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Advancing the concept of rhetorical malewashing, in this essay I argue expunging women's efforts from the telling of historical racialized violence constructs a flawed and incomplete account of white supremacy by dismissing white women's racist agentic capacities. As an extended granular example, I highlight how contemporary public memory of the Ku Klux Klan omits the fundamental role white women served in both the organization's endurance and the orchestration of its campaign of terror. Examining a pastiche of modern memory texts from popular culture that constitute our present public imaginary of the Klan, I attend to how such texts reflect our tendency to reduce racialized violence to an exclusively masculine phenomenon. I conclude by addressing implications of such reductionist beliefs, including our constricted ability to grapple with white supremacy's more insidious feminine form. [ABSTRACT FROM AUTHOR]

Nuova luce da Pompei (New Light from Pompeii) explored the role of artificial light in the lives of ancient Romans. In addition to presenting 180 rarely seen bronzes from Pompeii, including lamps, candelabra, and elegant statues that held lamps, the exhibition demonstrated the effects and meanings these lighting devices generated. Clearly, Roman lamps have lost their agency, presented as objects in museums or in photographs—a problem addressed by encouraging visitors to handle replicas of lamps and to light them virtually. In a virtual reality recreation of the triclinium of the House of Polybius, visitors could use a torch to light lamps and see what they could reveal—or fail to reveal. Videos of elaborate lamps with figures standing on their oil holes were particularly noteworthy, demonstrating their potential for "shadow play." In addition to plumbing the meanings of the astonishingly varied imagery, the show investigated bronze metallurgy and modern conservation, as well as the role lamps played in the convivium, cult, nighttime pursuits, and commerce. A section on the creation of pastiches and copies evoked the antiquarian culture sparked by the discovery of Pompeii and Herculaneum. In its Rome venue, curators added a roomful of rarely seen objects from Rome's former Antiquarium Comunale. [ABSTRACT FROM AUTHOR]

Allowedly, singers of Baroque opera could influence the final musical and dramaturgical shape of the work. In our paper, we will focus on a case study of Hasse's compositional process, which will serve as a platform for presenting the digital outputs of the research project ‘Pasticcio. Ways of Arranging Attractive Operas’. The 1763 version of Hasse's opera Siroe, re di Persia featured the novice Elisabeth Teyber in the role of Laodice, whose dramaturgical weight seems to have been reconsidered several times by the composer, particularly in one instance: The seventh scene of Act I was written out twice by Hasse, once as an accompagnato and once in a secco version. In the first part of this article, the background and reasons for such measures, which carry crucial information regarding compositional practices in Hasse's self-pasticcio, will be discussed. Particular emphasis will be placed on the dramaturgical changes and their presentation in the project's synoptical overview of the textual sources of Siroe. The second part enters into detail about Teyber and her vocal peculiarities, which prompted the composer's new concept of this scene. The third section is devoted to another digital humanities tool, namely the database, which serves to visualise relations between sources, singers and composers and to picture the complexity of 18th-century pasticcio practice.

Despite the rather pejorative implications that the musical pasticcio has today, it may have been an appreciated art form in the seventeenth and eighteenth centuries. The term pasticcio is clearly derived from the culinary pasticcio, which was a highlight at aristocratic banquets in this time. The mixture of tastes and the spectacular presentation which characterises the culinary pasticcio, as well as the contemporary concept that culinary as well as painted ‘pasticcios’ are distinguished by ‘unity amidst variety’, can equally be found in the musical pasticcio. Several layers can be perceived, exemplified by the pasticcio Arione (Milan 1694) and those which George Frideric Handel and the Mingotti opera troupe staged in London and other places. The ‘noble’ pasticcio may be defined as characterised by a musical idea which, like a pastry, covers the entire piece and relates the individual elements to the whole. If it is lacking, the pasticcio becomes a conglomerate of music, like a dish whose ingredients are all thrown together.

