].Google Scholar
Basini, Laura. ‘Remembering Verdi in Post-War Italian Film’. In Seta, Fabrizio Della, Marvin, Roberta Montemorra and Marica, Marco, eds. Verdi 2001, vol. 2. Florence: Leo S. Olschki Editore, 2003, 671–9.Google Scholar
Benedictis, Angela Ida De and Mastinu, Giorgio, eds. Intolleranza 1960: a cinquant’anni dalla prima assoluta. Venice: Marsilio, 2011.Google Scholar
Ben-Ghiat, Ruth. Fascist Modernities: Italy, 1922–1945. Berkeley: University of California Press, 2004.Google Scholar
Benjamin, Walter. Illuminations: Essays and Reflections. Edited by Arendt, Hannah and translated by Zorn, Harry. London: Pimlico, 1999.Google Scholar
Benvenuti, Stefano and Rizzoni, Gianni. Il romanzo giallo: storia, autori e personaggi. Milan: Mondadori, 1979.Google Scholar
Berio, Luciano. Two Interviews: With Rossana Dalmonte and Bálint András Varga. London: Marion Boyars, 1985.Google Scholar
Bernardoni, Virgilio and Pestelli, Giorgio, eds. Suona, parola, scena: studi e testi sulla musica italiana nel Novecento. Alessandria: Edizioni dell’Orso, 2003.Google Scholar
Bernstein, Michael André. Foregone Conclusions: Against Apocalyptic History. Berkeley: University of California Press, 1994.Google Scholar
Biancolli, Louis. Serge Prokofieff and His Orchestral Music. New York: The Philharmonic-Symphony Society of New York, 1955.Google Scholar
Billiani, Francesca and Sullis, Gigliola, eds. The Italian Gothic and Fantastic: Encounters and Rewritings of Narrative Tradition. Madison: Fairleigh Dickinson University Press, 2007.Google Scholar
Blanco, María del Pilar and Peeren, Esther, eds. The Spectralities Reader: Ghosts and Haunting in Contemporary Cultural Theory. London: Bloomsbury, 2013.Google Scholar
Borelli, Enzo, ed. Atti del Quinto Congresso di musica. Florence: Barbera, 1948.Google Scholar
Bosworth, R. J. B.Venice between Fascism and International Tourism, 1911–45’. Modern Italy 4/1 (1999): 523.CrossRefGoogle Scholar
Bosworth, R.J.B. Italian Venice: A History. New Haven: Yale University Press, 2014.CrossRefGoogle Scholar
Bosworth, R. J. B. and Dogliani, Patrizia, eds. Italian Fascism: History, Memory and Representation. London: Macmillan, 1999.CrossRefGoogle Scholar
Boyd, Harriet. ‘Futurism in Venice, Crisis and la musica dell’avvenire, 1924’. Journal of California Italian Studies 4/1 (2014).Google Scholar
Boym, Svetlana. The Future of Nostalgia. New York: Basic Books, 2001.Google Scholar
Brett, Philip. Music and Sexuality in Britten: Selected Essays. Edited by Haggerty, George. Berkeley: University of California Press, 2006.CrossRefGoogle Scholar
Brusatin, Manlio, ed. Venezia e lo spazio scenico. Venice: La Biennale di Venezia, 1980.Google Scholar
Budden, Julian. The Operas of Verdi, vol. 1. London: Cassell, 1973.Google Scholar
Bürger, Peter. Theory of the Avant-Garde. Minneapolis: University of Minnesota Press, 2009 [1974].Google Scholar
Bürger, Peter. ‘Avant-Garde and Neo-Avant-Garde: An Attempt to Answer Certain Critics of Theory of the Avant-Garde’. Translated by Brandt, Bettina and Purdy, Daniel. New Literary History 41/1 (Autumn 2010): 695715.CrossRefGoogle Scholar
Butler, Christopher. After the Wake: An Essay on the Contemporary Avant-Garde. Oxford: Clarendon Press, 1980.Google Scholar
Butler, Christopher. Postmodernism: A Very Short Introduction. Oxford: Oxford University Press, 2002.Google Scholar
Buzzati, Dino. Paura alla Scala. Milan: Mondadori, 2011 [1949].Google Scholar
Calvino, Italo. Invisible Cities. Translated by Weaver, William. London: Vintage, 1997 [1972].Google Scholar
Calvino, Italo. Saggi, 1945–1985, vol. 1. Edited by Barenghi, Mario. Milan: Mondadori, 1995.Google Scholar
Caputo, Simone and Maras, Alessandro, eds. “Who Can Turn the Skies Back and Begin Again?” Nove studi su Benjamin Britten. Rome: Libreria Musicale Italiana, 2015.Google Scholar
