The Fate of Carmen
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The ongoing proliferation of new versions of Carmen presents an ideal opportunity to study both the cultural power and renewability of certain literary texts and the relationship between literature and the performing arts. Since its introduction in Prosper Merimee’s 1845 novella, the Carmen character has been the subject of countless portrayals–from Bizet’s 1874 opera, to various dramatic, dance, and musical renditions, to films by such directors as Peter Brook, Jean-Luc Godard, Francesco Rosi, and Carlos Saura. In The Fate of Carmen, Evlyn Gould studies competing representations of Carmen as either dangerous femme fatale, liberated woman, or vanguard warrior in the battle between the sexes.
” The] ongoing proliferation of new versions of Carmen presents an ideal opportunity to study relationships between literature and the performing arts. The Fate of Carmen investigates these relationships, exploring in particular how and why certain literary texts appear to renew their own textual practices in modes of expression which are not uniquely verbal” — from the Introduction
Beginning with Prosper Merimee’s 1845 novella, Carmen has been the subject of countless portrayalsfrom Bizet’s 1874 opera, to various dramatic, dance, and musical renditions, to the films of De Mille, Chaplin, Lubitsch, the Marx Brothers, Preminger, Brooks, Godard, Rossi, and Saura. In The Fate of Carmen, Evlyn Gould offers a comparative study of the power and variability of this modern myth through readings that examine the cultural dilemmas posed by the story. Exploring a range of competing representations, Gould asks whether Carmen is a dangerous femme fatale, a liberated woman, or, as Nietzsche saw her, a warrior in the vanguard of the battle between the sexes.
About the Author :
Evlyn Gould has contributed to The Fate of Carmen as an author.
Evlyn Gould is an associate professor of French at the University of Oregon.
|Title:||The Fate of Carmen|
|Publisher:||Johns Hopkins University Press|
|No. of Pages:||244|