1.
Le Cid (opera)
–
Le Cid is an opera in four acts and ten tableaux by Jules Massenet to a French libretto by Louis Gallet, Édouard Blau and Adolphe dEnnery. It is based on the play of the name by Pierre Corneille. It was first performed by a star-studded cast at the Paris Opéra on 30 November 1885 in the presence of President Grévy, with Jean de Reszke as Rodrigue. The opera had been seen 150 times there by 1919 but faded from the repertory and was not performed again in Paris until the 2015 revival at the Palais Garnier. While the opera itself is not in the operatic repertory. After the premiere, the Paris Opera continued to revive Le Cid until 1919, a new production was mounted at the Opéra in the 2014-15 season, conducted by Michel Plasson with Roberto Alagna and Annick Massis among the principals. Local premieres took place in Frankfurt, Antwerp, and Vienna in 1887, followed by Rome, New Orleans Geneva, in Saint-Etienne it was produced in 1979 then at the 1994 Massenet Festival under Patrick Fournillier with Michele Command and Chris Merritt. In June 2011 the opera was staged at the Opéra de Marseille in a directed by Charles Roubaud, conducted by Jacques Lacombe. In September 2015, Odyssey Opera performed Le Cid for the first time in Boston, the performance was a semi-staged concert version conducted by Gil Rose, with tenor Paul Groves in the titular role, and received a positive review from the Boston Globe. In Burgos, a hall in the Gormas palace, to the sound of fanfares outside the friends of the Comte de Gormas recount how the King is to make Rodrigue a knight, despite his young age. Gormas desires to be named the governor of the Infant by the King, Gormas however approves the romantic attachment which his daughter Chimène has for Rodrigue. The Infanta has confessed to Chimène that she too loves Rodrigue, a gallery in the royal palace leading to an entrance to Burgos cathedral With bells sounding, the people give thanks for victory over the moors. The King now rewards Rodrigue by knighting him, and Rodrigue swears his faith to Saint Jacques de Compostelle, the King next names Don Diègue as governor of the Infant, and this is seen as an insult by the Comte de Gormas and his friends. Don Diègue holds out his hand and wishes the marriage of his son and Chimène, cursing his loss of strength and old age, Don Diègue demands that his son revenges his honour. Rodrigue bemoans his fate, and the loss of his happiness, a street in Burgos at night. In the following duel he swiftly kills the count, a crowd and a jubilant Don Diègue arrive on the scene, but when Chimène rushes out to find out about the murderer of her father she faints when she discovers his identity. It is a spring day The Infante distributes alms and dancing follows. Chimène demands justice to the King against Rodrigue and will hear of no pity or pardon for him, Don Diègue says that his son has only revenged him and that he should bear the accusation
2.
Pierre Corneille
–
Pierre Corneille was a French tragedian. He is generally considered one of the three great seventeenth-century French dramatists, along with Molière and Jean Racine and he continued to write well-received tragedies for nearly forty years. Corneille was born in Rouen, Normandy, France, to Marthe Le Pesant and Pierre Corneille and his younger brother, Thomas Corneille, also became a noted playwright. He was given a rigorous Jesuit education at the Collège de Bourbon where acting on the stage was part of the training, at 18 he began to study law but his practical legal endeavors were largely unsuccessful. Corneille’s father secured two magisterial posts for him with the Rouen department of Forests and Rivers, during his time with the department, he wrote his first play. It is unknown exactly when he wrote it, but the play, the actors approved of the work and made it part of their repertoire. The play was a success in Paris and Corneille began writing plays on a regular basis and he moved to Paris in the same year and soon became one of the leading playwrights of the French stage. His early comedies, starting with Mélite, depart from the French farce tradition by reflecting the elevated language, Corneille describes his variety of comedy as une peinture de la conversation des honnêtes gens. His first true tragedy is Médée, produced in 1635, the year 1634 brought more attention to Corneille. He was selected to write verses for the Cardinal Richelieu’s visit to Rouen, the Cardinal took notice of Corneille and selected him to be among Les Cinq Auteurs. The others were Guillaume Colletet, Boisrobert, Jean Rotrou, the five were selected to realize Richelieus vision of a new kind of drama that emphasized virtue. Richelieu would present ideas, which the writers would express in dramatic form, however, the Cardinals demands were too restrictive for Corneille, who attempted to innovate outside the boundaries defined by Richelieu. This led to contention between playwright and employer, after his initial contract ended, Corneille left Les Cinq Auteurs and returned to Rouen. In the years following this break with Richelieu, Corneille produced what is considered his finest play. Le Cid is based on the play Mocedades del Cid by Guillem de Castro, both plays were based on the legend of Rodrigo Díaz de Vivar, a military figure in Medieval Spain. The original 1637 edition of the play was subtitled a tragicomedy, even though Le Cid was an enormous popular success, it was the subject of a heated argument over the norms of dramatic practice, known as the Querelle du Cid or The Quarrel of Le Cid. Cardinal Richelieus Académie française acknowledged the success, but determined that it was defective, in part because it did not respect the classical unities of time, place. The newly formed Académie was a body that asserted state control over cultural activity, although it usually dealt with efforts to standardize the French language, Richelieu himself ordered an analysis of Le Cid
3.