Carnevale, Francesco and Baldasseroni, Alberto. Mal da lavoro. Storia della salute dei lavoratori. Rome-Bari: Laterza, 1999.Google Scholar
Carpenter, Humphrey. Benjamin Britten: A Biography. London: Faber and Faber, 1993 [1992].Google Scholar
Carvalho, Mário Vieira de. ‘Towards Dialectic Listening: Quotation and Montage in the Work of Luigi Nono’. Contemporary Music Review 18/2 (1999): 3785.CrossRefGoogle Scholar
Casella, Alfredo. Igor Strawinski. Rome: A. F. Formiggini, 1926.Google Scholar
Casella, Alfredo. Strawinski. Brescia: La Scuola, 1951.Google Scholar
Cenzato, Giovanni. Itinerari verdiani. Parma: Ceschina, 1955 [1949].Google Scholar
Chirumbolo, Paolo, Moroni, Mario and Somigli, Luca, eds. Neoavanguardia: Italian Experimental Literature and Arts in the 1960s. Toronto: University of Toronto Press, 2010.CrossRefGoogle Scholar
Chowrimootoo, Christopher. Middlebrow Modernism: Britten’s Operas and the Great Divide. Berkeley: University of California Press, 2018.
Civra, Ferruccio and Tammaro, Ferruccio, eds. Musica in scena: storia dello spettacolo musicale, vol. 6. Turin: Unione, 1997.Google Scholar
Clover, Carol. ‘Her Body, Himself: Gender in the Slasher Film’. Representations 20 (Fall 1987): 187228.CrossRefGoogle Scholar
Coli, D. Croce, Laterza e la cultura europea. Bologna: Il Mulino, 2002 [1983].Google Scholar
Corte, Andrea Della. L’interpretazione musicale e gli interpreti. Turin: UTET, 1951.Google Scholar
Craft, Robert. Stravinsky: Chronicle of a Friendship, 1948–1971. New York: Vanderbilt University Press, 1994 [1971].Google Scholar
Craft, Robert. ed. Stravinsky: Selected Correspondence, vol. 2. London: Faber and Faber, 1984.Google Scholar
Craft, Robert. and Stravinsky, Vera, eds. Stravinsky in Pictures and Documents. London: Hutchinson & Co., 1979.Google Scholar
Crainz, Guido. Storia del miracolo italiano. Rome: Donzelli, 2005.Google Scholar
Cresti, Renzo, ed. Venezia: autori, musiche e situazioni. Bologna: Quaderni di Octandre, 1993.Google Scholar
Croce, Benedetto. Storia d’Italia dal 1871 al 1951. Bari: Laterza, 1928.Google Scholar
Croce, Benedetto. La storia come pensiero e come azione. Bari: Laterza, 1939.Google Scholar
Croce, Benedetto. Scritti e discorsi politici (1943–47), 2 vols. Bari: Laterza, 1963.Google Scholar
Crovi, Raffaele. Le maschere del mistero: storie e tecniche di thriller italiani e stranieri. Florence: Passigli, 2000.Google Scholar
Derrida, Jacques. Specters of Marx: The State of the Debt, the Work of Mourning, and the New International. New York: Routledge, 2006 [1994].Google Scholar
Dolar, Mladen. A Voice and Nothing More. Cambridge: MIT Press, 2006.Google Scholar
Duggan, Christopher and Wagstaff, Jonathan, eds. Italy in the Cold War: Politics, Culture and Society 1948–58. Oxford: Berg, 1995.Google Scholar
Dunnett, Jane. ‘Supergiallo: How Mondadori Turned Crime into a Brand’. The Italianist 30/1 (2010), 6380.CrossRefGoogle Scholar
Earle, Ben. Luigi Dallapiccola and Musical Modernism in Fascist Italy. Cambridge: Cambridge University Press, 2013.CrossRefGoogle Scholar
Eco, Umberto. Apocalittici e integrati: comunicazioni di massa e teorie della cultura di massa. Milan: Bompiani, 1964.Google Scholar
Eco, Umberto. The Open Work. Translated by Cancogni, Anna. London: Hutchinson Radius, 1989 [1962].Google Scholar
Eco, Umberto. Reflections on The Name of the Rose. Translated by Weaver, William. London: Minerva, 1994 [1980].Google Scholar
Esse, Melina. ‘Donizetti’s Gothic Resurrections’. 19th-Century Music 33/2 (2009): 81109.CrossRefGoogle Scholar
Falasca-Zamponi, Simonetta. Fascist Spectacle: The Aesthetics of Power in Mussolini’s Italy. Berkeley: University of California Press, 1997.Google Scholar
