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Note biographique
Daniel Sheridan is a doctoral candidate in the Cultural Mediations program of the Institute for Comparative Studies in Literature, Art, and Culture at Carleton University. His research interests are focused on nineteenth-century operatic and symphonic music as cultural practices and their importance in the formation of individual and collective identities. He is writing a dissertation on Wagner’s adaptations and transformations of grand opera and how they position performing bodies as stages for the performance and production of narratives of German nationhood.
Bibliographie
- Adorno, Theodor W. 1992. Mahler: A Musical Physiognomy. Translated by Edmund Jephcott. Chicago: University of Chicago Press.
- Benjamin, Walter. 1977. The Origin of German Tragic Drama. Translated by John Osborne. London: New Left Books.
- Clément, Catherine. 1988. Opera, or, the Undoing of Women. Translated by Betsy Wing. Minneapolis: University of Minnesota Press.
- Foucault, Michel. 1972. The Archaeology of Knowledge & The Discourse on Language. Translated by A.M. Sheridan Smith. New York: Pantheon Books.
- Lee, M. Owen. 1999. Wagner: The Terrible Man and His Truthful Art. Toronto: University of Toronto Press.
- Magee, Bryan. 2000. The Tristan Chord: Wagner and Philosophy. New York: Metropolitan Books.
- Poizat, Michel. 1992. The Angel’s Cry: Beyond the Pleasure Principle in Opera. Translated by Arthur Denner. Ithaca: Cornell University Press.
- Shaw, George Bernard. 1981. “The Perfect Wagnerite: A Commentary on The Nibelung’s Ring.” In 1893–1950. Vol. 3 of Shaw’s Music: The Complete Musical Criticism in Three Volumes, ed. Dan H. Laurence, 408–545. London: Bodley Head.
- Silverman, Kaja. 1988. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington: Indiana University Press.
- Spotts, Frederic. 1994. Bayreuth: A History of the Wagner Festival. New Haven: Yale University Press.
- Tomlinson, Gary. 1999. Metaphysical Song: An Essay on Opera. Princeton, NJ: Princeton University Press.