Le Cid
–
Le Cid is a five-act French tragicomedy written by Pierre Corneille, first performed in January 1636 at the Théâtre du Marais in Paris and published the same year. It is based on Guillén de Castros play Las mocedades del Cid, Castros play in turn is based on the legend of El Cid. The play followed Corneilles first true tragedy, Médée, produced in 1635, an enormous popular success, Corneilles Le Cid was the subject of a heated polemic over the norms of dramatic practice known as the Querelle du Cid. Cardinal Richelieus Académie française acknowledged the success, but determined that it was defective. Today, Le Cid is widely regarded as Corneilles finest work, the play focuses on Don Rodrigue and Chimène. Rodrigues father, Don Diègue, is the old general of Kingdom of Castile and past his prime, whereas Chimènes father is the successful current general. Rodrigue and Chimène love each other, but any chance of marriage is brutally disturbed when Chimènes father insults Rodrigues father. Torn between his love for Chimène and his duty to avenge his fathers honour, Rodrigue chooses the latter, without denying her love, Chimène asks the King for Rodrigues head. When the Moors attack, Rodrigue gets the chance to redeem himself in the eye of the nation and his victories on the battlefield win him the renown of the people, the title of the Cid, and the gratitude of the King. Chimène then approaches the King to request that one of his knights duel with Rodrigue for her honors sake, Chimène chooses Don Sanche as her champion, although she dislikes him, she agrees to marry whoever is the victor of the duel to the death. The King agrees to the duel unhappily, Rodrigue speaks to Chimène privately, saying that he will not defend himself against what is symbolically her hand. She finally persuades him to do his best, because if he wins, after the duel, Don Sanche, carrying a bloody sword, comes to where she is waiting. Chimène assumes the worst without giving him the chance to speak, going before the king, she finally feels free to confess her love for Rodrigue because she believes him to be dead. Don Sanche then explains that Rodrigue disarmed him and granted him mercy, after the duel, Rodrigue returns straight to the king, leaving Don Sanche to bring his sword to Chimène. Still, he realizes they need time to adapt, Chimène will set the date for the wedding, up to a year in advance. Meanwhile, Rodrigue, known as the Cid, will conduct a war against the Moors in their own territory, Las Mocedades de Rodrigo Cornelian dilemma Franco, Andrés. Castro y Bellvís, Guillén de in Hochman 1984, vol, garreau, Joseph E. Corneille, Pierre in Hochman 1984, vol. French Theatre in the Neo-classical Era, 1550–1789
4.