Farinelli, Giuseppe, Paccagnini, Ermanno, Santambrogio, Giovanni, Vila, Angela Ida. Storia del giornalismo italiano: dalle origini a oggi. Turin: UTET Libreria, 2004 [1997].Google Scholar
Fearn, Raymond. Italian Opera since 1945. London: Routledge, 1998.Google Scholar
Ferris, Kate. Everyday Life in Fascist Venice, 1929–40. London: Palgrave Macmillan, 2012.CrossRefGoogle Scholar
Flores, Marcello. L’Italia dalla Liberazione alla Repubblica. Milan: Mondadori, 1977.Google Scholar
Foot, John. Milan Since the Miracle: City, Culture and Identity. Oxford: Berg, 2001.Google Scholar
Forgacs, David. ‘Della Volpe’s Aesthetics’. New Left Review 1/117 (September–October 1979).Google Scholar
Forgacs, David and Gundle, Stephen. Mass Culture and Italian Society from Fascism to the Cold War. Bloomington: Indiana University Press, 2007.Google Scholar
Foucault, Michel. The Birth of Biopolitics. Edited by Senellart, Michel and translated by Burchell, Graham. New York: Picador, 2010 [2008].Google Scholar
Franzina, Emilio, ed. Venezia. Rome-Bari: Laterza, 1986.Google Scholar
Frattegiani, Nicola. ‘Intolleranza 1960 di Nono e la sua prima recezione critica: recensioni, dibattiti e polemiche (1961–1963)’. Dissertation: Università degli Studi di Bologna, 2004–5.
Frolova-Walker, Marina. ‘Review: Russian Opera and the Symbolist Movement by Simon Morrison’. Journal of the American Musicological Society 59/2 (2006): 507–13.Google Scholar
Fubini, Enrico. Musica e linguaggio nell’estetica contemporanea. Turin: Einaudi, 1973.Google Scholar
Garin, Eugenio. Medioevo e rinascimento. Bari: Laterza, 2007 [1954].Google Scholar
Garin, Eugenio. L’umanesimo italiano: filosofia e vita civile nel Rinascimento. Bari: Laterza, 2008 [1947].Google Scholar
Gatti, Carlo. Verdi, vol. 2. Milan: Alpes, 1931.Google Scholar
Gatti, Carlo. ed. Verdi nelle immagini. Milan: Garzanti, 1941.Google Scholar
Gillis, John, ed. Commemorations: The Politics of National Identity. Princeton: Princeton University Press, 1994.Google Scholar
Ginzburg, Carlo. Il formaggio e i vermi: il cosmo di un mugnaio del ‘500. Turin: Einaudi, 1976.Google Scholar
Girardi, Michele and Rossi, Franco. Il Teatro La Fenice. Cronologia degli spettacoli 1938–1991, vol. 2. Venice: Albrizzi, 1992.Google Scholar
Gloag, Kenneth. Postmodernism in Music. Cambridge: Cambridge University Press, 2012.Google Scholar
Goethe, Johann Wolfgang von. Italian Journey, 1786–1788. Translated by Auden, W. H. and Meyer, Elizabeth. London: Penguin, 1982 [1816–17].Google Scholar
Goldman, Richard Franko. Record Review: ‘Prokofiev: The Flaming Angel, Opera in Five Acts, Op.37’. The Musical Quarterly 46/1 (1960): 124–7.Google Scholar
Gombrich, E. H.A Classical “Rake’s Progress”’. Journal of the Warburg and Courtauld Institutes 15/3–4 (1952): 254–6.CrossRefGoogle Scholar
Gramsci, Antonio. Letteratura e vita nazionale. Turin: Einaudi, 1950.Google Scholar
Gramsci, Antonio. Il Risorgimento. Bari: Amici della Cultura, 1952.Google Scholar
Gramsci, Antonio. Quaderni del carcere, 4 vols. Turin: Einaudi, 1975 [1948].Google Scholar
Gramsci, Antonio. Selections from Cultural Writings. Edited and translated by Forgacs, David and Nowell-Smith, Geoffrey. London: Lawrence & Wishart, 1985.Google Scholar
Grasso, Aldo. Storia della televisione italiana. Milan: Garzanti, 2004.Google Scholar
Graziosi, Giorgio. L’interpretazione musicale. Turin: Einaudi, 1952.Google Scholar
Gumbrecht, Hans Ulrich and Pfeiffer, Karl Ludwig, eds. Materialities of Communication. Stanford: Stanford University Press, 1994.Google Scholar
Hanegraaff, Wouter J. Esotericism and the Academy: Rejected Knowledge in Western Culture. Cambridge: Cambridge University Press, 2012.Google Scholar
Hansen, Miriam. ‘The Mass Production of the Senses: Classical Cinema as Vernacular Modernism’. Modernism/Modernity 6/2 (1999): 5977.CrossRefGoogle Scholar
