The courtesan's arts: cross-cultural perspectives
Gespeichert in:
| Format: | Buch |
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| Sprache: | English |
| Veröffentlicht: |
Oxford [u.a.]
Oxford Univ. Press
2006
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes bibliographical references (p. 369-380) and index |
| Beschreibung: | XXVII, 396 S. Ill., Notenbeisp. CD-ROM (12 cm) |
| ISBN: | 0195170288 0195170296 9780195170283 9780195170290 |
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| 245 | 1 | 0 | |a The courtesan's arts |b cross-cultural perspectives |c ed. by Martha Feldman ... |
| 264 | 1 | |a Oxford [u.a.] |b Oxford Univ. Press |c 2006 | |
| 300 | |a XXVII, 396 S. |b Ill., Notenbeisp. |e CD-ROM (12 cm) | ||
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| 500 | |a Includes bibliographical references (p. 369-380) and index | ||
| 650 | 4 | |a Courtisanes - Histoire - Études transculturelles | |
| 650 | 4 | |a Geschichte | |
| 650 | 4 | |a Courtesans |x History |v Cross-cultural studies | |
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Datensatz im Suchindex
| _version_ | 1804135536020946944 |
|---|---|
| adam_text | Contents
List of Figures xv
List of Music Examples xix
A Note about Languages xxi
Contributors xxiii
Introduction 3
Bonnie Gordon and Martha Feldman
PART ONE Spectacle and Performance
1. Making a Spectacle of Her(self): The Greek Courtesan and the Art of the
Present 29
]ames Davidson
2. Cutting a Good Figure: The Fashions of Venetian Courtesans in the Illustrated
Albums of Early Modern Travelers 52
Margaret F. Rosenthal
3. Notes of Flesh and the Courtesan s Song in Seventeenth Century j
China 75 !
Judith T. Zeitlin
PART TWO A Case Study: The Courtesan s Voice in Early Modern Italy
Introduction 103
Martha Feldman
4. The Courtesan s Voice: Petrarchan Lovers, Pop Philosophy, and Oral
Traditions 105
Martha Feldman
5. On Hearing the Courtesan in a Gift of Song: The Venetian Case of Gaspara
Stampa 124
Daum De Rycke
6. On Locating the Courtesan in Italian Lyric: Distance and the Madrigal Texts
ofCostanzoFesta 133
Justin Flosi
7. On Music Fit for a Courtesan: Representations of the Courtesan and Her
Music in Sixteenth Century Italy 144
Drew Edward Davies
PART THREE Power, Gender, and the Body
8. Royalty s Courtesans and God s Mortal Wives: Keepers of Culture in
Precolonial India 161
Doris M. Srinivasan
9. The Courtesan s Singing Body as Cultural Capital in Seventeenth Century
Italy 182
Bonnie Gordon
10. Defaming the Courtesan: Satire and Invective in Sixteenth Century
Italy 199
Courtney Quaintance
11. The Masculine Arts of the Ancient Greek Courtesan: Male Fantasy
or Female Self representation? 209
Christopher A. Faraone
PART FOUR Excursus: Geisha Dialogues
12. The City Geisha and Their Role in Modern Japan: Anomaly or
Artistes? 223
Lesley Downer
13. In the Service of the Nation: Geisha and Kawabata Yasunari s
Snow Country 243
Miho Matsugu
PART FIVE Fantasies of the Courtesan
14. Going to the Courtesans: Transit to the Pleasure District of Edo Japan 255
Timon Screech
15. Who s Afraid of Giulia Napolitana? Pleasure, Fear, and Imagining the
Arts of the Renaissance Courtesan 280
Guido Ruggiero
PART SIX Courtesans in the Postcolony
16. The Twentieth Century Disappearance of the Gisaeng during the Rise
of Korea s Modern Sex and Entertainment Industry 295
Joshua D. Pilzer
Contents xui
17. Female Agency and Patrilineal Constraints: Situating Courtesans in
Twentieth Century India 312
Regula Burckhardt Qureshi
18. Tawa if, Tourism, and Tales: The Problematics of Twenty First Century
Musical Patronage for North India s Courtesans 332
Amelia Maciszewski
Appendix: CD Notes and Texts 353
Selected Bibliography 369
Index 381
List of Figures
Frontispiece Luis Berrueco (fl. 1727 1749), Encounter with Four Women. Municipal
Hospital (Ex Convent of San Juan de Dios), Atlixco, Puebla, Mexico.