Tragicomedy
–
Tragicomedy is a literary genre that blends aspects of both tragic and comic forms. Most often seen in literature, the term can variously describe either a tragic play which contains enough comic elements to lighten the overall mood or a serious play with a happy ending. There is no formal definition of tragicomedy from the classical age. It appears that the Greek philosopher Aristotle had something like the Renaissance meaning of the term in mind when, in Poetics, he discusses tragedy with a dual ending. In this respect, a number of Greek and Roman plays, for instance Alcestis, may be called tragicomedies, the word itself originates with the Roman comic playwright Plautus, who coined the term somewhat facetiously in the prologue to his play Amphitryon. For rule mongers, mixed works such as mentioned above, more recent romances such as Orlando Furioso. Two figures helped to elevate tragicomedy to the status of a regular genre, Giovanni Battista Giraldi Cinthio, in the mid-sixteenth century, both argued that the tragedy-with-comic-ending was most appropriate to modern times and produced his own examples of such plays. Even more important was Giovanni Battista Guarini, Guarinis Il Pastor Fido, published in 1590, provoked a fierce critical debate in which Guarinis spirited defense of generic innovation eventually carried the day. Guarinis tragicomedy offered modulated action that never drifted too far either to comedy or tragedy, mannered characters, all three became staples of continental tragicomedy for a century and more. In England, where practice ran ahead of theory, the situation was quite different, for the law of writ and the liberty, these are the only men. Some aspects of this romantic impulse remain even in the work of more sophisticated playwrights, Shakespeares last plays, by the early Stuart period, some English playwrights had absorbed the lessons of the Guarini controversy. John Fletchers The Faithful Shepherdess, an adaptation of Guarinis play, was produced in 1608. Fletchers definition focuses primarily on events, a genre is determined by whether or not people die in it. Some of Fletchers contemporaries, notably Philip Massinger and James Shirley, wrote successful, richard Brome also essayed the form, but with less success. And many of their writers, ranging from John Ford to Lodowick Carlell to Sir Aston Cockayne. Tragicomedy remained fairly popular up to the closing of the theaters in 1642, the old styles were of course cast aside as tastes changed in the eighteenth century, the tragedy with a happy ending eventually developed into melodrama, in which form it still flourishes. The more subtle criticism that developed after the Renaissance stressed the thematic and formal aspects of tragicomedy, gotthold Ephraim Lessing defined it as a mixture of emotions in which seriousness stimulates laughter, and pain pleasure. Even more commonly, tragicomedys affinity with satire and dark comedy have suggested a tragicomic impulse in modern absurdist drama, friedrich Dürrenmatt, the Swiss dramatist, suggested that tragicomedy was the inevitable genre for the twentieth century, he describes his play The Visit as a tragicomedy
5.
El Cid
–
Rodrigo Díaz de Vivar, better known as El Cid, or simply Rodrigo, was a Castilian nobleman and military leader in medieval Spain. The Moors called him El Cid, which meant the Lord, and the Christians, El Campeador and he was born in Vivar, a town near the city of Burgos. After his death, he became Castiles celebrated national hero and the protagonist of the most significant medieval Spanish epic poem, El Cantar de Mio Cid. Born a member of the nobility, El Cid was brought up at the court of King Ferdinand the Great and served Ferdinands son, Sancho II of León. He rose to become the commander and royal standard-bearer of Castile upon Sanchos ascension in 1065, Rodrigo went on to lead the Castilian military campaigns against Sanchos brothers, Alfonso VI of León and García II of Galicia, as well as in the Muslim kingdoms in Al-Andalus. He became renowned for his prowess in these campaigns, which helped expand Castilian territory at the expense of the Muslims. When conspirators murdered Sancho in 1072, Rodrigo found himself in a tight spot, since Sancho was childless, the throne passed to his brother Alfonso, the same whom El Cid had helped remove from power. Although Rodrigo continued to serve the Castilian sovereign, he lost his ranking in the new court which treated him at arms length, finally, in 1081, he was ordered into exile. El Cid found work fighting for the Muslim rulers of Zaragoza, while in exile, he regained his reputation as a strategist and formidable military leader. He repeatedly turned out victorious in battle against the Muslim rulers of Lérida and their Christian allies, in 1086, an expeditionary army of North African Almoravids inflicted a severe defeat to Castile, compelling Alfonso to overcome the resentments he harbored against El Cid. The terms for the return to the Christian service must have been attractive enough since Rodrigo soon found himself fighting for his former Lord and he gradually increased his control over Valencia, the Islamic ruler, al-Qadir, became his tributary in 1092. When the Almoravids instigated an uprising that resulted in the death of al-Qadir, Valencia finally fell in 1094, and El Cid established an independent principality on the Mediterranean coast of Spain. He ruled over a society with the popular support of Christians. El Cids final years were spent fighting the Almoravid Berbers and he inflicted upon them their first major defeat in 1094, on the plains of Caurte, outside Valencia, and continued resisting them until his death. Although Rodrigo remained undefeated in Valencia, his son, and heir. After El Cids death in 1099, his wife, Jimena Díaz, succeeded him as ruler of Valencia, to this day, El Cid remains a Spanish popular folk-hero and national icon. Numerous plays, films, folktales, songs, and even video games continue to memorialize the traditions of allegiance that his allegories typify, the Mozarabs or the Arabs that served in his ranks may have addressed him in this way, which the Christians may have transliterated and adopted. Historians, however, have not yet found contemporary records referring to Rodrigo as Cid, arab sources use instead Rudriq, Ludriq al-Kanbiyatur or al-Qanbiyatur
6.
