Gilbert and Sullivan: Gender, Genre, Parody
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Columbia University Press
[2010]
|
| Schriftenreihe: | Gender and Culture Series
|
| Schlagworte: | |
| Online-Zugang: | FKE01 FLA01 UBG01 FHA01 UPA01 FAW01 FAB01 FCO01 Volltext |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher’s Web site, viewed Nov. 24, 2015) |
| Beschreibung: | 1 online resource 76 illus |
| ISBN: | 9780231519663 |
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| 505 | 8 | |a Long before the satirical comedy of The Daily Show and The Colbert Report, the comic operas of W. S. Gilbert and Arthur Sullivan were the hottest send-ups of the day's political and cultural obsessions. Gilbert and Sullivan's productions always rose to the level of social commentary, despite being impertinent, absurd, or inane. Some viewers may take them straight, but what looks like sexism or stereotype was actually a clever strategy of critique. Parody was a powerful weapon in the culture wars of late-nineteenth-century England, and with defiantly in-your-face sophistication, Gilbert and Sullivan proved that popular culture can be intellectually as well as politically challenging.Carolyn Williams underscores Gilbert and Sullivan's creative and acute understanding of cultural formations. Her unique perspective shows how anxiety drives the troubled mind in the Lord Chancellor's "Nightmare Song" in Iolanthe and is vividly realized in the sexual and economic phrasing of the song's patter lyrics. The modern body appears automated and performative in the "Junction Song" in Thespis, anticipating Charlie Chaplin's factory worker in Modern Times. Williams also illuminates the use of magic in The Sorcerer, the parody of nautical melodrama in H.M.S. Pinafore, the ridicule of Victorian aesthetic and idyllic poetry in Patience, the autoethnography of The Mikado, the role of gender in Trial by Jury, and the theme of illegitimacy in The Pirates of Penzance. With her provocative reinterpretation of these artists and their work, Williams recasts our | |
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| 650 | 4 | |a Genres, other | |
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| 650 | 4 | |a Parody in music | |
| 650 | 4 | |a Sex role in music | |
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Datensatz im Suchindex
| _version_ | 1804176119982718976 |
|---|---|
| any_adam_object | |
| author | Williams, Carolyn |
| author_facet | Williams, Carolyn |
| author_role | aut |
| author_sort | Williams, Carolyn |
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| contents | Long before the satirical comedy of The Daily Show and The Colbert Report, the comic operas of W. S. Gilbert and Arthur Sullivan were the hottest send-ups of the day's political and cultural obsessions. Gilbert and Sullivan's productions always rose to the level of social commentary, despite being impertinent, absurd, or inane. Some viewers may take them straight, but what looks like sexism or stereotype was actually a clever strategy of critique. Parody was a powerful weapon in the culture wars of late-nineteenth-century England, and with defiantly in-your-face sophistication, Gilbert and Sullivan proved that popular culture can be intellectually as well as politically challenging.Carolyn Williams underscores Gilbert and Sullivan's creative and acute understanding of cultural formations. Her unique perspective shows how anxiety drives the troubled mind in the Lord Chancellor's "Nightmare Song" in Iolanthe and is vividly realized in the sexual and economic phrasing of the song's patter lyrics. The modern body appears automated and performative in the "Junction Song" in Thespis, anticipating Charlie Chaplin's factory worker in Modern Times. Williams also illuminates the use of magic in The Sorcerer, the parody of nautical melodrama in H.M.S. Pinafore, the ridicule of Victorian aesthetic and idyllic poetry in Patience, the autoethnography of The Mikado, the role of gender in Trial by Jury, and the theme of illegitimacy in The Pirates of Penzance. With her provocative reinterpretation of these artists and their work, Williams recasts our |
| ctrlnum | (ZDB-23-DGG)9780231519663 (OCoLC)1165481205 (DE-599)BVBBV043491437 |
| dewey-full | 782.1/20922 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 782 - Vocal music |
| dewey-raw | 782.1/20922 |
| dewey-search | 782.1/20922 |
| dewey-sort | 3782.1 520922 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| era | Geschichte 1800-1900 |
| era_facet | Geschichte 1800-1900 |
| format | Electronic eBook |
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| indexdate | 2024-07-10T07:27:07Z |
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| isbn | 9780231519663 |
| language | English |