Operatic pasticcio and the need for experiencing pleasure were inseparable in eighteenth-century operatic theatre, as can be demonstrated on the example of L’abbandono di Armida, a pasticcio that was performed in the Venetian Teatro San Giovanni Grisostomo on the last day of the 1729 carnival and gained considerable success. The article discusses the ingredients of pleasure derived from experiencing the pasticcio, which seems to have been multi-layered (the word ingredients used here perfectly reflects the haute cuisine roots of the pasticcio). The librettist Giovanni Boldini re-used for Armida arias from successful operas by Nicola Porpora, Tomaso Albinoni (?), Leonardo Leo, Leonardo Vinci, and Benedetto Marcello. Five arias have been analysed in order to exemplify the diversity of musical pleasure that the audience could experience. The final question is whether the pleasure drawn from a pasticcio is limited to one historical period, or possibly it presents a more universal appeal.

In 1719, the Royal Academy of Music was founded with the purpose of setting Italian opera in England on solid ground. Previously, at least two thirds of the Italian operas staged in London had been pasticci. Much of the criticism of the Italian opera before 1719 concerned stylistic fickleness. This is just one reason why it seems likely that the declining number of pasticci after 1719 can be interpreted as an effect of the move against stylistic compilations in music. In fact, in the first period of the Academy’s opera management (from 1720 to 1728) the share of pasticci fell to approximately 10 percent or even less – depending on where the dividing line is placed at a time before the English definition of the operatic pasticcio was established. My paper focuses on some experiments between ‘opera’ and ‘pasticcio’, staged in the Royal Academy’s first period (particularly Muzio Scevola), presented against the backdrop of the audience’s more general cultural knowledge practices and the works’ appeal to female members of the audience.

Determining in an unequivocal and definitive way what the Italian dramma per musica was in the eighteen century is only apparently an easy task. Starting with a discussion of the definition of eighteen century Italian dramma per musica as a variable spectacular text, the paper attempts to provide a concise taxonomy useful for critically assessing the situations that can arise when analysing the sources and tradition of opere impasticciate and pasticci. Changes in operatic texts, in all their components (the poetry, music, visual and proxemic aspects) can occur at various levels of their evolutionary textual tradition, in different functions, manners, and for different reasons. The change of operators and other environmental contexts may lead to adaptive reworking, to a varying degree, of one or more of the linguistic elements constituting the work: verse, music, scenes and so on. It should be noted that the documentation of one or more levels may, naturally, be partly or completely lost.

On 6 December 2006, students of the Royal Conservatoire of Brussels performed two one-act pasticci arranged by the author of this article: Ifigenia and Ipermestra. Assembled as experiments in the young discipline of artistic research in music, both ‘cut & paste’ operas offered opportunities to explore issues of music-dramatic syntax in opera seria. In this article, I explain how individual arias and recitatives were combined into two meta-compositions that sometimes respected, and sometimes overrode eighteenth-century generic conventions. By revisiting the scores, libretti, archives and first-hand memories pertaining to this venture, I will show that ‘pastiching’ (pasticciare) is more than a historical form; it is a transhistorical method, involving a broad network of agencies, operators, and stakeholders whose strategies can be artistic and non-artistic, convergent and divergent. Pastiching does not necessarily result in ‘works’, fixed in time and space, but rather produces meta-compositional assemblages, the transience and formal instability of which provide opportunities to showcase neglected repertoire and tackle outdated musical ontologies.

In musicological research on the eighteenth-century operatic pasticcio it has often been discussed how pasticci can be distinguished from dramme per musica. The article examines the evolution of Fortunato Chelleri's opera Innocenza difesa in the course of its adaption for several performance venues (Florence 1720, Venice 1722, Kassel 1725, Wolfenbüttel/Brunswich 1731), as well as pasticcio projects based on Chelleri's score (Hamburg 1732). By analysing the surviving libretti, scores, and sheet music related to Chelleri's opera, it can be shown that Chelleri as well as the arranger of the Hamburg pasticcio-production, Georg Philipp Telemann, paid attention to the overarching dramaturgical principles as well as to new forms of music publishing in large metropolises such as London. Telemann not only chose some arias by George Frederic Handel from among the most celebrated numbers in the opera Lotharius (composed by Handel, printed by John Walsh in London, 1730), but he also fostered Chelleri's focus on Judith as a main character. Within these musical-dramaturgical perspectives, based on very loose networks of connections between librettists, composers, singers, and probably stage designers, requests for specific arias from individual singers could also be accommodated.