Armand Jean du Plessis, Cardinal Richelieu
–
Cardinal Armand Jean du Plessis, Duke of Richelieu and Fronsac, commonly referred to as Cardinal Richelieu, was a French clergyman, nobleman, and statesman. He was consecrated as a bishop in 1607 and was appointed Foreign Secretary in 1616, Richelieu soon rose in both the Catholic Church and the French government, becoming a cardinal in 1622, and King Louis XIIIs chief minister in 1624. He remained in office until his death in 1642, he was succeeded by Cardinal Mazarin, Cardinal de Richelieu was often known by the title of the kings Chief Minister or First Minister. He sought to consolidate power and crush domestic factions. By restraining the power of the nobility, he transformed France into a strong and his chief foreign policy objective was to check the power of the Austro-Spanish Habsburg dynasty, and to ensure French dominance in the Thirty Years War that engulfed Europe. Although he was a cardinal, he did not hesitate to make alliances with Protestant rulers in attempting to achieve his goals. While a powerful figure, events like the Day of the Dupes show that in fact he very much depended on the kings confidence to keep this power. As alumnus of the University of Paris and headmaster of the Collège de Sorbonne, Richelieu was also famous for his patronage of the arts, most notably, he founded the Académie Française, the learned society responsible for matters pertaining to the French language. Richelieu is also known by the sobriquet lÉminence rouge, from the red shade of a cardinals clerical dress and this in part allowed the colony to eventually develop into the heartland of Francophone culture in North America. He is also a character in The Three Musketeers by Alexandre Dumas. Born in Paris, Armand du Plessis was the fourth of five children, at the age of nine, young Richelieu was sent to the College of Navarre in Paris to study philosophy. Thereafter, he began to train for a military career and his private life seems to have been typical of a young officer of the era, in 1605, aged twenty, he was treated by Théodore de Mayerne for gonorrhea. King Henry III had rewarded Richelieus father for his participation in the Wars of Religion by granting his family the bishopric of Luçon. The family appropriated most of the revenues of the bishopric for private use, they were, however, challenged by clergymen, to protect the important source of revenue, Richelieus mother proposed to make her second son, Alphonse, the bishop of Luçon. Alphonse, who had no desire to become a bishop, became instead a Carthusian monk, thus, it became necessary that the younger Richelieu join the clergy. He had strong interests, and threw himself into studying for his new post. In 1606 King Henry IV nominated Richelieu to become Bishop of Luçon, as Richelieu had not yet reached the canonical minimum age, it was necessary that he journey to Rome for a special dispensation from the Pope. This secured, Richelieu was consecrated bishop in April 1607, soon after he returned to his diocese in 1608, Richelieu was heralded as a reformer
7.
Jules Massenet
–
Jules Émile Frédéric Massenet was a French composer of the Romantic era best known for his operas, of which he wrote more than thirty. The two most frequently staged are Manon and Werther and he also composed oratorios, ballets, orchestral works, incidental music, piano pieces, songs and other music. While still a schoolboy, Massenet was admitted to Frances principal music college, there he studied under Ambroise Thomas, whom he greatly admired. After winning the top musical prize, the Prix de Rome, in 1863, he composed prolifically in many genres. Massenet had a sense of the theatre and of what would succeed with the Parisian public. Despite some miscalculations, he produced a series of successes that made him the composer of opera in France in the late 19th. Like many prominent French composers of the period, Massenet became a professor at the Conservatoire and he taught composition there from 1878 until 1896, when he resigned after the death of the director, Ambroise Thomas. Among his students were Gustave Charpentier, Ernest Chausson, Reynaldo Hahn, by the time of his death, Massenet was regarded by many critics as old-fashioned and unadventurous although his two best-known operas remained popular in France and abroad. After a few decades of neglect, his works began to be favourably reassessed during the mid-20th century, Massenet was born at Montaud, then an outlying hamlet and now a part of the city of Saint-Étienne, in the Loire. He was the youngest of the four children of Alexis Massenet and his second wife Eléonore-Adelaïde née Royer de Marancour, Massenet senior was a prosperous ironmonger, his wife was a talented amateur musician who gave Jules his first piano lessons. By early 1848 the family had moved to Paris, where settled in a flat in Saint-Germain-des-Prés. Massenet was educated at the Lycée Saint-Louis and, from either 1851 or 1853 and his biographer Demar Irvine dates the audition and admission as January 1853. Both sources agree that Massenet continued his education at the lycée in tandem with his musical studies. At the Conservatoire Massenet studied solfège with Augustin Savard and the piano with François Laurent and he pursued his studies, with modest distinction, until the beginning of 1855, when family concerns disrupted his education. Alexis Massenets health was poor, and on advice he moved from Paris to Chambéry in the south of France. On his return he lodged with relations in Montmartre and resumed his studies, the familys finances were no longer comfortable, and to support himself Massenet took private piano students and played as a percussionist in theatre orchestras. His work in the pit gave him a good working knowledge of the operas of Gounod and other composers, classic. He gained some work as a piano accompanist, in the course of which he met Wagner who, in 1861 Massenets music was published for the first time, the Grande Fantasie de Concert sur le Pardon de Ploërmel de Meyerbeer, a virtuoso piano work in nine sections
8.