Courtesy of the Honorable Town Council of Atlixco.
2.1 Cortigiana Venetiana come vano nele lor case. Los Angeles
County Museum of Art, MS M. 91.71.99. Gift of the 1991 Collectors
Committee.
2.2 Gentildonna Venetiana. British Library, MS Egerton 1191, fol. 61.
By permission of the British Library.
2.3 Cortegiana Venetiana. British Library, MS Egerton 1191, fol. 62. By
permission of the British Library.
2.4 Donzella Padoana. British Library, MS Egerton 1191, fol. 82. By per¬
mission of the British Library.
2.5 Sposa. British Library, MS Egerton 1191, fol. 65. By permission of
the British Library.
2.6 Vedova Venetiana. British Library, MS Egerton 1191, fol. 64. By
permission of the British Library.
2.7 Gentildonna Venetiana come vano fora di casa. Los Angeles
County Museum of Art, MS M.91.71.93. Gift of the 1991 Collectors
Committee.
2.8 Una Donzella Venetiana. Beinecke Rare Book and Manuscript Li¬
brary, Yale University, New Haven, MS Yale 457, Mores Italiae, fol.
97
2.9 Gentildonna Venetiana. Beinecke Rare Book and Manuscript Li¬
brary, Yale University, New Haven, MS Yale 457, Mores Italiae, fol.
49.
2.10 Cortegiana Venetiana in Strada. Beinecke Rare Book and Man¬
uscript Library, Yale University, New Haven, MS Yale 457, Mores
Italiae, fol. 46.
xv
xvi i isi oj ngures
2.11 Cortigiane moderne. From Cesare Vecellio, Degli habiti antichi, et
moderni di diverse parti del mondo (Venice, 1590), fol. 26.
2.12 Meretrici publiche. From Cesare Vecellio, Degli habiti antichi, et
moderni di diverse parti del mondo (Venice, 1590), fol. 146.
2.13 Nobile ornata alle feste. From Cesare Vecellio, Degli habiti antichi,
et moderni di diverse parti del mondo (Venice, 1590), fol. I3iv.
2.14 Cortegiana Venetiana. Los Angeles County Museum of Art, MS M.
91.71.100. Gift of the 1991 Collectors Committee.
3.1 Map of seventeenth century Jiangnan. From Dorothy Ko, Teachers of
the Inner Chambers: Women and Culture in Seventeenth Century China
(Stanford: Stanford University Press, 1994), xvi.
3.2 Cover page of Tempering the Reed Pipe in a ]ade Valley. From Shanben
xiqu congkan, vol. 2, compiled by Wang Qiugui (Taipei: Xuesheng
shuju, 1984 87).
3.3 Yu Zhiding, Qiao Zhiyuan s Three Delights. From Zhongguo lidai
shinii huaji (Tianjin: Tianjin renmin meishu chubanshe, 1998), pi.
87.
3.4 Realizing the music. From Zhou Zhibiao, Wuji baimei (1617).
3.5 Courtesan singing at a party as one servant boy heats wine and an¬
other pours it. From Categories of Flowers (Pinhua jian), vol. 1 (n.p.:
Sunxie ge, seventeenth century), National Central Library, Taiwan,
ace. no. 07731.
4.1 Courtesan with lute, oil painting by Parassio Michel. Sz^pmuveszeti
Muzeum, Budapest, no. 85.
4.2 Ottaviano Petrucci, Modo de cantar sonetti, without text. Libro
quarto de frottole (Venice, [1505]), fol. xiiiir. Facsimile from Vienna,
OsterreichischeNationalbibliothek.
4.3 Hippolito Tromboncino, lo son ferito. Lute song with written out vo¬
cal ornamentation. Facsimile from Modena, Biblioteca Estense, MS
C311 (the Bottegari Lutebook ), fols. 29^30.
7.1 Giacomo Franco, Abito delle Cortegiane Prencipale. From Habiti
d huomeni et donne venetiane (Venice, 1610), fol. x. Venice, Museo
Correr, Gabinetto Stampe e Disegni.
7.2 Sebastiano Florigerio, Musical Conversation. Munich, Alte Pinako
thek.
