File #2361: "2018_Book_LawAndOpera.pdf"
Testo
1|Contents|5
1|About the Editors and Authors|8
1|Law in the Opera, Law on the Opera, Law Around the Opera: A Multidisciplinary Approach|14
2|1 Conceptual Premises|14
2|2 Law in Opera|16
2|3 Law on Opera, Law Around Opera|20
2|4 Conclusion (to the Introduction)|21
2|References|21
1|Part I: Law in Opera|23
2|Scalia/Ginsburg: The Rhythm of the US Federal Supreme Court|24
3|1 The Plot|24
3|2 Two Different Justices|26
3|3 Theories of Interpretation and the Principle of Separation of Powers|32
3|4 The Myth of the Supreme Court of the United States|37
3|References|40
2|Exile and Identity: Findings of Fact and Opinions of Law, in Bellini´s La Straniera|43
3|1 Introduction|44
3|2 Reasons for a Choice|44
4|2.1 Identity Basics: il ver rispondi: chi sei tu?|46
4|2.2 Facts Connected by Weak Causation: Act 1 [1h.26mn.]|50
4|2.3 Thoughts After Curtains|55
3|References|57
2|Fiat iustitia et pereat mundus. The Tragic Conflicts of the Judge in I Due Foscari|58
3|1 Between Law and Justice|58
3|2 The Doge and the Father|60
3|3 The Paradox of the Undecidable|63
3|4 The Triumph of the Reason of State|66
3|5 The Blindfold of Justice|68
3|6 Beyond the Law|70
3|References|71
2|``That May Be Japanese Law but Not in My Country!´´ Marriage, Divorce, and Private International Law in Giacomo Puccini´s Mad...|74
3|1 Introduction|75
3|2 Origin and Plot|75
3|3 Legal Issues|77
3|4 Applicable Law|81
3|5 Conclusions|84
3|References|86
2|Crime, Prosecution, and Justice in Giuseppe Verdi´s Otello|87
3|1 Honor Killing or Premeditated Murder?|87
3|2 The Sources of Othello|90
3|3 The Criminal Legislation in Cyprus During the Venetian Rule|91
3|4 Honor Killing at Verdi´s Time: Criminal Legislation and Public Opinion|94
3|5 The Libretto and the Score|96
3|References|99
3|Further Reading|100
2|The Marriage of Figaro and the Sunset of Ancien Rgime Legacy on Modern Legal Culture|101
3|1 Introduction|102
3|2 ``Le droit du seigneur´´ (ius primae noctis)|102
3|3 Presumptive Sexual Infidelity and Conjugal Forgiveness|104
3|4 A Contract, Free Consent to Marriage, and Possible Incest|106
3|5 The Contrasting Realities: From the Stage to Social Networks|107
3|6 The Sexual Vagueness of Cherubino|108
3|7 Finally, the Count as a Judge|109
3|References|109
2|Legal Issues in Italian Opera|111
3|1 The Context|111
3|2 Some of the Most Frequent Legal Issues Involved|116
3|3 La Traviata (Music by Giuseppe Verdi)|120
3|4 Conclusions|124
3|References|125
2|Le Nozze di Wolfgang: About the Meaning of Marriage in Mozart´s Operas|126
3|1 Mozart and the Values of Bourgeois Marriage|126
3|2 Transmission of Power and New Political Horizons|128
3|3 Social Analysis|131
3|4 Transmission of Power and Initiation|136
3|References|139
3|Further Reading|139
2|Criminal Law in Giacomo Puccini Operatic Production: The Crimes Against Persons in Tosca|141
3|1 Introduction and Object of the Analysis|141
3|2 The Plot of Tosca|143
3|3 The Escape of Cesare Angelotti and the Aid of Mario Cavaradossi|145
3|4 The Role of Scarpia and the Arrest of Mario|148
3|5 The Interrogation of Mario: Some Reflections on the Torture|151
3|6 Attempt of Sexual Violence Against Tosca|154
3|7 Scarpia´s Murder or Legitimate Defense of Tosca?|157
3|8 The Murder of Mario Cavaradossi|160
3|9 The Ending of the Opera: The Suicide of Tosca|162
3|References|163
2|The Gesualdo Case in Contemporary Melodrama|164
3|1 Introduction|164
3|2 Historical Background|166
3|3 Gesualdo´s Legacy|168
3|4 Maria di Venosa: A Music Drama|171
3|5 Gesualdo|172
3|6 Carlo Gesualdo Considered as a Murderer|173
3|7 Conclusions|174
3|References|175
2|Law and Fate in Norma, I Puritani, Aida and Tosca|177
3|1 Introduction|178
3|2 Fate in Greek Thought|179
3|3 Remarks on the Structure of Opera and Its Narrative Character|184