Handel
–
George Frideric Handel was a German, later British baroque composer who spent the bulk of his career in London, becoming well known for his operas, oratorios, anthems, and organ concertos. Handel received important training in Halle and worked as a composer in Hamburg and Italy before settling in London in 1712 and he was strongly influenced both by the great composers of the Italian Baroque and by the middle-German polyphonic choral tradition. Within fifteen years, Handel had started three commercial opera companies to supply the English nobility with Italian opera, musicologist Winton Dean writes that his operas show that Handel was not only a great composer, he was a dramatic genius of the first order. As Alexanders Feast was well received, Handel made a transition to English choral works, after his success with Messiah he never composed an Italian opera again. Almost blind, and having lived in England for nearly fifty years, he died in 1759 and his funeral was given full state honours, and he was buried in Westminster Abbey in London. Handel was born in 1685 in Halle-on-Saal, Duchy of Magdeburg, to Georg Händel and his father,63 when George Frideric was born, was an eminent barber-surgeon who served the court of Saxe-Weissenfels and the Margraviate of Brandenburg. Georg Händel was the son of a coppersmith, Valentin Händel who had emigrated from Eisleben in 1608 with his first wife Anna Belching and they were Protestants and chose reliably Protestant Saxony over Silesia, a Hapsburg possession as religious tensions mounted in the years before the Thirty Years War. Halle was a prosperous city, home of a salt-mining industry. Even the smaller churches all had able organists and fair choirs, and humanities, the Thirty Years War brought extensive destruction to Halle, and by the 1680s it was impoverished. But since the middle of the war the city was under the administration of the Duke of Saxony, the arts and music, however, flourished only among the higher strata, which did not describe Handels family. Handel was the child of this marriage, the first son died still born. Two younger sisters were born after the birth of George Frideric, Dorthea Sophia, born 6 October 1687 and Johanna Christiana, born 10 January 1690. Early in his life Handel is reported to have attended the gymnasium in Halle, Mainwaring is the source for almost all information of Handels childhood, and much of that information came from J. C. Smith, Jr. Handels confidant and copyist. Whether they came from Smith or elsewhere, Mainwaring frequently relates misinformation and it is from Mainwaring that the portrait of Handels father as implacably opposed to any musical education comes. This did nothing to dampen young Handels inclination, in fact, Mainwaring tells the story of Handels secret attic spinnet, Handel found means to get a little clavichord privately conveyd to a room at the top of the house. To this room he constantly stole when the family was asleep, but Handel had to have had some experience with the keyboard to have made the impression in Weissenfels that resulted in his receiving formal musical training. Somehow Handel made his way to the organ, where he surprised everyone with his playing. Overhearing this performance and noting the youth of the performer caused the Duke to recommend to Georg Händel that Handel be given musical instruction, Handels father engaged the organist at the Halle parish church, the young Friedrich Wilhelm Zachow, to instruct Handel
9.