7.3 Giacomo Franco, In questa maniera la state . . . From Habiti
d huomeni et donne venetiane (Venice, 1610), fol. x. Venice, Museo
Correr, Gabinetto Stampe e Disegni.
8.1 One side of double faced relief possibly depicting the courtesan Vas
antasena. Kushan Period. 2nd century a.d. Maholi village, Mathura.
National Museum, New Delhi (No. 2800). American Institute of In¬
dian Studies (hereafter AIIS) photograph.
8.2 Probably Rsyasrnga on a railing pillar. Kushan Period. 2nd century a.d.
Chaubara, Mathura. Government Museum, Mathura. AIIS photo¬
graph.
8.3 Rsyalrnga surrounded by a princess and courtesans. Begram ivory.
List o/ Figures xvn
Afghanistan, ca. 2nd century a.d. Known to have been in the Kabul
Museum. Photograph after Klaus Fischer, Erotik und Askese in Kult
und Kunst der Index (Cologne: Du Mont, 1979), 14.
8.4 Dancer and musicians. Cave 7 at Aurangabad, Maharashtra, ca. 6th
century a.d. AIIS photograph.
8.5 Nobleman and courtesan on an upper terrace. Opaque watercolor on
paper. Lucknow, ca. 1820. In the Collection of James Ivory (Ivory List
#55). On loan to the Sackler Museum (LTS 2001.2.43). Photograph
courtesy of Mr. Ivory.
8.6 Raja Sawant Singh and Bani Thani in a mango grove. Kishangarh
Miniature, ca. 1735 50. National Museum, New Delhi (Ace. No.
63.798). Photograph courtesy of the National Museum, New Delhi.
8.7 Courtesan. Painting on ivory (No. M2001.103 ), ca. 1825. India,
Delhi. Los Angeles County Museum of Art, Southern Asian Art
Council. Photograph ca. 2003. Museum Associates/LACMA.
8.8 Courtesan with attendant. Photograph after The Last Empire: Pho¬
tography in British India, 1855 1911 (New York: Aperture Inc., 1976),
106.
8.9 Courtesan with attendant. Photograph after The Last Empire, 106.
11.1 Hydria painted by Phintiasm, ca. 520 B.C. (Munich inv. 2421). After
Otto Jahn, Kottabos auf Vasenbildern, Philologus 26 (1867), Tafel
II.
11.2 Psykter ( Wine cooler ), painted by Euphronius, ca. 520 B.C. (Her¬
mitage inv. 644). After Otto Jahn, Kottabos auf Vasenbildern,
Philologus 26 (1867), Tafel I.
12.1 An actress dressed in the costume of a courtesan raises a bowl of sake
to her lips. Photograph by Lesley Downer.
12.2 A geisha from the Asakusa geisha district in Tokyo performs a dance
as part of a formal entertainment. Photograph by Lesley Downer.
12.3 A maiko in the Gion district of Kyoto shows the unpainted nape of
her neck. Photograph by Lesley Downer.
14.1 Northeast Edo. Figure © Timon Screech.
14.2 Chobunsai Eishi, The Willow Bridge. From Scroll of the River Sumida,
ca. 1780s. Handscroll. Ink and color on paper with gold cartouches.
Idemitsu Museum of Art, Tokyo.
14.3 Suzuki Harunobu, Boddhidharma in a Boar s Tusk Boat, 1765 70. Mul¬
ticolor woodblock print. Metropolitan Museum of Art, New York.
14.4 Chobunsai Eishi, The Topsy turvy Pine. From Album of the River Su¬
mida, 1804. Ink and color on silk. Hiroshi and Harumi Yanagi Col¬
lection, Kyoto.
14.5 Kitagawa Utamaro, Mimeguri Shrine. Illustration to Yadoya no Meshi
mori, Ehon gin sekai, 1790. Multicolor woodblock book illustration.
The British Museum.
14.6 Kitagawa Kunisada, illustration to Ota Nanpo, Kakurezato no ki, 1836.
Monochrome woodblock book illustration. Private Collection.
14.7 Utagawa Hiroshige, Nihon Embankment. From his series Edo meisho
AV111 LASl UJ I IgUFCi
hyakkei, 1857. Multicolor woodblock print. Ota Memorial Museum,
Tokyo.