3|4 Law and Fate in Norma|187
3|5 Law and Fate in I Puritani (with Some Comparative Remarks on Donizetti´s Lucia di Lammermoor)|190
3|6 Law and Fate in Aida|193
3|7 Law and Fate in Tosca|194
3|8 Concluding Remarks|196
3|References|196
2|Mozart and the Concept of Equality|198
3|1 A Small Overture|198
3|2 On Serious Inequalities|199
3|3 Intermezzo|201
3|4 On Comic Inequalities|202
3|5 Finale|206
3|References|210
2|Revenge Between Legal and Social Norms in Cavalleria Rusticana|212
3|1 Introduction: Mascagni´s ``Vendetta´´ Rusticana|212
3|2 Three Vengeances in Cavalleria Rusticana|216
4|2.1 Turiddu´s Vengeance: Seduce to Revenge|216
4|2.2 Santuzza´s Revenge: Spy to Revenge|216
4|2.3 Alfio´s Blood Revenge|218
3|3 Vendetta Rusticana as a ``Mediated Act´´|219
3|4 In the Conceptual Background of ``Vendetta Rusticana´´: The Concept of Honor|221
3|References|224
2|Paternal Justice in Giuseppe Verdi´s Operas|225
3|1 Giuseppe Verdi and the Subjects of His Operas|225
3|2 Paternal Authority in the Nineteenth Century: A Napoleonic Inheritance|227
3|3 Oberto, Conte di San Bonifacio: The First Verdian Father|230
3|4 A Father/Doge in the `Years of Prison´: Francesco Foscari|232
3|5 Paternal Authority in Action: Giorgio Germont|233
3|6 The Last Fathers: Amonasro and Simon Boccanegra|235
4|6.1 Amonasro, a King/Father|236
4|6.2 Simon Boccanegra, i.e. the Loneliness of Power|238
3|7 Conclusions|239
3|References|240
2|Music and Law: Law in Lyrical Operas. Gianni Schicchi by Giacomo Puccini. The Harmony of the System|242
3|1 Law in Lyrical Operas. Gianni Schicchi by Giacomo Puccini. The Harmony of the System|243
3|2 Music: Laboratory of Rules|243
3|3 Cultural and Civil Worth of a Lyrical Opera. The Libretto of Forzano|245
3|4 About the Succession Law in Gianni Schicchi in Reference to Law and Music|247
3|5 Music and Law|249
3|References|250
1|Part II: Law on Opera|252
2|The Voice of the Opera Singer and Its Protection: Another Look at the Maria Callas Case|253
3|1 By Way of Introduction or Overture|253
3|2 Prelude Concerning the Image of the Great Singer|254
3|3 The Maria Callas Case|254
4|3.1 Aria About the Facts|254
4|3.2 The Ruling of the Tribunal de Grande Instance of Paris on March 19, 1982, and Its Special Consideration of the Voice|255
3|4 Protection of the Voice. A Tour by Way of Variations Through the Different Legal Systems: Special Reference to the Spanish C...|256
4|4.1 Systems of Civil Law|256
4|4.2 The Spanish Case|258
4|4.3 Systems of Common Law|261
3|5 The Legal Standing of Maria Callas´ Heirs to Protect Her Memory and Their Right to Redress|262
3|6 Arietta About the Protection of the Voice in the Spanish Legal System Concerning Artists´ Performances|264
3|7 As a Conclusion or Finale|265
3|References|266
2|Critical Edition of an Opera: A New Look for an Old Lady? The Boundaries of Copyright Protection in the EU Countries|268
3|1 Introduction|268
3|2 The Legal Framework on Critical Editions|271
3|3 The Characteristic of Critical Edition and the Issue of Originality|274
3|4 Protecting the Critical Editions of Operas|277
3|References|280
2|A `Stolen´ Theatre on Rue de la Loi: The Opéra After Thermidor|282
3|References|293
2|What Is Allowed in the Opera: Law as the Borderline of Artistic Experiment|295
3|1 Freedoms, Rights and Interests: Artist Versus Others|296
3|2 Music, Unlike Painting, Sculpture, or Literature, Needs an Intermediary: A Performer|298
3|3 Freedom of Staging as Opposed to the Protection of the Interests of Viewers: A Dispute over the Staging of The Fledermaus of...|300
3|4 Opera Pastiche, Artistic Experiment, and Law|305
3|5 Almost Summing Up: Opera and Law-Hermeneutic Likeness?|310
3|References|312
2|The Italian Scrittura Teatrale: A Peculiar Case of Unwritten Terms Integrating Contracts|313
3|1 Introduction|313
