pars 1. Quaestiones super librum topicorum.--pars 2. Opuscula: De aeternitate mundi. De summo bono. De somnis.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Boethii Daci Aliorumque Sophismata by Boethius of DaciaJulie Brumberg-ChaumontBoethius of Dacia. Boethii Daci Aliorumque Sophismata. Edited by Sten Ebbesen and Irène Rosier-Catach. Corpus Philosophorum Danicorum Medii Aevi, 9. Odense: University Press of Southern Denmark, 2021. Pp. 624. Hardback, 400.00 DKK.This volume offers a reliable and accurate scholarly edition of two collections of thirteenthcentury sophismata (logical and grammatical puzzles) contained in ms. Brugge, Stedelijke Openbare (...) Bibliotheek 509 (=B) and ms. Firenze, Biblioteca Medicea-Laurenziana 12 sin. 3 (=F). Taken together, these two collections constitute a set of twenty-three sophismata called "Sophismata Florentino-Brugensia" in the catalogue published by Sten Ebbesen and Frédéric Goubier (A Catalogue of Thirteenth-Century Sophismata [Paris: Vrin, 2010]). These sophismata were previously available only in partial editions. Specifically, the two versions of the sophisma "Omnis homo de necessitate est animal," previously both ascribed to Boethius of Dacia, were partially edited from F by Grabmann in 1940 and from B by Roos in 1962. Other sophismata in this collection have been previously edited by Ebbesen, but their editions should now be considered "obsolete," according to the editor himself (9). Each sophisma is identified by an S followed by a number (S1, S2, etc.). In turn, each sophisma deals with several issues or problems, each one of which is identified by a P followed by a number (P1, P2, etc.). The volume is very usefully completed by an index of explicit and implicit references to other works and an index of parallel passages, both compiled by Kristian Thomsen Purreskov (591–601). Finally, this edition is accompanied by a selective but still rich index of words, where special attention has been dedicated to the sophismata by Boethius of Dacia (603–24). All the material is presented in a clear and accurate way. There are only a few minor material errors (specifically, the running titles for problems in S4 are messy; at 33, "a*" should be read as "b*"; at 49, "S14" should be read as "S18").Sten Ebbesen is the sole editor of all sophismata except for the three that deal with grammatical subjects, for which Irène Rosier-Catach is the main editor, with Ebbesen serving as a coeditor.Concerning the authorship of each sophisma, Ebbesen follows the indications contained in F, but he also provides some independent discussions (24–26). Thus, he ascribes two sophismata to Boethius of Dacia, ten to Peter of Auvergne, one to an otherwise unknown Nicholas of Normandy, and the remaining ten to anonymous masters. They are listed in detail in the "Index sophismatum et problematum" (65–69).After a summary of the contents of the volume, Ebbesen's introduction contains five sections of different lengths: first, a history of the edition (7–9); second, a general description of the structure and functioning of sophismata (9–13); third, a description of the seven manuscripts used for the edition (14–22); fourth, a discussion about authorship (22–58); and fifth, an explanation of the principles of the edition (58–62). In the third section, Ebbesen provides a wealth of information about manuscripts, stemma codicum, and evaluations of variants, especially about the relationship between S and B for the sophismata contained in both manuscripts. In this regard, Ebbesen establishes that B and F are probably not two independent reportationes of the same oral disputation, that they had a common ancestor, and that they do not depend on one another (25–32). The fourth section, about authorship, demonstrates that the collection contained in F is earlier than that contained in B. One major result is that the text copied in B (S1B) ("Omnis homo de necessitate est animal") is not by Boethius of Dacia (35). Because of F priority, that manuscript is chosen as the main witness for those sophismata or parts of sophismata that are common to F and B.The second section makes an extremely significant historical and doctrinal contribution to the history of logic, particularly the history of logical practices and their textual records. [End Page 705] Three constitutive parts of a sophisma are identified: first, the sophismatic sentence itself; second, a brief disputation (called here corpus sophismatis) about the sophismatic sentence... (shrink)

Editions of difficult, obscure Latin philosophical texts from the Middle Ages rarely receive reviews in general History of Philosophy journals. An exception might be made for an important new editi...

INTRODUCTION Opera and film. Though these two cultural forms are not often thought of together, they have actually existed in an interesting symbiosis, ...

[Bd.] I. Opera theologica.--[Bd.] II. T. 1-2. Opera philosophica.

Opera, maintains the author of this comprehensive and provocative volume, finds itself in an artistic predicament that goes beyond previous generational disruptions and "is our own, and special." Arguing that we cannot solve the problem unless we recognize and define it, and that we cannot hope to envision the artform's future unless we first come to terms with its past, he examines all elements of recent operatic practice as revealed in performance--"Performance," he declares, "is our text." He asserts that (...) with renewal of the repertory long at a virtual standstill, we have tried to substitute auteurial production methods and cultural revisionism in its place, with disastrous results. Accordingly, Opera as Opera draws on performances encountered over an eighteen-year period to first analyze styles and techniques of production (direction and design), and then to trace, in copious detail, the developments in the performing disciplines of conducting, singing, and acting that have loosened our connection to the canon. "The masterworks," it flatly states, "are not before us." In a central section, it also surveys the more general cultural background of this situation, in particular the influence of modern and postmodern philosophy and literary criticism, and the turn away from the master narrative which in the author's view was the principal generating force behind opera's greatest era. Whether the reader's primary interest is musical or theatrical, whether it lies with intellectual and aesthetic matters or with into-the-weeds discussion of the work of the performers who bring opera to life, he or she will find much that will stimulate and challenge in this deeply informed, incisively written book."--Publisher's description. (shrink)

t. 1. Scripta in editione Basilensi anno MDLXXII collecta.-- t. 2. Rime, Carmina, Commentaria in psalmos, Epistolae; Appendix; I. Reuchlin, De arte cabalistica.

