Chronos: the S.U. Undergraduate History Journal (Spring 2012 Vol. 7)
Chronos: the S.U. Undergraduate History Journal (Spring 2012 Vol. 7)
Chronos: the S.U. Undergraduate History Journal (Spring 2012 Vol. 7)
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CHRONOS<br />
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Melina Esse, "Donizetti's Gothic Resurrections," 19th-Century Music 33, no. 2 (2009), 85.<br />
<br />
<br />
<br />
<br />
<br />
<br />
See Figures 1 through 6.<br />
Matilde Mateo, "’Gothic’ <strong>the</strong> Barbarian," Syracuse University (Syracuse: 2011), Lecture 9/8/11.
See Figures 7 through 9; Donizetti, Lucia di Lammermoor, Performed by Natalie Dessay.<br />
Matilde Mateo, "Oriental Gothic," Syracuse University (Syracuse: 2011), Lecture 9/20/11.<br />
See Figure 10; Donizetti, Lucia di Lammermoor, Performed by Natalie Dessay.<br />
This literary embellishment is reminiscent of <strong>the</strong> intricate reasoning/poetry of <strong>the</strong> Eastern rhetoric as<br />
discussed by Western critics of <strong>the</strong> gothic style, such as Francois de Salignac de la Motte Fenelon; Francois<br />
de Salignac, Diologues sur l’Eloquence, trad. De William Stevenson (Glasgow, 1750), 97.<br />
According to “Literary Gothicism,” some of <strong>the</strong> many Gothic stylemes present in <strong>the</strong> 2011 production<br />
include <strong>the</strong>mes of decay (Lucia’s mental state and <strong>the</strong> decaying noble houses), heightened realism<br />
(insanity, hallucinations, ghosts), jumping between extremes (both vocally and emotionally), and especially<br />
a fascination with death; Linda Bayer-Berenbaum, The Gothic Imagination: Expansion in Gothic Literature<br />
and Art (London-Toronto: Associated University Press, 1982).<br />
Gaetano Donizetti, Lucia di Lammermoor, trans. Ellen H. Bleiler (New York: Dover Publications,<br />
1972). 85-155.
Mary Smart, "The Silencing of Lucia," Cambridge Opera <strong>Journal</strong> 4, no. 2 (1992), 125-140.<br />
<br />
<br />
Corinne Blackmer and Patricia Smith, En travesti: women, gender subversion, opera (Columbia<br />
University Press, 1995), 64.<br />
Ibid, 65.<br />
John Ruskin, “The Nature of Gothic,” in The Stones of Venice (Course Reserve); Matilde Mateo,<br />
"Christian Gothic," Syracuse University (Syracuse: 2011), Lecture 10/27/11.
Ruskin, The Stones of Venice, 185.<br />
Mateo, “Christian Gothic.”<br />
Elias, Norbert. The Civilizing Process: sociogenetic and psychogenetic investigations. (Wiley-<br />
Blackwell, 2000), 365.<br />
Jean-Jacques Rousseau, The Social Contract and Discourses, trans. G. D. H. Cole (London: Orion<br />
Publishing Group, 1993), 31.<br />
Ibid, 71-72.<br />
Ibid, 74.
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
Mateo, "Gothic Horror"; This importance of emotions to <strong>the</strong> aes<strong>the</strong>tic experience can also seen in Lucia<br />
di Lammermoor’s vastly emotional plot and characters, as well as <strong>the</strong> importance of emotional expression<br />
in performing <strong>the</strong> opera (acting in order to incite emotional responses in <strong>the</strong> audience).
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