Howard, Deborah. The Architectural History of Venice. New Haven: Yale University Press, 2002.Google Scholar
Huhtamo, Erkki and Parikka, Jussi, eds. Media Archaeology: Approaches, Applications, and Implications. Berkeley: University of California Press, 2011.Google Scholar
Illiano, Roberto. Italian Music During the Fascist Period. Turnhout: Brepols, 2004.Google Scholar
Ipson, Douglas. ‘Attila Takes Rome: The Reception of Verdi’s Opera on the Eve of Revolution’. Cambridge Opera Journal 21/3 (November 2009): 249–56.CrossRefGoogle Scholar
Isnenghi, Mario. Le guerre degli italiani. Parole, immagini, ricordi 1848–1945. Milan: Il Mulino, 1989.Google Scholar
Isnenghi, Mario and Woolf, Stuart, eds. Storia di Venezia: l’ottocento e il novecento, 3 vols. Rome: Istituto della Enciclopedia Italiana, 2002.Google Scholar
Jachec, Nancy. Politics and Paintings at the Venice Biennale, 1948–64: Italy and the Idea of Europe. Manchester: Manchester University Press, 2007.Google Scholar
Jakelski, Lisa. Making New Music in Cold War Poland: The Warsaw Autumn Festival, 1956–1968. Berkeley: University of California Press, 2016.Google Scholar
James, Henry. Italian Hours. New York: Grove, 1909.Google Scholar
James, Henry. The Turn of the Screw: An Authoritative Text, Backgrounds and Sources, Essays in Criticism. Edited by Kimbrough, Robert. New York: W.W. Norton, 1966.Google Scholar
James, Henry. Letters from the Palazzo Barbaro. Edited by Zorzi, Rosella Mamoli. London: Pushkin, 1998. [Henry James]
Jameson, Fredric. ‘Beyond the Cave: Demystifying the Ideology of Modernism’. The Bulletin of the Midwest Modern Language Association 8/1 (Spring 1975): 120.CrossRefGoogle Scholar
Jameson, Fredric. The Political Unconscious: Narrative as a Socially Symbolic Act. Ithaca: Cornell University Press, 1981.Google Scholar
Jameson, Fredric. A Singular Modernity: Essay on the Ontology of the Present. London: Verso, 2002.Google Scholar
Jankélévitch, Vladimir. Music and the Ineffable. Translated by Abbate, Carolyn. Princeton: Princeton University Press, 2003.Google Scholar
Jewell, Keala. ‘Magic Realism and Real Politics: Massimo Bontempelli’s Literary Compromise’. Modernism/Modernity 15/4 (2008): 725–44.CrossRefGoogle Scholar
Judt, Tony. Postwar: A History of Europe since 1945. New York: Penguin, 2005.Google Scholar
Kafka, Franz. The Castle. Translated by Willa, and Muir, Edwin. New York: Alfred A. Knopf, 1954.Google Scholar
Kafka, Franz. Selected Short Stories of Franz Kafka. Translated by Willa, and Muir, Edwin. London: Secker & Warburg, 1976.Google Scholar
Kerman, Joseph. Opera as Drama. New York: Alfred A. Knopf, 1956.Google Scholar
Kermode, Frank. The Classic: Literary Images of Permanence and Change. Cambridge: Harvard University Press, 1983 [1975].Google Scholar
Körner, Axel. Politics of Culture in Liberal Italy: From Unification to Fascism. London: Taylor and Francis, 2009.Google Scholar
Körner, Axel. ‘Music of the Future: Italian Theatres and the European Experience of Modernity between Unification and World War One’. European History Quarterly 41/2 (2011): 189212.CrossRefGoogle Scholar
Kurz, Hilde. ‘Italian Models of Hogarth’s Picture Stories’. Journal of the Warburg and Courtauld Institutes 15/3–4 (1952): 136–68.CrossRefGoogle Scholar
LaCapra, Dominick. History and Memory after Auschwitz. Ithaca: Cornell University Press, 1998.Google Scholar
Lefebvre, Henri. The Production of Space. Translated by Nicholson-Smith, Donald. Oxford: Blackwell, 1991 [1974].Google Scholar
Leva, Giuseppe Di. Ricordo di Gino Negri: a dieci anni dalla scomparsa. Milan: Edizioni del Teatro alla Scala, 2001.Google Scholar
Lillo, Ivano Di. ‘Opera and Nationalism in Fascist Italy’. Dissertation: University of Cambridge, 2012.
