{"title":"300笔中的神话","authors":"Gregor Pobežin, Igor Grdina","doi":"10.3986/sms20192205","DOIUrl":null,"url":null,"abstract":"This paper aims to explore the phenomenon of the opera minute which emerged from the avant-garde experimentalism after WWI; its beginner and one of the foremost masters, the French composer Darius Milhaud put three short, eight-minute operas on stage in 1927. Others soon followed, among them the Slovenian composer Slavko Osterc who composed the opera-minute “Medea” in 1932. This paper is the first to transcribe in length the manuscript of Osterc’s “Medea”, comparing it to Euripides’ original. Furthermore, the article aims to establish the fine similarities and distinctions between the approach regular opera took towards myth and that of the avant-garde opera-minute.","PeriodicalId":37944,"journal":{"name":"Studia Mythologica Slavica","volume":" ","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2019-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Myth in 300 Strokes\",\"authors\":\"Gregor Pobežin, Igor Grdina\",\"doi\":\"10.3986/sms20192205\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This paper aims to explore the phenomenon of the opera minute which emerged from the avant-garde experimentalism after WWI; its beginner and one of the foremost masters, the French composer Darius Milhaud put three short, eight-minute operas on stage in 1927. Others soon followed, among them the Slovenian composer Slavko Osterc who composed the opera-minute “Medea” in 1932. This paper is the first to transcribe in length the manuscript of Osterc’s “Medea”, comparing it to Euripides’ original. Furthermore, the article aims to establish the fine similarities and distinctions between the approach regular opera took towards myth and that of the avant-garde opera-minute.\",\"PeriodicalId\":37944,\"journal\":{\"name\":\"Studia Mythologica Slavica\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2019-09-05\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studia Mythologica Slavica\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3986/sms20192205\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q3\",\"JCRName\":\"Social Sciences\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studia Mythologica Slavica","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3986/sms20192205","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"Social Sciences","Score":null,"Total":0}
This paper aims to explore the phenomenon of the opera minute which emerged from the avant-garde experimentalism after WWI; its beginner and one of the foremost masters, the French composer Darius Milhaud put three short, eight-minute operas on stage in 1927. Others soon followed, among them the Slovenian composer Slavko Osterc who composed the opera-minute “Medea” in 1932. This paper is the first to transcribe in length the manuscript of Osterc’s “Medea”, comparing it to Euripides’ original. Furthermore, the article aims to establish the fine similarities and distinctions between the approach regular opera took towards myth and that of the avant-garde opera-minute.
期刊介绍:
Studia mythologica Slavica is international scientific journal on the mythology, spiritual culture and tradition of Slavic and also other nations and people. It is published by the Institute of Slovenian Ethnology of the Scientific Research Centre of the Slovenian Academy of Sciences and Arts, and by the Dipartimento di Lingue e Letterature Straniere, Università degli Studi di Udine. The journal is dedicated to interdisciplinary studies, and one of the main aims of this journal is to present comparative research that defines and determines (i.e. establishes) Slavic culture in the context of the wider European and non-European world (cultures). The journal intends to throw light on the belief systems and religions of older Slavic, Eurasian, and other civilisations. Moreover, it encourages the research of contemporary phenomena in the field of spiritual, social and material culture, and their transformation. The character of the publication is both international and interdisciplinary, covering the themes from the field of ethnology, anthropology, archaeology, linguistics, religious studies, history of literature and philosophy. It also brings new interpretations of historical sources and presents new discoveries, material, and field research. The journal was first published in 1998, and since then it has been published once a year in a multi-language edition, in print and on the internet. Each year, it is distributed in exchange for hundred scientific publications from around the world. The articles are published in English, Italian, German and all Slavic languages. All articles have long summaries and an abstract in the English language.