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| spelling | Williams, Carolyn Verfasser aut Gilbert and Sullivan Gender, Genre, Parody Carolyn Williams New York, NY Columbia University Press [2010] © 2010 1 online resource 76 illus txt rdacontent c rdamedia cr rdacarrier Gender and Culture Series Description based on online resource; title from PDF title page (publisher’s Web site, viewed Nov. 24, 2015) Long before the satirical comedy of The Daily Show and The Colbert Report, the comic operas of W. S. Gilbert and Arthur Sullivan were the hottest send-ups of the day's political and cultural obsessions. Gilbert and Sullivan's productions always rose to the level of social commentary, despite being impertinent, absurd, or inane. Some viewers may take them straight, but what looks like sexism or stereotype was actually a clever strategy of critique. Parody was a powerful weapon in the culture wars of late-nineteenth-century England, and with defiantly in-your-face sophistication, Gilbert and Sullivan proved that popular culture can be intellectually as well as politically challenging.Carolyn Williams underscores Gilbert and Sullivan's creative and acute understanding of cultural formations. Her unique perspective shows how anxiety drives the troubled mind in the Lord Chancellor's "Nightmare Song" in Iolanthe and is vividly realized in the sexual and economic phrasing of the song's patter lyrics. The modern body appears automated and performative in the "Junction Song" in Thespis, anticipating Charlie Chaplin's factory worker in Modern Times. Williams also illuminates the use of magic in The Sorcerer, the parody of nautical melodrama in H.M.S. Pinafore, the ridicule of Victorian aesthetic and idyllic poetry in Patience, the autoethnography of The Mikado, the role of gender in Trial by Jury, and the theme of illegitimacy in The Pirates of Penzance. With her provocative reinterpretation of these artists and their work, Williams recasts our Sullivan, Arthur 1842-1900 (DE-588)118799371 gnd rswk-swf Gilbert, William S. 1836-1911 (DE-588)118717448 gnd rswk-swf Geschichte 1800-1900 Genres, other Opera England 19th century Parody in music Sex role in music Gilbert, William S. 1836-1911 (DE-588)118717448 p Sullivan, Arthur 1842-1900 (DE-588)118799371 p 1\p DE-604 http://www.degruyter.com/doi/book/10.7312/will14804 Verlag URL des Erstveröffentlichers Volltext 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Williams, Carolyn Gilbert and Sullivan Gender, Genre, Parody Long before the satirical comedy of The Daily Show and The Colbert Report, the comic operas of W. S. Gilbert and Arthur Sullivan were the hottest send-ups of the day's political and cultural obsessions. Gilbert and Sullivan's productions always rose to the level of social commentary, despite being impertinent, absurd, or inane. Some viewers may take them straight, but what looks like sexism or stereotype was actually a clever strategy of critique. Parody was a powerful weapon in the culture wars of late-nineteenth-century England, and with defiantly in-your-face sophistication, Gilbert and Sullivan proved that popular culture can be intellectually as well as politically challenging.Carolyn Williams underscores Gilbert and Sullivan's creative and acute understanding of cultural formations. Her unique perspective shows how anxiety drives the troubled mind in the Lord Chancellor's "Nightmare Song" in Iolanthe and is vividly realized in the sexual and economic phrasing of the song's patter lyrics. The modern body appears automated and performative in the "Junction Song" in Thespis, anticipating Charlie Chaplin's factory worker in Modern Times. Williams also illuminates the use of magic in The Sorcerer, the parody of nautical melodrama in H.M.S. Pinafore, the ridicule of Victorian aesthetic and idyllic poetry in Patience, the autoethnography of The Mikado, the role of gender in Trial by Jury, and the theme of illegitimacy in The Pirates of Penzance. With her provocative reinterpretation of these artists and their work, Williams recasts our Sullivan, Arthur 1842-1900 (DE-588)118799371 gnd Gilbert, William S. 1836-1911 (DE-588)118717448 gnd Genres, other Opera England 19th century Parody in music Sex role in music |
| subject_GND | (DE-588)118799371 (DE-588)118717448 |
| title | Gilbert and Sullivan Gender, Genre, Parody |
| title_auth | Gilbert and Sullivan Gender, Genre, Parody |
| title_exact_search | Gilbert and Sullivan Gender, Genre, Parody |
| title_full | Gilbert and Sullivan Gender, Genre, Parody Carolyn Williams |
| title_fullStr | Gilbert and Sullivan Gender, Genre, Parody Carolyn Williams |
| title_full_unstemmed | Gilbert and Sullivan Gender, Genre, Parody Carolyn Williams |
| title_short | Gilbert and Sullivan |
| title_sort | gilbert and sullivan gender genre parody |
| title_sub | Gender, Genre, Parody |
| topic | Sullivan, Arthur 1842-1900 (DE-588)118799371 gnd Gilbert, William S. 1836-1911 (DE-588)118717448 gnd Genres, other Opera England 19th century Parody in music Sex role in music |
| topic_facet | Sullivan, Arthur 1842-1900 Gilbert, William S. 1836-1911 Genres, other Opera England 19th century Parody in music Sex role in music |
| url | http://www.degruyter.com/doi/book/10.7312/will14804 |
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