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020 |a9783030278892|9978-3-030-27889-2
024 7 |a10.1007/978-3-030-27889-2|2doi
041 |aeng
049 |aTürk Dil Kurumu Kütüphanesi
050 4|aPN2100-2193
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072 7|aHBT|2bicssc
072 7|aPER011020|2bisacsh
072 7|aATD|2thema
072 7|aATY|2thema
082 04|a792.09|223
090 |aEK/4191
100 1 |aPendergast, John.|eauthor.|4aut|4http://id.loc.gov/vocabulary/relators/aut
245 10|aJoan of Arc on the Stage and Her Sisters in Sublime Sanctity|h[electronic resource] /|cby John Pendergast.
250 |a1st ed. 2019.
264 1|aCham :|bSpringer International Publishing :|bImprint: Palgrave Macmillan,|c2019.
300 |aXVII, 281 p. 20 illus., 1 illus. in color.|bonline resource.
336 |atext|btxt|2rdacontent
337 |acomputer|bc|2rdamedia
338 |aonline resource|bcr|2rdacarrier
347 |atext file|bPDF|2rda
490 1 |aBernard Shaw and His Contemporaries,|x2634-582X
505 0 |aChapter 1. The Palimpsest of Euripides, Shakespeare, and Voltaire -- Chapter 2. Sublime Sanctity: Schiller’s New Tragic Joan -- Chapter 3. Lacuna and Enigma: Verdi’s Giovanna d’Arco in Light of Schiller’s Play -- Chapter 4. Patriotic Elegy and Epic Illusion: Schiller’s Johanna in Russia -- Chapter 5. The Skeptic Doth Protest Too Much, Methinks: Shaw’s Saint Joan. Concluding Thoughts on Joan in the Twentieth and Twenty-first Centuries.  .
520 |aThis book examines the figure of Joan of Arc as depicted in stage works of the nineteenth and twentieth centuries, especially those based on or related to Schiller’s 1801 romantic tragedy, Die Jungfrau von Orleans (The Maid of Orleans). The author elucidates Schiller’s appropriation of themes from Euripides’s Iphigenia plays, chiefly the quality of “sublime sanctity,” which transforms Joan’s image from a victim of fate to a warrior-prophet who changes history through sheer force of will. Finding the best-known works of his time about her – Voltaire’s La pucelle d’Orléans and Shakespeare’s Henry VI, part I – utterly dissatisfying, Schiller set out to replace them. Die Jungfrau von Orleans was a smashing success and inspired various subsequent treatments, including Verdi’s opera Giovanna d’Arco and a translation by the father of Russian Romanticism, Vasily Zhukovsky, on which Tchaikovsky based his opera Orleanskaya deva (The Maid of Orleans). In turn, the book’s final chapter examines Shaw’sSaint Joan and finds that the Irish playwright’s vociferous complaints about Schiller’s “romantic flapdoodle” belie a surprising affinity for Schiller’s approach.
650 0|aTheater|xHistory.
650 0|aDrama.
650 0|aEuropean literature.
650 14|aTheatre History.
650 24|aDrama.
650 24|aEuropean Literature.
710 2 |aSpringerLink (Online service)
773 0 |tSpringer Nature eBook
776 08|iPrinted edition:|z9783030278885
776 08|iPrinted edition:|z9783030278908
776 08|iPrinted edition:|z9783030278915
830 0|aBernard Shaw and His Contemporaries,|x2634-582X
856 40|uhttps://doi.org/10.1007/978-3-030-27889-2
912 |aZDB-2-LCM
912 |aZDB-2-SXL
950 |aLiterature, Cultural and Media Studies (SpringerNature-41173)
950 |aLiterature, Cultural and Media Studies (R0) (SpringerNature-43723)