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Parody of Greco-Roman Myth in Offenbach’s Orfée aux enfers and La belle Hélène
12 references·0 citing·30 second hop
Parody of Greco-Roman Myth in Offenbach’s Orfée aux enfers and La belle Hélène (2013)Parody of Greco-Roman Myth in Offenbach’s…Victorian culture and classical antiquity: art, opera, fiction, and the proclamation of modernity (2012)Victorian culture and classic…Emotion, Genre and Gender in Classical Antiquity (2011)Emotion, Genre and Gender in …French opera: a short history (2010)French opera: a short historyAncient Drama in Music for the Modern Stage (2010)Ancient Drama in Music for th…Music, Theater, and Cultural Transfer (2009)Music, Theater, and Cultural …Jacques Offenbach and the Paris of his time (2002)Jacques Offenbach and the Par…Palimpsests: Literature in the Second Degree (1997)Palimpsests: Literature in th…The Oxford illustrated history of opera (1995)The Oxford illustrated histor…Music and the French Revolution (1993)Music and the French Revoluti…A Theory of Parody: The Teachings of Twentieth-Century Art Forms (1985)A Theory of Parody: The Teach…Offenbach: His Life and Times. (1980)Offenbach: His Life and Times.Jacques Offenbach, a biography (1980)Jacques Offenbach, a biographyColonial Desire: Hybridity in Theory, Culture and Race. (1996)Projecting the Past: Ancient Rome, Cinema, and History (1999)Reconstructing Ancient Worlds: Reception Studies, Archaeological Representation and the Interpretation of Ancient Egypt (2014)Classical Philology and Theology (2020)Dionysus after Nietzsche (2020)Fickle fashion versus immortal fame: Transhistorical assessments of creative products in the opera house. (1998)Creative Development as Acquired Expertise: Theoretical Issues and an Empirical Test (2000)How Product Order Affects Market Identity (2011)Epicharmus and early Sicilian comedy (2014)The Cambridge Companion to Greek Comedy (2014)The politics of Greek comedy (2014)Between cosmopolitanism and nationhood: Italian opera in the early nineteenth century (2014)Carmen, Communarde Bizet, ‘Habanera’ (Carmen),Carmen, Act I (2016)Female Singers on the French Stage, 1830–1848 (2018)Political Representation and the Chorus in Nineteenth-Century Opera (1992)BEETHOVEN AND THE SOUND OF REVOLUTION IN VIENNA, 1792–1814 (2014)The Cambridge Companion to French Music (2015)The Global Politics of Contemporary Travel Writing (2006)Memes in a Digital World: Reconciling with a Conceptual Troublemaker (2013)Sociolinguistics from the Periphery (2016)Régimes de genre et Antiquité grecque classique (Ve-IVesiècles av. J.-C.) (2012)Aristotle on Women: Physiology, Psychology, and Politics (2021)The Cambridge Introduction to Narrative (2008)Bakhtin’s Theory of the Literary Chronotope: Reflections, Applications, Perspectives (2010)The Cambridge Introduction to Narrative (2020)Globalizing Operetta before the First World War (2017)Overlooking the Ephemeral (2017)The Cambridge Companion to Operetta (2019)Death in opera: A case study, “Tales of Hoffman” — Antonia (1992)Going Global: The International Spread of Viennese Silver-Age Operetta (2019)
this work references cited by second hop

References

  • 1997Palimpsests: Literature in the Second Degree1,554 cited
  • 1985A Theory of Parody: The Teachings of Twentieth-Century Art Forms769 cited
  • 2012Victorian culture and classical antiquity: art, opera, fiction, and the proclamation of modernity158 cited
  • 1995The Oxford illustrated history of opera112 cited
  • 2010Ancient Drama in Music for the Modern Stage105 cited
  • 2009Music, Theater, and Cultural Transfer83 cited
  • 2002Jacques Offenbach and the Paris of his time75 cited
  • 1993Music and the French Revolution43 cited
  • 2011Emotion, Genre and Gender in Classical Antiquity41 cited
  • 1980Jacques Offenbach, a biography27 cited
  • 2010French opera: a short history27 cited
  • 1980Offenbach: His Life and Times.26 cited

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