The phenomenon of the pasticcio oratorio was quite widespread in the Czech Lands around the middle of the eighteenth century. The first evidence of this practice was a Latin oratorio based on opera arias by George Frideric Handel (Prague 1725). In Brno, the capital of Moravia, the performances of oratorios were supported by Bishop Wolfgang Hannibal Schrattenbach, who was also an important patron of Italian opera. Therefore, opera arias were frequently interpolated into the Italian oratorios produced in his palace every week during Lent. Some works from the 1730s were even created as pasticcios composed of contrafacted opera arias. The only surviving score, La vittima d’amore by Joseph Umstatt (Brno 1741) with music by Caldara, Hasse, Leo, Feo, Porta and Pescetti, shows the process of creating this type of oratorio in detail. The reprise of this work by the Crusaders in Prague on Good Friday 1744 and its favourable reception stimulated the considerable development of this practice in the mentioned church. Between 1749 and 1758, at least six pasticcio oratorios were performed here. The music was selected not only from the works of popular composers of the time (Hasse, Jomelli, Graun), but also from the compositions of the older generation (Fux, Lotti, Conti, Porpora). Based on an analysis of librettos and music sources, the paper shows some examples of this phenomenon, crossing the boundaries between the opera and the oratorio in both directions.

Il pastiche gaddiano è un fenomeno particolarmente complesso, poiché stravolge tanto gli elementi linguistici quanto quelli iconografici della tradizione letteraria contaminandoli e, di fatto, riscrivendoli. Un esempio di questo fenomeno è certamente la riscrittura dei tòpoi della tradizione lirica amorosa che l'Ingegnere compie ribaltando i canoni dello stilnovismo – che già nei secoli precedenti erano mutati dando vita ai rifacimenti di maniera –, attraverso la deformazione dell'immagine di Amore e della domina angelicata. Partendo dalla lettura di alcuni passi tratti da articoli, racconti e romanzi, l'intento di questo saggio è sottolineare come, mediante la manipolazione dei tòpoi canonici dello stilnovismo, Gadda pervenga a delineare una propria dichiarazione di poetica in una commistione di toni tragici, umoristici e caricaturali. [ABSTRACT FROM AUTHOR]

The study deals with four Italian operas created in the Baroque period on the theme of the legend of Libuše and Přemysl. The first of these was La Libussa (libretto by Flaminio Parisetti, music by Clemente Monari, Wolfenbüttel 1692), reprised in Prague c. 1702 in the musical setting of Bartolomeo Bernardi. The next was Primislao primo re di Boemia (libretto by Giulio Cesare Corradi, music by Tomaso Albinoni, Venice 1697). Last was the pasticcio Praga nascente da Libussa, e Primislao (libretto by Antonio Denzio), performed in Prague 1734. The study discusses the historical circumstances of the creation of these operas, selected issues of libretto analysis, and a hypothetical identification of their music. The appendices contain selected excerpts from both Prague librettos. [ABSTRACT FROM AUTHOR]

An interview with French writer Claude Arnaud, is presented. Topics include historico-literary pastiche of the aristocracy of the Grand Siècle with literary research in a foreign language; and Judaism and creation of 'art celibates' totalitarianism with quantum psychology of writer training for social, sexual or religious expansionism.

The aticle informs that Pastiche, a combination of multiple elements from various sources, has become a topic of discussion due to the rise of artificial intelligence (AI) bots like ChatGPT. While AI's pastiche capabilities can produce entertaining results, it also highlights the need to critically examine and curate pastiche in our work. In the field of applied theatre and drama education, pastiche has always played a role in combining diverse techniques, contexts, and theoretical frameworks.

