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Das Buch geht davon aus, daß sämtliche Opern Siegfried Wagners (1868-1930) vom Gedanken der Läuterung getragen sind. Dieser ist in seinem siebenten Werk – sagenhaft eingekleidet – ausgeführt als Befreiung vom Bann des Schwarzschwanenreichs. Kompositorisch bewegt sich Siegfried Wagner auf der Grenze zwischen Spätromantik und Moderne. Die vorliegende Werkanalyse ist literatur- und musikwissenschaftlich angelegt und umfaßt eine Beschreibung der von ihm spezifisch ausgeprägten Form der Oper und weiter eine Analyse von Entstehungsverlauf und Werkstruktur. Insbesondere werden Wort-Ton-Beziehungen (Intratextualität) behandelt und so die semantische Tiefenstruktur der Oper erschlossen. Stofflich und ideell leitet sich das Werk Siegfried Wagners aus persönlichen Erlebnissen und aus der Lektüre auf dem Gebiet von Dichtung, Philosophie und Geschichtlichem sowie von Sagensammlungen her. So läßt sich hier eine Linie griechisch-antiker und christlicher Mystik nachzeichnen. Es geht darum, Vorgänge in der Seele des Komponisten zu beleuchten, welche von ihm in verfremdeter Form ins Licht der Bühne gestellt werden. Gerade in der Analyse aber gelangt man an Grenzen des Wissenschaftlichen und Analysierbaren. Es stellt sich ein Kontakt mit einem Bereich – Mystik, Psyche – her, der sich lediglich erlebnishaft erschließen läßt. Auf diesen weisen die Mittel der Form hin. Dies betrifft v.a. die Metaphorik des Textes, die harmonische Struktur der Musik und die Form des Gesanges in literarischer und musikalischer Hinsicht.

Performing arts. --- Performing Arts.

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Artists, writers, and filmmakers Andy Warhol and J.G. Ballard to Alejandro González Iñárritu and Ousmane Sembène have repeatedly used representations of immobilized and crashed cars to wrestle with the conundrums of modernity. In Crash, Karen Beckman argues that representations of the crash parallel the encounter of film with other media, and that these collisions between media offer useful ways to think about alterity, politics, and desire. Examining the significance of automobile collisions in film genres including the?cinema of attractions,? slapstick comedies, and industrial-safety movies, Beckman reveals how the car crash gives visual form to fantasies and anxieties regarding speed and stasis, risk and safety, immunity and contamination, and impermeability and penetration. Her reflections on the crash as the traumatic, uncertain moment of inertia that comes in the wake of speed and confidence challenge the tendency in cinema studies to privilege movement above film?s other qualities. Ultimately, Beckman suggests that film studies is a hybrid field that cannot apprehend its object of study without acknowledging the ways that cinema?s technology binds it to capitalism?s industrial systems and other media, technologies, and disciplines.

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Renato Simoni was a playwright, theatre critic, librettist for opera seria and opera buffa, screenwriter, speaker, author of magazines, ballets, essays, costume articles, epigrams, anacreontics and rhymed jokes, but also one of the first Italian directors. In the 1930s and 1940s, he was at the head of important installations for the Venice Biennale and the Maggio Musicale Fiorentino. Using unpublished archival documents, this volume reconstructs the portrait of a multifaceted and authoritative man of the theatre, whose artistic experience has often been neglected by historiography, and yet refers to a decisive historical moment of theatre in Italy, marked by the progressive dissolution of the chief-comedian-and-showman structure in theatrical troupes and by the need for aesthetic and productive renewal.

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Based loosely on Primo Levi's Il Sistema Periodico, the play is set in a Fahrenheit 451 scenario. In this world without either books or memory, a man of the street arrives with a bundle of not easily decipherable papers: with the help of the narrative voice, of his friends - Science, Technology and Nature - and of two actors at length off-stage, Primo and his friend Alberto, the man succeeds in reconstructing the episode of the story Cerio. Through memory he thus reconstructs the lost identity, that is our history. Science, Technology and Nature allow the man without memory to master scientific knowledge and free himself from his state. The drama finds its catharsis in a poignant passage, inspired by the story Carbonio, which lyrically sets up a temporal link between an atom of carbon from the smoke of a crematorium and the same dwelling within the body of each one of us: a poetic parabola of a science immersed in the life and history of man.

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The current adopted curriculum in public schools across California narrowly focuses on the core curriculum of language arts and math, excluding the visual and performing arts. A curriculum with out the arts fails to address the common sense of childhood development and the diversity of learning needs that a one-size fits all system ignores. Sources of Data The curriculum development involved research of the Kindergarten California content standards for the core curriculum and the visual and performing arts. The thematic units with in the curriculum were developed intentionally to align with the California content standards for the core curriculum and to be developmentally appropriate. The project included research of early childhood brain and mind development and Howard Gardner?s multiple intelligences to further validate the necessity of teaching the visual and performing arts. Conclusions Reached The visual and performing arts can be successfully integrated into the core curriculum and aligned with the California content standards meeting the diverse learning needs of early childhood development. Early childhood curriculum needs to address child development as a whole; the arts in education engage and enrich learning like no other discipline.

Performing arts.