Longo, Stefania. ‘Culture, Tourism and Fascism in Venice, 1919–1945’. Dissertation: University of London, 2005.
Luckhurst, Mary and Morin, Emilie, eds. Theatre and Ghosts: Materiality, Performance and Modernity. London: Palgrave Macmillan, 2014.CrossRefGoogle Scholar
Luzzatto, Sergio. Il corpo del duce: un cadavere tra immaginazione, storia e memoria. Turin: Einaudi, 1998.Google Scholar
Magrini, Tullia, ‘The Contribution of Ernesto de Martino to the Anthropology of Italian Music’. Yearbook for Traditional Music 26 (1994): 6680.CrossRefGoogle Scholar
Malraux, André. The Voices of Silence. Translated by Gilbert, Stuart. Princeton: Princeton University Press, 1978 [1951].Google Scholar
Manzoni, Giacomo. Musica e progetto civile: scritte e interviste (1957–2007). Edited by Pozzi, Raffaele. Milan: Ricordi, 2009.Google Scholar
Marcus, Sharon and Best, Stephen. ‘Surface Reading: An Introduction’. Representations 108 (2009): 121.Google Scholar
Martino, Ernesto de. Il mondo magico. Turin Einaudi, 1948.Google Scholar
Martino, Ernesto de. Magic: A Theory from the South. Translated by Louis Zinn, Dorothy. Chicago: Hau Books, 2015 [1959].Google Scholar
Masetti, Enzo, ed. La musica nel film. Rome: Bianco e Nero, 1950.Google Scholar
Massey, Doreen. For Space. London: Sage, 2005.Google Scholar
Maurizi, Paolo. Quattordici interviste sul nuovo teatro musicale in Italia: con un elenco cronologico delle opere (1950–1980). Perugia: Morlacchi, 2004.Google Scholar
McAllister, Rita. ‘Prokofiev’s Early Opera Maddalena’. Proceedings of the Royal Musical Association 96 (1969–70): 138–9.CrossRefGoogle Scholar
McWilliams, Stuart. Magical Thinking: History, Possibility and the Idea of the Occult. London: Continuum, 2012.Google Scholar
Mendelson, Edward. Libretti and Other Dramatic Writings by W. H. Auden, 1939–1973. Princeton: Princeton University Press, 1993.Google Scholar
Metcalf, Peter and Huntington, Richard. Celebrations of Death: The Anthropology of Mortuary Ritual. Cambridge: Cambridge University Press, 1991.CrossRefGoogle Scholar
Mila, Massimo. L’esperienza musicale e l’estetica. Turin: Einaudi, 1950.Google Scholar
Mila, Massimo. Cronache musicali 1955–1959. Turin: Einaudi, 1959.Google Scholar
Mila, Massimo. Compagno Stravinsky. Turin: Einaudi, 1983.Google Scholar
Moiraghi, Marco. Voglio un monumento in Piazza della Scala: la Milano musicale di Gino Negri. Rome: Squilibri, 2011.Google Scholar
Monaldi, Gino. Verdi, 1839–1898. Turin: Bocca, 1926.Google Scholar
Monteleone, Franco. Storia della radio e della televisione in Italia. Un secolo di costume, società e politica. Nuova edizione aggiornata. Venice: Marsilio, 2003.Google Scholar
Morris, Penelope. ‘“Let’s Not Talk about Italian Sex”: The Reception of the Kinsey Reports in Italy’. Journal of Modern Italian Studies 18/1 (2013): 1732.CrossRefGoogle Scholar
Morrison, Simon. Russian Opera and the Symbolist Movement. Berkeley: University of California Press, 2002.CrossRefGoogle Scholar
Mulè, Giuseppe, ed. Verdi. Studi e memorie. Sindacato nazionale fascista musicisti nel XL anniversario della morte. Rome: Istituto Grafico Tiberino, 1941.Google Scholar
Muraro, Maria Teresa, ed. Malipiero: scrittura e critica. Florence: Olschki, 1984.Google Scholar
Murialdi, Paolo. Storia del giornalismo italiano: dalle prime gazzette al telegiornali. Turin: Gutenberg, 1986.Google Scholar
Natale, Anna Lucia. Gli anni della radio (1924–1954). Contributo ad una storia sociale dei media in Italia. Naples: Liguori, 1990.Google Scholar
Nattiez, Jean-Jacques. Music and Discourse: Toward a Semiology of Music. Translated by Abbate, Carolyn. Princeton: Princeton University Press, 1990.Google Scholar
Nestyev, Israel. Prokofiev: His Musical Life. Translated by Prokofieva, Rose. New York: Alfred A. Knopf, 1946.Google Scholar
Nicolodi, Fiamma. Musica e musicisti nel ventennio fascista. Fiesole: Discanto Edizioni, 1984.Google Scholar
Nicolodi, Fiamma, ed. Musica italiana del primo Novecento—‘La generazione dell’ottanta’—Atti del convegno, Firenze 9–10–11 maggio 1980. Florence: Olschki, 1981.Google Scholar
Nielinger-Vakil, Carola. ‘Between Memorial and Political Manifesto: Nono’s Anti-Fascist Pieces, 1951–1966’. International Nono Conference (Padua, in press).