14.8 Kitagawa Utamaro, Hour of the Rabbit. From his series Seiro juni toki,
1794. Multicolor woodblock print. Private collection.
16.1 Staged photo of two gisaeng dancing and playing janggo. Photo: Gov¬
ernment General of Chosen (Joseon), Annual Report of Reforms and
Progress in Chosen, 1935/6, 170 (facing page).
16.2 O Bongnyeo, Human Cultural Asset for the northwest lyric song tra¬
dition (seodosori), in concert with her students, 1997. Photo by the
author.
16.3 Singer Yi Jinyeo, inheritress of the northwest lyric song tradition,
teaching in Seoul. Photo by the author.
17.1 Master singer Zarina Parveen of Lucknow offers a traditional ghazal
performance. From a video recording by Regula Burckhardt Qureshi
(August 1984).
18.1 Vocalists Chandni Devi and her mother Aruna looking at Guria
director Ajeet Singh in Muzaffarpur. Photo by the author.
List of Music Examples
4.1 Sonnet setting in frottola style by Paulo Scotti, published in 1511 in the second
book of frottole for voice and lute arranged by Franciscus Bossinensis.
4.2 Paulo Scotti s melody for phrase 3 of Ex. 4.1, compared with hypothetical or¬
namentation for Tullia d Aragona to use in declaiming verses 4, 8, and 14 of
her sonnet Fiamma gentil che da gl interni lumi. Ornamentation by Martha
Feldman.
5.1 Perissone Cambio, Nel partir del mio ben, mm. 1 3. Transcription by Martha
Feldman.
5.2 Perissone Cambio, Nel partir del mio ben, mm. 10 12. Transcription by Martha
Feldman.
5.3 Perissone Cambio, Nel partir del mio ben, mm. 13 15. Transcription by Martha
Feldman.
5.4 Perissone Cambio, Nel partir del mio ben, mm. 23 25. Transcription by Martha
Feldman.
7.1 Marco Facoli, Aria della Signora Ortensia, mm. 1 20.
7.2 Rizzolina canta e Orazio suona il lauto. Melodic excerpt, mm. 1 11, from
Adriano Banchieri, Barco di Venetia per Padova.
xix
|
| adam_txt |
Contents
List of Figures xv
List of Music Examples xix
A Note about Languages xxi
Contributors xxiii
Introduction 3
Bonnie Gordon and Martha Feldman
PART ONE Spectacle and Performance
1. Making a Spectacle of Her(self): The Greek Courtesan and the Art of the
Present 29
]ames Davidson
2. Cutting a Good Figure: The Fashions of Venetian Courtesans in the Illustrated
Albums of Early Modern Travelers 52
Margaret F. Rosenthal
3. "Notes of Flesh" and the Courtesan's Song in Seventeenth Century j
China 75 !
Judith T. Zeitlin
PART TWO A Case Study: The Courtesan's Voice in Early Modern Italy
Introduction 103
Martha Feldman
4. The Courtesan's Voice: Petrarchan Lovers, Pop Philosophy, and Oral
Traditions 105
Martha Feldman
5. On Hearing the Courtesan in a Gift of Song: The Venetian Case of Gaspara
Stampa 124
Daum De Rycke
6. On Locating the Courtesan in Italian Lyric: Distance and the Madrigal Texts
ofCostanzoFesta 133
Justin Flosi
7. On Music Fit for a Courtesan: Representations of the Courtesan and Her
Music in Sixteenth Century Italy 144
Drew Edward Davies
PART THREE Power, Gender, and the Body
8. Royalty's Courtesans and God's Mortal Wives: Keepers of Culture in
Precolonial India 161
Doris M. Srinivasan
9. The Courtesan's Singing Body as Cultural Capital in Seventeenth Century
Italy 182
Bonnie Gordon
10. Defaming the Courtesan: Satire and Invective in Sixteenth Century
Italy 199
Courtney Quaintance
11. The Masculine Arts of the Ancient Greek Courtesan: Male Fantasy
or Female Self representation? 209
Christopher A. Faraone
PART FOUR Excursus: Geisha Dialogues
12. The City Geisha and Their Role in Modern Japan: Anomaly or
Artistes? 223
Lesley Downer
13. In the Service of the Nation: Geisha and Kawabata Yasunari's
Snow Country 243
Miho Matsugu
PART FIVE Fantasies of the Courtesan
14. Going to the Courtesans: Transit to the Pleasure District of Edo Japan 255
Timon Screech
15. Who's Afraid of Giulia Napolitana? Pleasure, Fear, and Imagining the
Arts of the Renaissance Courtesan 280
Guido Ruggiero
PART SIX Courtesans in the Postcolony
16. The Twentieth Century "Disappearance" of the Gisaeng during the Rise
of Korea's Modern Sex and Entertainment Industry 295
Joshua D. Pilzer
Contents xui
17. Female Agency and Patrilineal Constraints: Situating Courtesans in
Twentieth Century India 312
Regula Burckhardt Qureshi
18. Tawa'if, Tourism, and Tales: The Problematics of Twenty First Century
Musical Patronage for North India's Courtesans 332
Amelia Maciszewski
Appendix: CD Notes and Texts 353
Selected Bibliography 369
Index 381
List of Figures
Frontispiece Luis Berrueco (fl. 1727 1749), Encounter with Four Women. Municipal
Hospital (Ex Convent of San Juan de Dios), Atlixco, Puebla, Mexico.