3|2 Opera Singers as the Weaker Party of the Contract|315
3|3 The Duties of the Parties|318
4|3.1 The Duties of the Singer|319
4|3.2 The Duties of the Opera House|322
3|4 The So-Called Protesta|324
3|5 What Should Be Changed?|325
3|6 Closing Remarks|327
3|References|328
2|Der Ring des Nibelungen: From a Criminal Law Perspective|330
3|1 The Rheingold|330
3|2 The Walküre|334
3|3 Siegfried|335
3|4 Götterdämmerung|337
3|References|339
1|Part III: Law Around Opera|340
2|Law, Opera, and the Baroque Mentality Contradictions, Paradoxes, and Dialogues|341
3|1 Introduction|341
3|2 Law, State, and the Baroque: The Rise of Positive Law and Positivism|343
3|3 The Crisis of Positivism|348
3|4 The Ascension of the Baroque: Modernity, Spectacle, and Subjectivity in Tragédie en Musique|351
3|5 Conclusion: The Experience of the Sublime as Basis for a New Legal Paradigm|354
3|References|355
2|Beethoven´s Ninth and the Quest for a European Identity: A Law and Music Perspective|356
3|1 Europe´s Political Symbols and the Identity Talk|356
3|2 Beethoven´s Ninth Symphony and Its Reception History|359
3|3 The Prelude to ``Ode to Joy´´ as the European Anthem|362
3|4 An Anthem Without Words, a Polity Without a Soul?|367
3|References|368
2|The Current International and Musical Society|371
3|1 Introduction|371
3|2 The Fraternal Communion Between Musicality and International Law|372
3|3 From Theatre to the World: The Transjuridical Concert|376
4|3.1 The Verona Arena, Aida and Music|377
4|3.2 Gesamtkunstwerk and The International Union|379
3|4 War, Power and Cacophony|380
3|5 Conclusion|383
3|References|383
2|Nemorino´s Plagiarism: Copyright and Circulation of Texts in the Golden Age of Italian Opera|385
3|1 A Parisian Catalogue|385
3|2 The Case of L´Elisir d´amore|387
3|3 Copyright and the Circulation of Texts|389
3|4 The Case of Veuve Scribe vs Bagier (1864)|391
3|5 Pointers for Further Research|394
3|References|395
1|About the Editors and Authors|8
1|Law in the Opera, Law on the Opera, Law Around the Opera: A Multidisciplinary Approach|14
2|1 Conceptual Premises|14
2|2 Law in Opera|16
2|3 Law on Opera, Law Around Opera|20
2|4 Conclusion (to the Introduction)|21
2|References|21
1|Part I: Law in Opera|23
2|Scalia/Ginsburg: The Rhythm of the US Federal Supreme Court|24
3|1 The Plot|24
3|2 Two Different Justices|26
3|3 Theories of Interpretation and the Principle of Separation of Powers|32
3|4 The Myth of the Supreme Court of the United States|37
3|References|40
2|Exile and Identity: Findings of Fact and Opinions of Law, in Bellini´s La Straniera|43
3|1 Introduction|44
3|2 Reasons for a Choice|44
4|2.1 Identity Basics: il ver rispondi: chi sei tu?|46
4|2.2 Facts Connected by Weak Causation: Act 1 [1h.26mn.]|50
4|2.3 Thoughts After Curtains|55
3|References|57
2|Fiat iustitia et pereat mundus. The Tragic Conflicts of the Judge in I Due Foscari|58
3|1 Between Law and Justice|58
3|2 The Doge and the Father|60
3|3 The Paradox of the Undecidable|63
3|4 The Triumph of the Reason of State|66
3|5 The Blindfold of Justice|68
3|6 Beyond the Law|70
3|References|71
2|``That May Be Japanese Law but Not in My Country!´´ Marriage, Divorce, and Private International Law in Giacomo Puccini´s Mad...|74
3|1 Introduction|75
3|2 Origin and Plot|75
3|3 Legal Issues|77
3|4 Applicable Law|81
3|5 Conclusions|84
3|References|86
2|Crime, Prosecution, and Justice in Giuseppe Verdi´s Otello|87
3|1 Honor Killing or Premeditated Murder?|87
3|2 The Sources of Othello|90
3|3 The Criminal Legislation in Cyprus During the Venetian Rule|91
3|4 Honor Killing at Verdi´s Time: Criminal Legislation and Public Opinion|94
3|5 The Libretto and the Score|96
3|References|99
3|Further Reading|100
2|The Marriage of Figaro and the Sunset of Ancien Rgime Legacy on Modern Legal Culture|101
