FRANKOVÁ, Milada. The Magic Sound of the Magic Flute in Barbara Trapido's Temples of Delight. In Mozart in Anglophone Cultures, Sabine Coelsch-Foisner, Dorothea Flothow, Wolfgang Görtschacher (eds.). Frankfurt am Main: Peter Lang, 2009, p. 51-57. ISBN 978-3-631-56256-7.
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Basic information
Original name The Magic Sound of the Magic Flute in Barbara Trapido's Temples of Delight
Name in Czech Kouzelný tón Kouzelné flétny v Chrámech radosti Barbary Trapidové
Authors FRANKOVÁ, Milada (203 Czech Republic, guarantor).
Edition Frankfurt am Main, Mozart in Anglophone Cultures, Sabine Coelsch-Foisner, Dorothea Flothow, Wolfgang Görtschacher (eds.), p. 51-57, 7 pp. 2009.
Publisher Peter Lang
Other information
Original language English
Type of outcome Proceedings paper
Field of Study Literature, mass media, audio-visual activities
Country of publisher Austria
Confidentiality degree is not subject to a state or trade secret
RIV identification code RIV/00216224:14210/09:00035256
Organization unit Faculty of Arts
ISBN 978-3-631-56256-7
ISSN 1614-5542
Keywords in English Barbara Trapido; Temples of Delight; Mozart; The Magic Flute; playfulness
Tags Barbara Trapido, Mozart, playfulness, Temples of Delight, The Magic Flute
Tags International impact, Reviewed
Changed by Changed by: prof. Mgr. Milada Franková, CSc., M.A., učo 1770. Changed: 29/3/2010 14:01.
Abstract
In Barbara Trapido's novel Temples of Delight (1990) references to Mozart's The Magic Flute run like a thread throughout the story, imbued with weighty meanings for the heroine. Still Trapido's purpose seems to be largely playful. The article seeks to show that it is after all the mysterious, both serious and comic tone that connects the novel and the opera rather than close meaningful parallels of their texts.
Abstract (in Czech)
Příběh románu Barbary Trapidové Chrámy radosti je postaven na odkazech k libretu Mozartovy opery Kouzelná flétna se závažným významovým a emocionálním dopadem na hrdinku románu. Přesto se zdá, že záměr Trapidové je převážně hra s textem. Článek ukazuje, že román a operu tak spojuje spíš jejich mysteriózní, zároveň vážný i komický tón než těsné významové paralely mezi jejich texty.
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