Courtesy of the Honorable Town Council of Atlixco.
2.1 "Cortigiana Venetiana come vano nele lor case." Los Angeles
County Museum of Art, MS M. 91.71.99. Gift of the 1991 Collectors
Committee.
2.2 "Gentildonna Venetiana." British Library, MS Egerton 1191, fol. 61.
By permission of the British Library.
2.3 "Cortegiana Venetiana." British Library, MS Egerton 1191, fol. 62. By
permission of the British Library.
2.4 "Donzella Padoana." British Library, MS Egerton 1191, fol. 82. By per¬
mission of the British Library.
2.5 "Sposa." British Library, MS Egerton 1191, fol. 65. By permission of
the British Library.
2.6 "Vedova Venetiana." British Library, MS Egerton 1191, fol. 64. By
permission of the British Library.
2.7 "Gentildonna Venetiana come vano fora di casa." Los Angeles
County Museum of Art, MS M.91.71.93. Gift of the 1991 Collectors
Committee.
2.8 "Una Donzella Venetiana." Beinecke Rare Book and Manuscript Li¬
brary, Yale University, New Haven, MS Yale 457, "Mores Italiae," fol.
97
2.9 "Gentildonna Venetiana." Beinecke Rare Book and Manuscript Li¬
brary, Yale University, New Haven, MS Yale 457, "Mores Italiae," fol.
49.
2.10 "Cortegiana Venetiana in Strada." Beinecke Rare Book and Man¬
uscript Library, Yale University, New Haven, MS Yale 457, "Mores
Italiae," fol. 46.
xv
xvi i isi oj ngures
2.11 "Cortigiane moderne." From Cesare Vecellio, Degli habiti antichi, et
moderni di diverse parti del mondo (Venice, 1590), fol. 26.
2.12 "Meretrici publiche." From Cesare Vecellio, Degli habiti antichi, et
moderni di diverse parti del mondo (Venice, 1590), fol. 146.
2.13 "Nobile ornata alle feste." From Cesare Vecellio, Degli habiti antichi,
et moderni di diverse parti del mondo (Venice, 1590), fol. I3iv.
2.14 "Cortegiana Venetiana." Los Angeles County Museum of Art, MS M.
91.71.100. Gift of the 1991 Collectors Committee.
3.1 Map of seventeenth century Jiangnan. From Dorothy Ko, Teachers of
the Inner Chambers: Women and Culture in Seventeenth Century China
(Stanford: Stanford University Press, 1994), xvi.
3.2 Cover page of Tempering the Reed Pipe in a ]ade Valley. From Shanben
xiqu congkan, vol. 2, compiled by Wang Qiugui (Taipei: Xuesheng
shuju, 1984 87).
3.3 Yu Zhiding, "Qiao Zhiyuan's Three Delights." From Zhongguo lidai
shinii huaji (Tianjin: Tianjin renmin meishu chubanshe, 1998), pi.
87.
3.4 "Realizing the music." From Zhou Zhibiao, Wuji baimei (1617).
3.5 Courtesan singing at a party as one servant boy heats wine and an¬
other pours it. From Categories of Flowers (Pinhua jian), vol. 1 (n.p.:
Sunxie ge, seventeenth century), National Central Library, Taiwan,
ace. no. 07731.