The article explores the use of pastiche within the "Back to the Future" films in reference to the film "Rebel Without a Cause." Topics include nostalgia and consumerism, Fredric Jameson's theories of postmodernism, and the utilization of teenage attributes.

The dramma per musica Andromeda liberata, the favola pastorale Euridice, and the azione teatrale Armida placata, all performed for the first time in Vienna at the Theater nächst der Burg in 1750, are, as pasticci, quite exceptional for the Viennese opera repertory of the Theresian Age. Their singularity resides not only in the high number of composers involved, but also in that they are mentioned explicitly at the top of individual vocal numbers in the manuscript scores. In this article we shed new light on the making of these operas by identifying twenty of the borrowed arias, showing how they were not the products of a simultaneous collaboration among all those composers, as early researchers often implied. Their creation was in all probability coordinated by Wagenseil, involved local librettists as well as other composers of the Viennese court, and required a substantial amount of pre-existing music, partly brought to Vienna by some of the singers, probably due to a lack of opera composers in Vienna in 1750 capable of setting entire libretti on their own.

The Osiris statuette P 6169 of the Prague Náprstek Museum has a very unusual appearance: In addition to a striking surface corrosion, its crooked shape in comparison to its fine surface details are not corresponding to the ancient Egyptian artistic ideal. Through consideration of comparative pieces of the Joseph Ferdinand of Austria-Tuscany collection came up the suspicion that it might be concerned as a pasticcio. The particular challenge of the object is to establish mainly the certainty that it was possibly composed of different ancient fragments in modern times. Objectives of the restoration project are, firstly, the identification of P 6169 as a pasticcio and, secondly, a conception of conservation and restoration treatments, which have to be derived from this knowledge. In addition to the scientific and cultural-historical analysis of the object, the focus of the work is mainly on the ethical discussion on how to approach such an object and the resulting demands of the object to its preservation for the future. [ABSTRACT FROM AUTHOR]

For the first time since the Deckmyn case of 2014,' in which the ECJ clarified the "autonomous Concept of parody under art.5(3)(k) of Directive 2001/291,2 the French Supreme Court (Cour de Cassation) has set out the criteria of the copyright exception of parody in a judgment handed down on 22 May 2019/Under art.5(3)(k) of the said Directive, Member States may provide for exceptions or limitations to the rights provided for in arts 2 and 3 in the case of "use for the purpose of caricature, parody or pastiche". In the light of the Deckmyn case, the French Supreme Court broadens the traditional characteristics of the exception of parody under French copyright law. [ABSTRACT FROM AUTHOR]

In 1907 H. G. Wells welcomed the publication of the revitalised The New Age with a congratulatory note. Six months later, he made a further gesture by entrusting the paper with his 'Personal Statement', defending himself against charges of sexual immorality. By 1908 the relationship had changed, and Wells found himself the object of The New Age's provocative arts coverage. This article singles out four social novels published by Wells between 1908 and 1916: Tono- Bungay, Ann Veronica, The New Machiavelli, and Mr. Britling Sees It Through; and examines the New Age's coverage in detail, taking into account straight reviews, critical essays, pastiches, and satires. Philosophically, the paper and Wells had differences of opinion that widened over the years. While Wells could not depend on The New Age for approbation, he saw himself frequently featured in the pages of a general interest journal that hefted considerable weight, considering its modest appearance and circulation. [ABSTRACT FROM AUTHOR]

The article provides information on the works of Henri De Regnier and Marcel Proust in the field of literature of France including literary criticism, critical examination of pastiche and publishing of texts. Topics include parallel critical studies on the same writers, didactic principles and vice of idolatry and imitation.

The article provides information on the letter communication between Henri de Regnier and Marcel Proust including continuous deployment of the Proustian writing, works in French literature and reference of the sheets manuscripts from this collection following that of the Kolb edition. It points out to publication of the pastiche.

