Bugs Bunny, Morpheus, Calaf e flying cars: On Current Operatic literacy: advertising and new media
DOI:
https://doi.org/10.26512/dramaturgias.v0i10.24869Keywords:
Opera literacy. Advertising. New media. Stereotypes. Audiovisuals.Abstract
This essay is part of a broader, ongoing investigation, and consists in an exploratory inquiry about the relevance of the circulation of audiovisual ads to the formation of today’s operatic literacy. By observing a corpus of advertisements that use opera as a cultural repository and mechanism of production of meaning, I discuss the process of invention of what is currently understood as opera and its significance in the present social landscape.
Downloads
References
ABBATE, C., e Roger PARKER. A history of opera: the last four hundred years. London: Penguin Books, 2012.
ADORNO, T. W. 1976. “Opera” In: Introduction to the sociology of music. New York: The Seabury Press, 1976, pp. 71-85.
ADORNO, T. W. “Ópera”. Introdução à sociologia da música ”“ doze preleções te-óricas. São Paulo: UNESP. 2009, pp. 163-186.
ADORNO, T. W. Essays on Music: Theodor W. Adorno. Richard Leppert (Ed.). Berkeley, Calif: University of California Press, 2002.
ADORNO, T. W. “Sobre o carácter fetichista na música e a regressão da audição”. In: Sobre a indústria da cultura. Coimbra: Angelus Novus, 2003.
BOURDIEU, P. A distinção ”“ uma crítica social da faculdade do juízo. Lisboa: Edições 70, 2010.
BULLERJAHN, C. “Music in television commercials”. In: Steven Brown e Ulrik Volgsten (eds). Music and manipulation: on the social uses and social control of music. New York: Berghahn Books, 2006, pp. 207-235. CARVALHO, M. V. de. “Ethos e Pathos na experiência da música”. Maria Fernanda Palma, Augusto Silva Dias, Paulo de Sousa Mendes (eds.). Emoções e crime ”“ filosofia, ciência, arte e direito penal. Lisboa: Almedina, 2013.
COLERIDGE, S. T. Biographia Literaria. London: The British Library, 1817. https://www.bl.uk/collection-items/biographia-literaria-by-samuel-taylor-coleridge.
GOMES RIBEIRO, P. “Da transformação de paradigmas de comunicação mu-sical na era da internet: interatividade, participação e convergência”. In: Paula Gomes Ribeiro, Joana Freitas, Júlia Durand, André Malhado (eds.) Log In, Live On: música e cibercultura na era da internet das coisas. Lisboa: Húmus, 2018, pp. 36-65.
HUTCHEON, L. A theory of parody: the teachings of twentieth-century art forms. Urbana: University of Illinois Press, 2000.
LITTLEJOHN, D. The ultimate art: essays around and about opera. Berkeley: University of California Press, 1992.
LOWE, D. "Natasha Rostova goes to the opera". The Opera Quarterly 7 (3): 74”“81. 1 October 1990.O’NEILL, S., EDELMAN, J. e J. SLOBODA. "Opera and emotion: The cultural value of attendance for the highly engaged". Participations ”“ Journal of au-dience & reception studies 13 (1), 2016. http://www.participations.org/Volume%2013/Issue%201/3.pdf.
PAGET, C. “The 10 silliest operas... that you really need to hear”. Limelight, Australia’s classical music and art magazine. 25 julho 2013. Consultado em 6 setembro 2018. https://www.limelightmagazine.com.au/features/the-10-silliest-operas-that-you-really-need-to-hear/PEDLER, E. Entendre l’opéra ”“ une sociologie du théâtre lyrique. Paris: L’Harmattan, 2013.
POGUE, D. e SPECK, S. Opera for dummies. Foster City, CA: IDG Books, 1997.s. a. "10 utterly ridiculous things that only happen in opera". Classic fm (blog). 23 de Agosto de 2013. https://www.classicfm.com/discover-music/latest/funny-opera-plots/.
SAINT-ÉVREMOND, C. de. "Sur les Opera", Œuvres Meslées, t. XI, [1684], pp. 77-119.SPRAGUE, M. “Super Bowl viewers will be introduced to Kia’s first-ever lu-xury sedan in new campaign starring Laurence Fishburne in iconic role from The Matrix”, S.d. Consultado em 25 maio 2018.http://www.kia.bg/en/news/read/162/super_bowl_viewers_will_br_introduced_to_kia_s_first_ever_luxury_sedan_in_new_campaign_starring_laurence_fishburne_in_iconic_role_from_the_matrix/.
STOREY, J. "Expecting rain’ opera as popular culture?" Em Collins, Jim (ed.). High-pop: making culture into popular entertainment, 32”“55. Malden, Mass: Blackwell Publishers, 2002.
WHITE, J. Nessun Dorma put football back on map. The Telegraph. 7 setem-bro 2007. Consultado em 20 maio 2018. https://www.telegraph.co.uk/news/worldnews/1562471/Nessun-Dorma-put-football-back-on-map.html
WHITE, J. “Sobre o carácter fetichista na música e a regressão da audição”. In: Sobre a indústria da cultura. Coimbra: Angelus Novus, 2003.BOURDIEU, P. A distinção ”“ uma crítica social da faculdade do juízo. Lisboa: Edições 70, 2010.BULLERJAHN, C. “Music in television commercials”. In: Steven Brown e Ulrik Volgsten (eds). Music and manipulation: on the social uses and social control of music. New York: Berghahn Books, 2006, pp. 207-235.
CARVALHO, M. V. de. “Ethos e Pathos na experiência da música”. Maria Fernanda Palma, Augusto Silva Dias, Paulo de Sousa Mendes (eds.). Emoções e crime ”“ filosofia, ciência, arte e direito penal. Lisboa: Almedina, 2013.
COLERIDGE, S. T. Biographia Literaria. London: The British Library, 1817. https://www.bl.uk/collection-items/biographia-literaria-by-samuel-taylor-coleridge.
GOMES RIBEIRO, P. “Da transformação de paradigmas de comunicação musical na era da internet: interatividade, participação e convergência”. In: Paula Gomes Ribeiro, Joana Freitas, Júlia Durand, André Malhado (eds.) Log In, Live On: música e cibercultura na era da internet das coisas. Lisboa: Húmus, 2018, pp. 36-65.
HUTCHEON, L. A theory of parody: the teachings of twentieth-century art forms. Urbana: University of Illinois Press, 2000.
LITTLEJOHN, D. The ultimate art: essays around and about opera. Berkeley: University of California Press, 1992.
LOWE, D. "Natasha Rostova goes to the opera". The Opera Quarterly 7 (3): 74”“81. 1 October 1990.
O’NEILL, S., EDELMAN, J. e J. SLOBODA. "Opera and emotion: The cultural value of attendance for the highly engaged". Participations ”“ Journal of audience & reception studies 13 (1), 2016. http://www.participations.org/Volume%2013/Issue%201/3.pdf.
PAGET, C. “The 10 silliest operas... that you really need to hear”. Limelight, Australia’s classical music and art magazine. 25 julho 2013. Consultado em
Downloads
Published
How to Cite
Issue
Section
License
Autores mantém os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Licença Creative Commons Attribution que permite o compartilhamento do trabalho com reconhecimento da autoria e publicação inicial nesta revista.