4.1 Courtesan with lute, oil painting by Parassio Michel. Sz^pmuveszeti
Muzeum, Budapest, no. 85.
4.2 Ottaviano Petrucci, "Modo de cantar sonetti," without text. Libro
quarto de frottole (Venice, [1505]), fol. xiiiir. Facsimile from Vienna,
OsterreichischeNationalbibliothek.
4.3 Hippolito Tromboncino, lo son ferito. Lute song with written out vo¬
cal ornamentation. Facsimile from Modena, Biblioteca Estense, MS
C311 (the "Bottegari Lutebook"), fols. 29^30.
7.1 Giacomo Franco, "Abito delle Cortegiane Prencipale." From Habiti
d'huomeni et donne venetiane (Venice, 1610), fol. x. Venice, Museo
Correr, Gabinetto Stampe e Disegni.
7.2 Sebastiano Florigerio, Musical Conversation. Munich, Alte Pinako
thek.
7.3 Giacomo Franco, "In questa maniera la state . . ." From Habiti
d'huomeni et donne venetiane (Venice, 1610), fol. x. Venice, Museo
Correr, Gabinetto Stampe e Disegni.
8.1 One side of double faced relief possibly depicting the courtesan Vas
antasena. Kushan Period. 2nd century a.d. Maholi village, Mathura.
National Museum, New Delhi (No. 2800). American Institute of In¬
dian Studies (hereafter AIIS) photograph.
8.2 Probably Rsyasrnga on a railing pillar. Kushan Period. 2nd century a.d.
Chaubara, Mathura. Government Museum, Mathura. AIIS photo¬
graph.
8.3 Rsyalrnga surrounded by a princess and courtesans. Begram ivory.
List o/ Figures xvn
Afghanistan, ca. 2nd century a.d. Known to have been in the Kabul
Museum. Photograph after Klaus Fischer, Erotik und Askese in Kult
und Kunst der Index (Cologne: Du Mont, 1979), 14.
8.4 Dancer and musicians. Cave 7 at Aurangabad, Maharashtra, ca. 6th
century a.d. AIIS photograph.
8.5 Nobleman and courtesan on an upper terrace. Opaque watercolor on
paper. Lucknow, ca. 1820. In the Collection of James Ivory (Ivory List
#55). On loan to the Sackler Museum (LTS 2001.2.43). Photograph
courtesy of Mr. Ivory.
8.6 Raja Sawant Singh and Bani Thani in a mango grove. Kishangarh
Miniature, ca. 1735 50. National Museum, New Delhi (Ace. No.
63.798). Photograph courtesy of the National Museum, New Delhi.
8.7 Courtesan. Painting on ivory (No. M2001.103 ), ca. 1825. India,
Delhi. Los Angeles County Museum of Art, Southern Asian Art
Council. Photograph ca. 2003. Museum Associates/LACMA.
8.8 Courtesan with attendant. Photograph after The Last Empire: Pho¬
tography in British India, 1855 1911 (New York: Aperture Inc., 1976),
106.
8.9 Courtesan with attendant. Photograph after The Last Empire, 106.
11.1 Hydria painted by Phintiasm, ca. 520 B.C. (Munich inv. 2421). After
Otto Jahn, "Kottabos auf Vasenbildern," Philologus 26 (1867), Tafel
II.
11.2 Psykter ("Wine cooler"), painted by Euphronius, ca. 520 B.C. (Her¬
mitage inv. 644). After Otto Jahn, "Kottabos auf Vasenbildern,"
Philologus 26 (1867), Tafel I.
12.1 An actress dressed in the costume of a courtesan raises a bowl of sake
to her lips. Photograph by Lesley Downer.
12.2 A geisha from the Asakusa geisha district in Tokyo performs a dance
as part of a formal entertainment. Photograph by Lesley Downer.
12.3 A maiko in the Gion district of Kyoto shows the unpainted nape of
her neck. Photograph by Lesley Downer.
14.1 Northeast Edo. Figure © Timon Screech.
14.2 Chobunsai Eishi, The Willow Bridge. From Scroll of the River Sumida,
ca. 1780s. Handscroll. Ink and color on paper with gold cartouches.
Idemitsu Museum of Art, Tokyo.
14.3 Suzuki Harunobu, Boddhidharma in a Boar's Tusk Boat, 1765 70. Mul¬
ticolor woodblock print. Metropolitan Museum of Art, New York.