Mocedades de Rodrigo
–
The Mocedades de Rodrigo is the name given to a late, anonymous Castilian cantar de gesta, composed around 1360, that relates the origins and exploits of the youth of the legendary hero El Cid. There are 1164 surviving verses, preceded by an initial prose fragment, the only codex that contains the work is a manuscript from 1400 that is kept in the National Library of Paris. In order to make amends for his guilt, King Ferdinand orders him to marry Jimena, however the hero refuses, in a common folkloric motif of postponement of an obligation through the pursuit a difficult and long-lasting mission, until he has won five battles. After this tremendous victory and in the middle of the negotiations over the surrender, to associate the figure of an already very legendary Cid to the history of this religious demarcation was to bring parishioners and resources to the bishop. This same motivation had already been present in the propagandist work of Gonzalo de Berceo with respect to San Millán de la Cogolla. On the other hand, Juan Victorio postulates the author to be a native of Zamora and educated, in this way, the author not only uses this text to promote ecclesiastical interests, but also political. Signs of the existence of material of The Mocedades from the 13th century have been postulated in mentions of narrative elements of the work in chronicles. These appear in the Chronicon mundi, by Luke of Tui, in the History of Spain, compiled by Alfonso X the Wise, and in the Chronicle of Twenty Kings. Later, around 1300, in the Chronicle of the Kings of Castile there is found a more complete mention which has a plot of a history missing from The Mocedades. Subsequently, this gives a new location, with the additional of other epic material. Finally, a priest or educated author would have adapted all this material by around 1360 in the version that is known today. The Gesta differs from the Cantar now preserved in its more moderate tone, with a less rebellious hero and this divergence constitutes the principal motif by which Deyermond thought the preserved text would have been composed by an author from this zone. The number of verses per series oscillates between the 264 of the number XVII and the two verses from various others and it is possible that many of these cases are regarding remains of incomplete series, because the text contains many holes. This feature could indicate its proximity to the meter of the Spanish romances, in the text various episodes cross, each only weakly related to the others. This is confirmed by the around dozen holes existing within the text, in particular, a prominent one causes the interruption of the manuscript, which forces the conjecture of the ending based on the chronicles that transmit earlier versions of the poem. The concluding feeling is that of finding oneself facing a flood of material due to the drafts of the gesta. According to Armistead, the ending should be the raising to emperor or par to emperor of the King Ferdinand among the kings of the peninsula. If this is so, it should be investigated as to what motivated the author to write with an arrangement in the mold of ancient gestas
10.
International Standard Book Number
–
The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
11.
Internet Broadway Database
–
The Internet Broadway Database is an online database of Broadway theatre productions and their personnel. It was conceived and created by Karen Hauser in 1996 and is operated by the Research Department of The Broadway League, the website also has a corresponding app for both the IOS and Android. This comprehensive history of Broadway provides records of productions from the beginnings of New York theatre in the 18th century up to today, details include cast and creative lists for opening night and current day, song lists, awards and other interesting facts about every Broadway production. Other features of IBDB include an archive of photos from past and present Broadway productions, headshots, links to cast recordings on iTunes or Amazon, gross. Its mission was to be an interactive, user-friendly, searchable database for League members, journalists, researchers, the League recently added Broadway Touring shows to the database for ease of tracking shows that play in theatres across the country. It is managed by Karen Hauser, Michael Abourizk, and Mark Smith of the Broadway League, Internet Theatre Database – ITDb Internet Movie Database – IMDb Internet Book Database – IBookDb Lortel Archives – IOBDb The Broadway League Official website Broadway League website
12.
Wikisource
–
Wikisource is an online digital library of free content textual sources on a wiki, operated by the Wikimedia Foundation. Wikisource is the name of the project as a whole and the name for each instance of that project, the projects aims are to host all forms of free text, in many languages, and translations. Originally conceived as an archive to store useful or important historical texts, the project officially began in November 24,2003 under the name Project Sourceberg. The name Wikisource was adopted later that year and it received its own domain name seven months later, the project has come under criticism for lack of reliability but it is also cited by organisations such as the National Archives and Records Administration. The project holds works that are either in the domain or freely licensed, professionally published works or historical source documents, not vanity products. Verification was initially made offline, or by trusting the reliability of digital libraries. Now works are supported by online scans via the ProofreadPage extension, some individual Wikisources, each representing a specific language, now only allow works backed up with scans. While the bulk of its collection are texts, Wikisource as a whole hosts other media, some Wikisources allow user-generated annotations, subject to the specific policies of the Wikisource in question. Wikisources early history included several changes of name and location, the original concept for Wikisource was as storage for useful or important historical texts. These texts were intended to support Wikipedia articles, by providing evidence and original source texts. The collection was focused on important historical and cultural material. The project was originally called Project Sourceberg during its planning stages, in 2001, there was a dispute on Wikipedia regarding the addition of primary source material, leading to edit wars over their inclusion or deletion. Project Sourceberg was suggested as a solution to this, perhaps Project Sourceberg can mainly work as an interface for easily linking from Wikipedia to a Project Gutenberg file, and as an interface for people to easily submit new work to PG. Wed want to complement Project Gutenberg--how, exactly, and Jimmy Wales adding like Larry, Im interested that we think it over to see what we can add to Project Gutenberg. It seems unlikely that primary sources should in general be editable by anyone -- I mean, Shakespeare is Shakespeare, unlike our commentary on his work, the project began its activity at ps. wikipedia. org. The contributors understood the PS subdomain to mean either primary sources or Project Sourceberg, however, this resulted in Project Sourceberg occupying the subdomain of the Pashto Wikipedia. A vote on the name changed it to Wikisource on December 6,2003. Despite the change in name, the project did not move to its permanent URL until July 23,2004, since Wikisource was initially called Project Sourceberg, its first logo was a picture of an iceberg
13.