Nora, Pierre. ‘Between Memory and History: Les lieux de mémoire’. Translated by Roudebush, Marc. Representations 26 (1989): 724.CrossRefGoogle Scholar
Nora, Pierre, ed. Realms of Memory: The Construction of the French Past, vol. 1. Edited by Kritzman, Lawrence D. and translated by Goldhammer, Arthur. New York: Columbia University Press, 1996 [1984–1992].Google Scholar
Owen, Alex. The Place of Enchantment: British Occultism and the Culture of the Modern. Chicago: University of Chicago Press, 2004.CrossRefGoogle Scholar
Papa, Antonio. Storia politica della radio in Italia, 2 vols. Naples: Guida, 1978.Google Scholar
Parker, Roger. ‘Arpa d’or dei fatidici vati’: The Verdian Patriotic Chorus in the 1840s. Parma: Istituto Nazionale di Studi Verdiani, 1997.Google Scholar
Parker, Roger. Leonora’s Last Act. Princeton: Princeton University Press, 1997.Google Scholar
Parker, Roger. ‘Verdi Politico: A Wounded Cliché Regroups’. Journal of Modern Italian Studies 17/4 (2012): 427–36.CrossRefGoogle Scholar
Pedaliu, Effie G. H. Britain, Italy and the Origins of the Cold War. London: Palgrave Macmillan, 2003.CrossRefGoogle Scholar
Pestalozza, Luigi. ‘Musica e resistenza’. Musica/Realtà 68 (2002): 121–40.Google Scholar
Petrobelli, Pierluigi. ‘On Dante and Italian Music: Three Moments’. Cambridge Opera Journal 2/3 (1990): 219–49.CrossRefGoogle Scholar
Piccone, Paul. Italian Marxism. Berkeley: University of California Press, 1983.Google Scholar
Pinto, Antonio Costa. ‘Fascist Ideology Revisited: Zeev Sternhell and His Critics’. European History Quarterly 16/4 (1986): 465–83.CrossRefGoogle Scholar
Pivato, Stefano. Il secolo del rumore: il paesaggio sonoro del novecento. Bologna: Il Mulino, 2011.Google Scholar
Plant, Margaret. Venice: Fragile City, 1797–1997. New Haven: Yale University Press, 2002.Google Scholar
Porter, Peter. Preaching to the Converted. London: Oxford University Press, 1972.Google Scholar
Prato, Paolo. La musica italiana. Una storia sociale dall’Unità a oggi. Rome: Donzelli, 2010.Google Scholar
Prokofiev, Sergei. Soviet Diary 1927 and Other Writings. Edited by Prokofiev, Oleg. London: Faber and Faber, 1991.Google Scholar
Prokofiev, Sergei. Selected Letters of Sergei Prokofiev. Edited and translated by Robinson, Harlow. Boston: Northeastern University Press, 1998.Google Scholar
Prokofiev, Sergei. Sergey Prokofiev Diaries, 1915–1923: Behind the Mask. Edited and translated by Phillips, Anthony. London: Faber and Faber, 2008.Google Scholar
Puliani, Massimo and Forlani, Alessandro, eds. SvobodaMagika. Polyvisioni sceniche di Josef Svoboda: Intolleranza 1960 di Nono, Faust interpretato da Strehler, La Traviata di Verdi. Matelica: Halley editrice, 2006.Google Scholar
Restagno, Enzo, ed. Nono. Turin: Einaudi, 1987.Google Scholar
Restagno, Enzo, ed. Sequenza per Luciano Berio. Milan: Ricordi, 2000.Google Scholar
Riall, Lucy. The Italian Risorgimento: State, Society, and National Unification. London: Routledge, 1994.CrossRefGoogle Scholar
Riall, Lucy. Garibaldi: Invention of a Hero. New Haven: Yale University Press, 2008.Google Scholar
Riall, Lucy. Under the Volcano: Revolution in a Sicilian Town. Oxford: Oxford University Press, 2013.CrossRef
Ricoeur, Paul. Time and Narrative, vol. 2. Translated by McLaughlin, Kathleen and Pellauer, David. Chicago: University of Chicago Press, 1985.Google Scholar
