Showing papers by "Linda Hutcheon published in 2003"
113 citations
TL;DR: This article presented at the conference 'Literary Histories and the development of identities' sponsored by the Social Sciences and Humanities Research Council of Canada involving members of the I.L.A. Coordinating Committee at Queen's University, Canada, in the Fall of 2001.
Abstract: Paper presented at the conference 'Literary Histories and the Development of Identities' sponsored by the Social Sciences and Humanities Research Council of Canada involving members of the I.C.L.A. Coordinating Committee at Queen's University, Canada, in the Fall of 2001.
31 citations
7 citations
02 Sep 2003
4 citations
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TL;DR: A adaptacao operistica de Richard Strauss de Salome de Oscar Wilde transgride todas as regras de representacao do corpo feminino: this corpo nao e apenas contemplado pelo 'olhar masculino' mas tambem contempla, with resultados poderosos e mortais as discussed by the authors.
Abstract: A adaptacao operistica de Richard Strauss de Salome de Oscar Wilde transgride todas as regras de representacao do corpo feminino: este corpo nao e apenas contemplado pelo 'olhar masculino' mas tambem contempla, com resultados poderosos e mortais. Na versao de Strauss, Salome oferece um desafio as teorias canonicas tanto do 'olhar' quanto do feminino enquanto objeto.
3 citations
Journal Article•
TL;DR: In this paper, the authors present a collection of essays from the Duke University Press, entitled "Affiliation: 1947-2017: A History of the United States: Acknowledgements and Disaffiliation".
Abstract: Affiliation (1) 1947-
Source Common Knowledge, vol. 9, no. 2, pp.343-343, April 2003
Copyright Copyright © 2003 by Duke University Press.
TL;DR: The Battle of the Nile in 1798 may have dashed France's hopes of taking India, but it set the stage, so to speak, for a form of aesthetic and mimetic colonization of it through the theatrical and musical discourses of opera as mentioned in this paper.
Abstract: The Battle of the Nile in 1798 may have dashed France's hopes of taking India, but it set the stage, so to speak, for a form of aesthetic and mimetic colonization of it through the theatrical and musical discourses of opera. In nineteenth-century France, opera was one of a series of discursive practices that helped the nation restore its prestige by appropriating culturally what it failed to conquer militarily. Curiously, however, in doing so it engaged the Parisian public's (well documented) contradictory responses to the entire idea of empire: desire mixed with anxiety.