14.4 Chobunsai Eishi, The Topsy turvy Pine. From Album of the River Su¬
mida, 1804. Ink and color on silk. Hiroshi and Harumi Yanagi Col¬
lection, Kyoto.
14.5 Kitagawa Utamaro, Mimeguri Shrine. Illustration to Yadoya no Meshi
mori, Ehon gin sekai, 1790. Multicolor woodblock book illustration.
The British Museum.
14.6 Kitagawa Kunisada, illustration to Ota Nanpo, Kakurezato no ki, 1836.
Monochrome woodblock book illustration. Private Collection.
14.7 Utagawa Hiroshige, Nihon Embankment. From his series Edo meisho
AV111 LASl UJ I IgUFCi
hyakkei, 1857. Multicolor woodblock print. Ota Memorial Museum,
Tokyo.
14.8 Kitagawa Utamaro, Hour of the Rabbit. From his series Seiro juni toki,
1794. Multicolor woodblock print. Private collection.
16.1 Staged photo of two gisaeng dancing and playing janggo. Photo: Gov¬
ernment General of Chosen (Joseon), Annual Report of Reforms and
Progress in Chosen, 1935/6, 170 (facing page).
16.2 O Bongnyeo, Human Cultural Asset for the northwest lyric song tra¬
dition (seodosori), in concert with her students, 1997. Photo by the
author.
16.3 Singer Yi Jinyeo, inheritress of the northwest lyric song tradition,
teaching in Seoul. Photo by the author.
17.1 Master singer Zarina Parveen of Lucknow offers a traditional ghazal
performance. From a video recording by Regula Burckhardt Qureshi
(August 1984).
18.1 Vocalists Chandni Devi and her mother Aruna looking at Guria
director Ajeet Singh in Muzaffarpur. Photo by the author.
List of Music Examples
4.1 Sonnet setting in frottola style by Paulo Scotti, published in 1511 in the second
book of frottole for voice and lute arranged by Franciscus Bossinensis.
4.2 Paulo Scotti's melody for phrase 3 of Ex. 4.1, compared with hypothetical or¬
namentation for Tullia d'Aragona to use in declaiming verses 4, 8, and 14 of
her sonnet "Fiamma gentil che da gl'interni lumi." Ornamentation by Martha
Feldman.
5.1 Perissone Cambio, Nel partir del mio ben, mm. 1 3. Transcription by Martha
Feldman.
5.2 Perissone Cambio, Nel partir del mio ben, mm. 10 12. Transcription by Martha
Feldman.
5.3 Perissone Cambio, Nel partir del mio ben, mm. 13 15. Transcription by Martha
Feldman.
5.4 Perissone Cambio, Nel partir del mio ben, mm. 23 25. Transcription by Martha
Feldman.
7.1 Marco Facoli, Aria della Signora Ortensia, mm. 1 20.
7.2 "Rizzolina canta e Orazio suona il lauto." Melodic excerpt, mm. 1 11, from
Adriano Banchieri, Barco di Venetia per Padova.
xix |
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| discipline | Kunstgeschichte Soziologie Geschichte |
| discipline_str_mv | Kunstgeschichte Soziologie Geschichte |
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| index_date | 2024-07-02T15:18:07Z |
| indexdate | 2024-07-09T20:42:03Z |
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| isbn | 0195170288 0195170296 9780195170283 9780195170290 |
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| title | The courtesan's arts cross-cultural perspectives |
| title_auth | The courtesan's arts cross-cultural perspectives |
| title_exact_search | The courtesan's arts cross-cultural perspectives |
| title_exact_search_txtP | The courtesan's arts cross-cultural perspectives |
| title_full | The courtesan's arts cross-cultural perspectives ed. by Martha Feldman ... |
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| title_full_unstemmed | The courtesan's arts cross-cultural perspectives ed. by Martha Feldman ... |
| title_short | The courtesan's arts |
| title_sort | the courtesan s arts cross cultural perspectives |
| title_sub | cross-cultural perspectives |
| topic | Courtisanes - Histoire - Études transculturelles Geschichte Courtesans History Cross-cultural studies Erotik Motiv (DE-588)4123157-0 gnd Kurtisane (DE-588)4140156-6 gnd Kulturvergleich (DE-588)4114328-0 gnd |
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