O telêmatico de Francisco Valle

Pós-graduação em Música - IA

A dictionary of musical terms, containing upwards of 9,000 English, French, German, Italian, Latin and Greek words and phrases ... with a supplement containing an English-Italian vocabulary for composers,

At head of title: Thoroughly revised, and augmented by an appendix of 700 additional words and phrases.

The romantic movement in French literature,

French texts with introd. and notes in English.

Florida, its history and its romance : the oldest settlement in the United States, associated with the most romantic events of American history, under the Spanish, French, and American flags, 1497-1901 /

Mode of access: Internet.

Two sonatas : for the French pedal harp with an accompaniment for a violin ad libitum : op. 1 /

Lacking optional violin part.

Famous composers and their works.

Includes index.

Romantic languages pamphlets

A collection of miscellaneous pamphlets on the romance languages.

French dramatists of the 19th century /

A brief chronology of the French drama in the nineteenth century.--The romantic movement.--Victor Hugo.--Alexandre Dumas.--Eugène Scribe.--Emile Augier.--Alexandre Dumas fils.--Victorien Sardou.--Octave Feuillet.--Eugène Labiche.--Meilhac and Halévy.--Emile Zola and the present tendencies of French drama (1881)--A ten years' retrospect: 1881-1891.

A century of French fiction,

Fiction under Bonaparte.--The novels of Stendhal.--The fiction of the romantic school.--Alexandre Dumas and the Napoleonic generation.--The development of Balzac.--The maturity of Balzac.--The genius of Balzac.--Prosper Mérimée.--Théophile Gautier.--George Sand.--Gustave Flaubert.--The generation of the Restoration.--Émile Zola.--Alphonse Daudet.--The generation of Louis Philippe.--Guy de Maupassant.--The generation of the Second Empire.

French dramatists of the 19th century;

First published in New York, 1881.

The days of Haydn, Mozart and Beethoven; fifty compositions by English, French, German, Bohemian and Italian masters of the period from 1725-1790.

Includes notes on the composers.

The lyrical drama. Essays on subjects, composers, & executants of modern opera.

Extinction of the ballet. Operatic management. Musical agents. Libretti. Operatic and theatrical anomalies. The literary maltreatment of music. Dictionaries of music. Grove's musical dictionary. Quartett concerts and the classical in music. Reasonableness of opera. Tatra Füred, and the music of the Hungarian gipsies. The byeways of bookmaking.

Romantic Catholics:France's postrevolutionary generation in search of a modern faith

Book review: Romantic Catholics: France’s Postrevolutionary Generation in Search of a Modern Faith. By Carol E. Harrison. Ithaca: Cornell University Press, 2014. 344 pp., ill.

British Romantic Criticism and the Fine Arts: A Study in Philosophical Theories of Literary Unity

This dissertation is an exploration of how a small but important group of Romantic critics, finding fault in the ideal of three unities developed by neoclassical Academicians and wrongly attributed to Aristotle, turned to the terminology and practices of the fine arts to emphasize their conception of organic unity in literature. The Romantic analogy to painting in particular enables a philosophical criticism of literature to present the aesthetic semblance of painting, the comprehension of a multitude of details in a harmonious whole that is a natural unity to its medium, as a paradigm of modern-romantic poetry and its aspirations to similar complexity, particularity, and imaginative colour. Further, in extension of the French Querelle des anciens et des modernes of the seventeenth century, the division of ancient and romantic art by Romantic critics like August Schlegel, Samuel Taylor Coleridge, and William Hazlitt not only establishes an ethnological and historical difference between the artistic productions of these two cultural periods but also allows, unlike the neoclassical unities, a non-anachronistic philosophical vocabulary of whole and parts or of the general and particular in the criticism of poetry, which involution provides a “rule” more consonant with the laws of the imagination rather than with the rhetorical and absolutist dicta that were thither available in the literary canon.