3|1 Introduction|102
3|2 ``Le droit du seigneur´´ (ius primae noctis)|102
3|3 Presumptive Sexual Infidelity and Conjugal Forgiveness|104
3|4 A Contract, Free Consent to Marriage, and Possible Incest|106
3|5 The Contrasting Realities: From the Stage to Social Networks|107
3|6 The Sexual Vagueness of Cherubino|108
3|7 Finally, the Count as a Judge|109
3|References|109
2|Legal Issues in Italian Opera|111
3|1 The Context|111
3|2 Some of the Most Frequent Legal Issues Involved|116
3|3 La Traviata (Music by Giuseppe Verdi)|120
3|4 Conclusions|124
3|References|125
2|Le Nozze di Wolfgang: About the Meaning of Marriage in Mozart´s Operas|126
3|1 Mozart and the Values of Bourgeois Marriage|126
3|2 Transmission of Power and New Political Horizons|128
3|3 Social Analysis|131
3|4 Transmission of Power and Initiation|136
3|References|139
3|Further Reading|139
2|Criminal Law in Giacomo Puccini Operatic Production: The Crimes Against Persons in Tosca|141
3|1 Introduction and Object of the Analysis|141
3|2 The Plot of Tosca|143
3|3 The Escape of Cesare Angelotti and the Aid of Mario Cavaradossi|145
3|4 The Role of Scarpia and the Arrest of Mario|148
3|5 The Interrogation of Mario: Some Reflections on the Torture|151
3|6 Attempt of Sexual Violence Against Tosca|154
3|7 Scarpia´s Murder or Legitimate Defense of Tosca?|157
3|8 The Murder of Mario Cavaradossi|160
3|9 The Ending of the Opera: The Suicide of Tosca|162
3|References|163
2|The Gesualdo Case in Contemporary Melodrama|164
3|1 Introduction|164
3|2 Historical Background|166
3|3 Gesualdo´s Legacy|168
3|4 Maria di Venosa: A Music Drama|171
3|5 Gesualdo|172
3|6 Carlo Gesualdo Considered as a Murderer|173
3|7 Conclusions|174
3|References|175
2|Law and Fate in Norma, I Puritani, Aida and Tosca|177
3|1 Introduction|178
3|2 Fate in Greek Thought|179
3|3 Remarks on the Structure of Opera and Its Narrative Character|184
3|4 Law and Fate in Norma|187
3|5 Law and Fate in I Puritani (with Some Comparative Remarks on Donizetti´s Lucia di Lammermoor)|190
3|6 Law and Fate in Aida|193
3|7 Law and Fate in Tosca|194
3|8 Concluding Remarks|196
3|References|196
2|Mozart and the Concept of Equality|198
3|1 A Small Overture|198
3|2 On Serious Inequalities|199
3|3 Intermezzo|201
3|4 On Comic Inequalities|202
3|5 Finale|206
3|References|210
2|Revenge Between Legal and Social Norms in Cavalleria Rusticana|212
3|1 Introduction: Mascagni´s ``Vendetta´´ Rusticana|212
3|2 Three Vengeances in Cavalleria Rusticana|216
4|2.1 Turiddu´s Vengeance: Seduce to Revenge|216
4|2.2 Santuzza´s Revenge: Spy to Revenge|216
4|2.3 Alfio´s Blood Revenge|218
3|3 Vendetta Rusticana as a ``Mediated Act´´|219
3|4 In the Conceptual Background of ``Vendetta Rusticana´´: The Concept of Honor|221
3|References|224
2|Paternal Justice in Giuseppe Verdi´s Operas|225
3|1 Giuseppe Verdi and the Subjects of His Operas|225
3|2 Paternal Authority in the Nineteenth Century: A Napoleonic Inheritance|227
3|3 Oberto, Conte di San Bonifacio: The First Verdian Father|230
3|4 A Father/Doge in the `Years of Prison´: Francesco Foscari|232
3|5 Paternal Authority in Action: Giorgio Germont|233
3|6 The Last Fathers: Amonasro and Simon Boccanegra|235
4|6.1 Amonasro, a King/Father|236
4|6.2 Simon Boccanegra, i.e. the Loneliness of Power|238
3|7 Conclusions|239
3|References|240
2|Music and Law: Law in Lyrical Operas. Gianni Schicchi by Giacomo Puccini. The Harmony of the System|242
3|1 Law in Lyrical Operas. Gianni Schicchi by Giacomo Puccini. The Harmony of the System|243
3|2 Music: Laboratory of Rules|243
3|3 Cultural and Civil Worth of a Lyrical Opera. The Libretto of Forzano|245
3|4 About the Succession Law in Gianni Schicchi in Reference to Law and Music|247
3|5 Music and Law|249
3|References|250
1|Part II: Law on Opera|252