This review of three introductory textbooks in the field of popular culture published in 2018 and 2019 focuses on the different perspectives they provide on such culture, as a means for understanding its current state and future evolution. It is divided into six sections: 1. Introduction; 2. Pop Culture, People, and Politics; 3. A Pastiche Approach to Cinema; 4. Pop Culture Theories; 5. Pop Culture and the Internet; 6. Conclusion. Pop culture is changing radically today, breaking away from the historical flow that gained momentum in then 1920s, because its delivery through the Internet may be fragmenting its organic textuality. As a distinct form of culture, pop culture crystallized primarily in the US in the first decades of the twentieth century, arguably as a way for young people to contest and openly violate the restrictive social traditions of colonial America through new music, fashions, and overall lifestyles. It spread rapidly and broadly throughout American cities and other areas of the urbanized world—a diffusion made possible by new technologies, such as radio and cinema. From the outset, trends in pop culture influenced aesthetic tastes, politics, and even major musical and literary movements that were once considered to be part of 'high culture', gradually obliterating binary distinctions such as high-versus-low in cultural matters. In a phrase, what started out as a lifestyle reaction against puritanical colonial culture became a major source of new aesthetics (new music, new writing, and so on), remaining so ever since. But pop culture may have run its course with the rise of meme culture on the Internet. The books under review here are thus quite significant, not only because they present complementary views of pop culture to a broad audience, but also because we can draw from them a picture of how pop culture is evolving in the digital age and what this might imply for the future of this century-old cultural experiment. [ABSTRACT FROM AUTHOR]

Copyright of Theatralia is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An excerpt from the article "Property, Priority, Place: Rethinking the Poetics of Appropriation" by Sarah Dowling in the issue of "Contemporary Literature" is presented focusing on documentary poetry, essay poems, and pastiches.

Abstract: The recent surge of interest in the figure of the translator has brought translator-authored writing into the spotlight in Translation Studies. Investigations into translator commentaries (in-book paratexts such as prefaces and afterwords) have generally mined them for data about translation history and procedures. Yet translator commentary also offers a potential space where translators can stake positions as cultural agents through first-person writing. This article investigates how translators present themselves in such texts, using Japanese literary translators as an example. It takes a random sample of Japanese translator commentaries from books in various literary genres, establishes their textual conventions, and then performs close readings of five commentaries to explore how translators write themselves into their text. The translators show themselves to be concerned with how their writing is received. Some use devices such as pastiches and anecdotes to entertain and inform readers, asserting their voice as writers. Others frame their identity as members of literary communities or socially conscious individuals. In so doing, they project identities as cultural agents. Consequently, this study argues that translator commentary should be re-examined in translation studies as a potential site of subjective expression and positioning in the literary field. [ABSTRACT FROM AUTHOR]

The passion oratorio La morte di Cristo, attributed in two German sources from the late 18th or early 19th century to Johann Adolf Hasse, was identified in 1976 by Reinhard Strohm as a sacred pasticcio, based on opera arias by Hasse and other composers of the Neapolitan school like Francesco Feo and Leonardo Leo. A comparison with surviving libretti shows that this pasticcio score is identical with the oratorio La vittima d'amore o sia la morte di Giesù Christo salvatore nostro, attributed to Josef Umstatt and performed 1741 in Brno and 1744 in Prague. Czech musicologists found out that one aria which hadn't been identified by Strohm, is a borrowing from Antonio Caldaras Viennese oratorio Morte e sepoltura di Cristo. A Berlin score of this work, which can be linked to a performance in Brno, has the words of the aria from La vittima d'amore written under the orginal text. Umstatt, who worked in Brno at the time when these performances took place, might have been the arranger of the pasticcio and composer of the sinfonia, the recitatives and the final chorus.