This volume provides the first critical edition of Boethius' _De divione_. It includes extensive prolegomena, a facing-page English translation, and detailed commentary. It contributes to our understanding of the transitional phase between ancient and medieval thought.

This section provides the first full edited transcription—from Latin and Italian vernacular language—of the Opera geometrica. Further, as above said, facsimile texts are added, including our critical comments as footnotes to this chapter.

v. 1 Saggi sulla teoria della conoscenza. t.1.Saggio primo: Sui limiti e l'oggetto della conoscenza a priori.--t.2 Filosofia della metafisica parte prima - La causa efficiente.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Adorno unquestionably loved opera music as much as he hated opera as a cultural institution. His take on opera in the twentieth century led him to write its socio‐political obituary, while recognizing at the same time that opera continued to attract a steady stream of would‐be onlooker‐auditors. Paradoxically for Adorno, opera continued to appeal to audiences, and – from his dialectical reckoning – characteristically for precisely the wrong reasons. His opera analyses address the sociology (...) of musical theater, performance hermeneutics, and the direct consideration of music itself (though given his typical writing mode this writing is perhaps best characterized as criticism rather than analysis, as the latter term is commonly employed within musicology). Adorno's interests principally revolve around modern opera (Schoenberg, Berg, Strauss, Weill, especially) but also, if to a lesser extent, canonic works from Mozart to Verdi. Wagner, Wagnerian music drama, and cultural Wagnerism more generally were special cases for Adorno, and subjects he returned to repeatedly throughout his adult life, coinciding with the rise and fall of National Socialism and the Wagner cult, which in the 1930s and 1940s war years comfortably accommodated fascist proclivities. Adorno recognized the socio‐cultural agency of opera as a still‐prestigious cultural leftover of nineteenth‐century bourgeois triumphalism, which he vigorously opposed. In its place, he labored to promote what he regarded as a more socially responsible musico‐operatic practice to supplant the aesthetic and social complacency of the established order, ideas that after his death have found considerable currency, nowhere more evident than in late‐modern opera productions throughout the world. (shrink)

This collection of 8 essays introduces literary and cultural theorists into the domain of operatic textual analysis, long the exclusive preserve of musicologists. The contributors include some of the most distinguished critics of the past 30 years, most of them writing about opera for the first time.

t. 1. Scripta in editione Basilensi anno 1573 collecta. 2 v.

A characteristic feature of Wagnerian and post-Wagnerian opera is the tendency to link scenes with numerous and often surprisingly lengthy orchestral interludes, frequently performed with the curtain closed. Often taken for granted or treated as a filler by audiences and critics, these interludes can take on very prominent roles, representing dream sequences, journeys and sexual encounters, and in some cases becoming a highlight of the opera. Christopher Morris investigates the implications of these important but strangely overlooked passages. Combining (...) close readings of individual musical texts with an investigation of the critical discourse surrounding the operas, Morris shows how the interludes shed light not only on the representational and narrative capacities of the orchestra, but also on the supposed 'absolute' realm of instrumental music, a concept to which many critics appealed when they associated the interludes with 'purely musical' and 'symphonic' qualities. (shrink)

v. 1. Opere teoretiche.--v. 2. Opere morali.

This section provides information and background on the selection of Opera geometrica (Fig. 1). We have worked on transcription from Latin and Italian vernacular language, which is the original language of the Torricelli’s text. Further facsimile texts are added for readers and our critical comments can be found as footnotes to this chapter.

If opera had existed in Elizabethan London, the world's Top Bard, as W.H. Auden called him, might have become the world's Top Librettist. As Gary Schmidgall shows in this illuminating study, Shakespeare's expressive ways and dramaturgical means are like those of composers and librettists in numerous and often astonishing ways. No wonder that well over two hundred operas have been based on Shakespeare's plays. Ranging widely through the Shakespearean canon and the standard operatic repertory, Schmidgall presents a fascinating comparison, (...) focusing on similarities of expressive style, scenic structure, staging, and performance practice. Shakespeare and Opera offers extended discussions of issues central to both theatrical genres, including their shared demand for virtuoso display, the comparable functions of set speeches and arias, and the similarities of verbal and musical rhetoric, and the charges of unreality and melodrama that have dogged them both. In addition, Schmidgall provides concise essays on the most intriguing Shakespeare-based operas, including works of Verdi, Wagner, Bellini, Rossini, Berlioz, Thomas, Vaughan Williams, Barber, and Britten. He enriches his argument with the insights of the great composers who never set Shakespeare (Mozart, Puccini, and Strauss among them), major observers of the legitimate stage (from Samuel Johnson to Eric Bentley) and the musical stage (from Joseph Addison to Joseph Kerman), as well as the incisive views of influential artists, critics, and performers as diverse as Walt Whitman, H.L. Mencken, and Laurence Olivier. For all who love the stage, Shakespeare and Opera offers endless insight and fascination. Schmidgall's extended comparison of the two dramaturgies provides a fresh perspective on Shakespeare, musical theater, comparative drama, and theater history. (shrink)

Paul Thom argues that opera is a set of practices framed by the concepts of work, interpretation, performance, and art. His argument is that operatic works have the potential to be art, but so do operatic productions, independently of their value as interpretations of the works they stage.