Riva, Valerio. Ora da Mosca: i finanziamenti sovietici al PCI dalla rivoluzione d’ottobre al crollo dell’URSS. Milan: Mondadori, 1999.Google Scholar
Rognoni, Luigi. Espressionismo e dodecafonia. Turin: Einaudi, 1954.Google Scholar
Rognoni, Luigi. Fenomenologia della musica radicale. Bari: Laterza, 1966.Google Scholar
Roncaglia, Gino. L’ascensione creatrice di Giuseppe Verdi. Florence: Sansoni, 1940.Google Scholar
Runia, Eelco. ‘Presence’. History and Theory 45/1 (2006): 129.CrossRefGoogle Scholar
Runia, Eelco. ‘Burying the Dead, Creating the Past’. History and Theory 46/3 (2007): 313–25.CrossRefGoogle Scholar
Rupprecht, Philip, ed. Rethinking Britten. Oxford: Oxford University Press, 2013.CrossRefGoogle Scholar
Ruskin, John. Notebook (for Stones of Venice, vol. 10), 80, M1 ts. Ruskin Library, Lancaster University.
Russolo, Luigi. The Art of Noises. Translated by Brown, Barclay. New York: Pendragon Press, 1986.Google Scholar
Sachs, Harvey. Music in Fascist Italy. London: Weidenfeld and Nicolson, 1987.Google Scholar
Saglia, Diego. ‘From Gothic Italy to Italy as Gothic Archive’. Gothic Studies 8/1 (2006): 7390.CrossRefGoogle Scholar
Saler, Michael. ‘Modernity and Enchantment: A Historiographic Review’. American Historical Review (2006): 692716.CrossRefGoogle Scholar
Salvatorelli, Luigi. Pensiero e azione del Risorgimento. Turin: Einaudi, 1950 [1943].Google Scholar
Salvetti, Guido and Antolini, Bianca Maria, eds. Italia millenovecentocinquanta. Milan: Filippetti, 2003 [1999].Google Scholar
Savinio, Alberto. Souvenirs. Rome: Traguardi, 1945.Google Scholar
Scappettone, Jennifer. Killing the Moonlight: Modernism in Venice. New York: Columbia University Press, 2014.Google Scholar
Schwartz, Arman. ‘Rough Music: Tosca and Verismo Reconsidered’. 19th-Century Music 31/3 (2008): 228–44.CrossRefGoogle Scholar
Schwartz, Arman. ‘Mechanism and Tradition in Puccini’s Turandot’. The Opera Quarterly 25/1–2 (2009): 2850.CrossRefGoogle Scholar
Sconce, Jeffrey. Haunted Media: Electronic Presence from Telegraphy to Television. Durham: Duke University Press, 2000.Google Scholar
Senici, Emanuele. ‘Opera on Italian Television: The First Thirty Years, 1954–1984’. In Pérez, Hector J., ed. Opera and Video: Technology and Spectatorship. Bern: Peter Lang, 2012, 4570.Google Scholar
Sills, Beverly. Bubbles: A Self Portrait. New York: Macmillan, 1976.Google Scholar
Simms, Brian, ed. and trans. Composers on Modern Musical Culture: An Anthology of Readings on Twentieth-Century Music. New York: G. Schirmer, 1999.Google Scholar
Smart, Mary Ann. ‘The Queen and the Flirt’. Representations 104/1 (2008): 126–36.CrossRefGoogle Scholar
Smart, Mary Ann. ‘Magical Thinking: Reason and Emotion in Some Recent Literature on Verdi and Politics’. Journal of Modern Italian Studies 17/4 (2012): 437–47.CrossRefGoogle Scholar
Spackman, Barbara. Fascist Virilities: Rhetoric, Ideology, and Social Fantasy in Italy. Minneapolis: University of Minnesota Press, 1996.Google Scholar
Spangemacher, Friedrich. ‘Schoenberg as Role Model… on the Relationship between Luigi Nono and Arnold Schoenberg’. Contemporary Music Review 18/1 (1999): 3146.CrossRefGoogle Scholar
Stenzl, Jürg, ed. Luigi Nono: Texte–Studien zu seiner Musik. Zürich: Atlantis, 1975.Google Scholar
Stokes, Melyvn. D. W. Griffith’s The Birth of a Nation: A History of the Most Controversial Motion Picture of All Time. Oxford: Oxford University Press, 2008.Google Scholar