This paper discusses Pablo Larraín's use of pastiche and hyperrealism in his 2012 film No and how these aesthetic strategies relate to contemporary Chilean issues of memory, postmemory, and the experience of collective trauma by subsequent generations. I argue that the focus on advertising of Larraín's film doesn't take away from its weightier examinations of the political and social fallout of the Pinochet regime, but rather acknowledges the very particular tensions and dis-encounters in that process. [ABSTRACT FROM AUTHOR]

Literary pastiche is spoof, part banter, part literary criticism. To succeed as both, it presupposes in its reader an appreciation of the style being parodied. In translation, for lack of that appreciation, pastiche may fall flat. I consider some of the pastiches of Proust, as they have been translated, with varying degrees of success, by various translators. My main focus is on the celebrated parody of the Goncourt Journal which appears in the last part of À la recherche du temps perdu. I suggest that a way of coping with the problems posed by the translation of pastiche is to apply to it, as to other forms of wordplay, the principle of compensation. [ABSTRACT FROM AUTHOR]

Pastiche grew to become one of the hallmarks of modernist literature in general, and of Irish modernism in particular, one thinks of the “Cyclops” chapter of Ulysses, Yeats’s explorations of the ballad and the sonnet and more broadly of George Moore, Flann O’Brien as well as MacNeice and Beckett. Pastiche, always on the verge of parody, seems one of Irish specialties. In this article, I focus on a series of works that re-deploy a single line of refrain, embedding it in various narratives: from a story of a cruel lover, through a denunciation of metaphysics to an evocation of poetry as part of a family’s genealogy. Beginning with Muldoon’s “At Least They Weren’t Speaking French,” I explore Yeats’s “The Pilgrim,” a rendition of Jean Richepin’s lyric by Herbert Trench and round up with a mention of Sir Harry Wildair, a 1701 play by George Farquhar. What is revealed in the process of reworking the line is a celebration of continuity of what can be called poetic mischief that seeks, in a characteristically modernist fashion, to amalgamate contraries. [ABSTRACT FROM AUTHOR]

This article examines drawings by Marcel Proust that have received little critical attention. They are two-dimensional landscapes, summarily composed using simple lines and childlike shapes: the sun, a few trees, a house. I show that these drawings, while they may appear naïve, are in fact designed to make visible a network of literary, musical, and deeply personal references, shared with a specific addressee: Reynaldo Hahn. In doing so I shed light on the secret of the "solitary house" described by Legrandin in "Combray," as well as on key passages in Jean Santeuil and at both ends of the Recherche. [ABSTRACT FROM AUTHOR]

The passion oratorio La morte di Cristo, attributed in two German sources from the late 18th or early 19th century to Johann Adolf Hasse, was identified in 1976 by Reinhard Strohm as a sacred pasticcio, based on opera arias by Hasse and other composers of the Neapolitan school like Francesco Feo and Leonardo Leo. A comparison with surviving libretti shows that this pasticcio score is identical with the oratorio La vittima d'amore o sia la morte di Giesù Christo salvatore nostro, attributed to Josef Umstatt and performed 1741 in Brno and 1744 in Prague. Czech musicologists found out that one aria which hadn't been identified by Strohm, is a borrowing from Antonio Caldaras Viennese oratorio Morte e sepoltura di Cristo. A Berlin score of this work, which can be linked to a performance in Brno, has the words of the aria from La vittima d'amore written under the orginal text. Umstatt, who worked in Brno at the time when these performances took place, might have been the arranger of the pasticcio and composer of the sinfonia, the recitatives and the final chorus. [ABSTRACT FROM AUTHOR]

The study focuses on the reception of the opera Antigona by Giuseppe Maria Orlandini from its premiere in Venice in 1718 to the productions in Breslau 1728 and Brno 1736. On the basis of newly discovered unique sources (a libretto from 1728 in the Moravian Museum Brno, the score in the Czech Museum of Music Prague, the score of the premiere version in the library of San Francisco State University, reviews in the contemporary press) changes which the work underwent on its way across Europe are presented, and the problem of the aesthetic categories of the pasticcio, in the context of Transalpine production of Italian opera seria, is restored. [ABSTRACT FROM AUTHOR]

The article presents a literary criticism of novel "The Curious Incident of the Dog in the Night-Time" by Mark Haddon. It analyze the playful interchange between pastiche and parody and conjures up some classical detective conventions, which are gradually deconstructed to mock the tightly- knit classical detective formula. It examine parodies classical detective conventions and gradually turns them upside down.