2|The Voice of the Opera Singer and Its Protection: Another Look at the Maria Callas Case|253
3|1 By Way of Introduction or Overture|253
3|2 Prelude Concerning the Image of the Great Singer|254
3|3 The Maria Callas Case|254
4|3.1 Aria About the Facts|254
4|3.2 The Ruling of the Tribunal de Grande Instance of Paris on March 19, 1982, and Its Special Consideration of the Voice|255
3|4 Protection of the Voice. A Tour by Way of Variations Through the Different Legal Systems: Special Reference to the Spanish C...|256
4|4.1 Systems of Civil Law|256
4|4.2 The Spanish Case|258
4|4.3 Systems of Common Law|261
3|5 The Legal Standing of Maria Callas´ Heirs to Protect Her Memory and Their Right to Redress|262
3|6 Arietta About the Protection of the Voice in the Spanish Legal System Concerning Artists´ Performances|264
3|7 As a Conclusion or Finale|265
3|References|266
2|Critical Edition of an Opera: A New Look for an Old Lady? The Boundaries of Copyright Protection in the EU Countries|268
3|1 Introduction|268
3|2 The Legal Framework on Critical Editions|271
3|3 The Characteristic of Critical Edition and the Issue of Originality|274
3|4 Protecting the Critical Editions of Operas|277
3|References|280
2|A `Stolen´ Theatre on Rue de la Loi: The Opéra After Thermidor|282
3|References|293
2|What Is Allowed in the Opera: Law as the Borderline of Artistic Experiment|295
3|1 Freedoms, Rights and Interests: Artist Versus Others|296
3|2 Music, Unlike Painting, Sculpture, or Literature, Needs an Intermediary: A Performer|298
3|3 Freedom of Staging as Opposed to the Protection of the Interests of Viewers: A Dispute over the Staging of The Fledermaus of...|300
3|4 Opera Pastiche, Artistic Experiment, and Law|305
3|5 Almost Summing Up: Opera and Law-Hermeneutic Likeness?|310
3|References|312
2|The Italian Scrittura Teatrale: A Peculiar Case of Unwritten Terms Integrating Contracts|313
3|1 Introduction|313
3|2 Opera Singers as the Weaker Party of the Contract|315
3|3 The Duties of the Parties|318
4|3.1 The Duties of the Singer|319
4|3.2 The Duties of the Opera House|322
3|4 The So-Called Protesta|324
3|5 What Should Be Changed?|325
3|6 Closing Remarks|327
3|References|328
2|Der Ring des Nibelungen: From a Criminal Law Perspective|330
3|1 The Rheingold|330
3|2 The Walküre|334
3|3 Siegfried|335
3|4 Götterdämmerung|337
3|References|339
1|Part III: Law Around Opera|340
2|Law, Opera, and the Baroque Mentality Contradictions, Paradoxes, and Dialogues|341
3|1 Introduction|341
3|2 Law, State, and the Baroque: The Rise of Positive Law and Positivism|343
3|3 The Crisis of Positivism|348
3|4 The Ascension of the Baroque: Modernity, Spectacle, and Subjectivity in Tragédie en Musique|351
3|5 Conclusion: The Experience of the Sublime as Basis for a New Legal Paradigm|354
3|References|355
2|Beethoven´s Ninth and the Quest for a European Identity: A Law and Music Perspective|356
3|1 Europe´s Political Symbols and the Identity Talk|356
3|2 Beethoven´s Ninth Symphony and Its Reception History|359
3|3 The Prelude to ``Ode to Joy´´ as the European Anthem|362
3|4 An Anthem Without Words, a Polity Without a Soul?|367
3|References|368
2|The Current International and Musical Society|371
3|1 Introduction|371
3|2 The Fraternal Communion Between Musicality and International Law|372
3|3 From Theatre to the World: The Transjuridical Concert|376
4|3.1 The Verona Arena, Aida and Music|377
4|3.2 Gesamtkunstwerk and The International Union|379
3|4 War, Power and Cacophony|380
3|5 Conclusion|383
3|References|383
2|Nemorino´s Plagiarism: Copyright and Circulation of Texts in the Golden Age of Italian Opera|385
3|1 A Parisian Catalogue|385
3|2 The Case of L´Elisir d´amore|387
3|3 Copyright and the Circulation of Texts|389
3|4 The Case of Veuve Scribe vs Bagier (1864)|391
3|5 Pointers for Further Research|394
3|References|395