Stone, Marla Susan. The Patron State: Culture and Politics in Fascist Italy. Princeton: Princeton University Press, 1998.Google Scholar
Stravinsky, Igor and Craft, Robert. Memories and Commentaries. London: Faber and Faber, 2002.Google Scholar
Strehler, Giorgio. Per un teatro umano: pensieri scritti, parlati e attuati. Edited by Kessler, Sinah. Milan: Feltrinelli, 1974.Google Scholar
Styers, Randall G. Making Magic: Religion, Magic & Science in the Modern World. Oxford: Oxford University Press, 2004.CrossRefGoogle Scholar
Svoboda, Josef. I segreti dello spazio teatrale. Edited by De Angeli, E.. Milan: Ubulibri, 1997.Google Scholar
Taruskin, Richard. The Oxford History of Western Music, vols. 4 and 5. Oxford: Oxford University Press, 2005.Google Scholar
Taruskin, Richard. The Danger of Music: And Other Utopian Essays. Berkeley: University of California Press, 2009.Google Scholar
Testoni, Elio, ed. Giorgio Strehler: atti del Convegno di studi su Giorgio Strehler e il teatro pubblico. Rome: Rubbettino, 2008.Google Scholar
Tomlinson, Gary. Metaphysical Song: An Essay on Opera. Princeton: Princeton University Press, 1999.CrossRefGoogle Scholar
Valeri, Diego, ed. Verdi e La Fenice. Venice: Ente Autonomo del Teatro La Fenice, 1951.Google Scholar
Valeri, Nino, Pepe, Gabriele, Chabod, Federico, Demarco, Domenico and Luzzato, Gino, eds. Orientamenti per la storia d’Italia nel Risorgimento. Bari: Amici della Cultura, 1952.Google Scholar
Vella, Francesca. ‘Verdi Reception in Milan, 1859–1881: Memory, Progress and Italian Identity’. Dissertation: King’s College London, 2014.
Vicentini, Raffaele. Il movimento fascista veneto attraverso il diario di una squadrista. Venice: Stamperia Zanetti, 1935.Google Scholar
Volponi, Paolo. Memoriale. Turin: Einaudi, 1981 [1962].Google Scholar
Walker, Frank. The Man Verdi. Chicago: University of Chicago Press, 1982 [1962].Google Scholar
White, Eric Walter. The Rise of English Opera. London: John Lehmann, 1951.Google Scholar
Wiebe, Heather. ‘The Rake’s Progress as Opera Museum’. The Opera Quarterly 25/1–2 (2010): 627.CrossRefGoogle Scholar
Williams, Gavin. ‘Orating Verdi: Death and the Media c.1901’. Cambridge Opera Journal 23/3 (2011): 119–43.CrossRefGoogle Scholar
Wilson, Alexandra. The Puccini Problem: Opera, Nationalism and Modernity. Cambridge: Cambridge University Press, 2007.CrossRefGoogle Scholar
Wilson, Edmund. ‘The Ambiguity of Henry James’. Hound and Horn 7 (1934): 385406.Google Scholar
Wittmann, Michael and Spencer, Stewart. ‘Meyerbeer and Mercadante? The Reception of Meyerbeer in Italy’. Cambridge Opera Journal 5/2 (1993): 115–32.CrossRefGoogle Scholar
Wohl, Robert. ‘French Fascism, Both Right and Left: Reflections on the Sternhell Controversy’. Journal of Modern History 63/1 (1991): 91–8.CrossRefGoogle Scholar
Wolfreys, Julian. Transgression: Identity, Space, Time. London: Palgrave Macmillan, 2008.CrossRefGoogle Scholar
Wright, Steve. Storming Heaven: Class Composition and Struggle in Italian Autonomist Marxism. London: Pluto Press, 2002.Google Scholar

Send book to Kindle

To send this book to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle.

Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Send book to Dropbox

To send content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox.

Available formats
×

Send book to Google Drive

To send content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive.

Available formats
×