La Place royale
–
La Place Royale, ou lamoureux extravagant is a five-act comedy written by Pierre Corneille in 1634. It tells the story of Alidor who wants to break off his engagement with Angélique by giving her over to his best friend Cléandre, in this play, Corneille addresses questions of love and liberty. Angélique is in love with Alidor, but Alidor is afraid of being trapped into marriage and he schemes with his friend Cléandre to end the relationship. They plant a fake letter to a certain Clarine where Angélique can find it. Thinking that Alidor is in love with Clarine, Angélique ends the relationship, seeing an opportunity, Angéliques friend Phylis sends her brother Doraste to Angélique. Doraste is also in love with Angélique, in her despair over Alidors seeming betrayal, she agrees to marry Doraste that evening. This is not what Alidor and Cléandre had hoped for, as Alidor was planning on Angélique turning to Cléandre instead. They create a plot to kidnap Angélique from the garden before the marriage, after having spent the night with Cléandre, she would have no choice. Unfortunately, Cléandre and Alidors helpers mistake Phylis for Angélique in the garden, meanwhile, Angélique arrives in the garden and discovers what lengths Alidor has gone to break off the relationship. Elsewhere, Phylis and Cléandre fall in love and plan to marry, devastated about her being used as a pawn, Angélique decides to enter a convent. Alidor is finally free to live his life without fear of marriage
14.
L'Illusion Comique
–
LIllusion comique is a comedic play written by Pierre Corneille in 1636. In its use of meta-theatricality, it is far ahead of its time and it was first performed at the Hôtel de Bourgogne in 1636 and published in 1639. Corneille wrote this piece at the age of 29 and had written seven other plays. LIllusion comique marks a point in his career. This piece can be regarded as the end of an apprenticeship during which the author demonstrates his literary prowess, the fourth and fifth acts evolve into a tragicomedy with their episodes of rivalry, imprisonment, and even death. LIllusion comique is therefore a summary of a universe. The first act begins at the entrance to a grotto where Pridamant and Dorante are trying to discover the cause of the disappearance of Clindor, Dorante wants to introduce Pridamant to a magician who can help. This magician, Alcandre, correctly determines the reasons why Pridamant has come to him, at the beginning of Act II, Alcandre and Pridamant are looking at the magicians instrument and are able to see Clindor and his master Matamore. Clindor is listening to Matamore brag about his impossible feats while waiting for the arrival of Isabelle, Clindor and Matamore hide themselves, and Adraste approaches Isabelle. She rejects his advances but this does not keep him from asking her father for permission to marry her, after his departure, Matamore and Clindor come out of hiding and Matamore leaves when a page arrives to tell him that he has pressing affairs elsewhere. Alone with Clindor, Isabelle reaffirms her love for him, Clindor also leaves, and Adraste begins to suspect that Clindor is his rival. Isabelles servant, Lyse, tells Adraste he should go and spy on the two of them, alone, Lyse reveals that she is in love with Clindor and hopes to get revenge on her mistress by sending Adraste. Alcandre tries to reassure Pridamant that all will be well for his son, the third act begins with the reproaches of Isabelles father, Géronte, who wants her to marry Adraste. Alone, Géronte decides to force her to do his will and he then dismisses Matamore, who vows revenge. Lyse appears and Clindor tries to seduce her, pretending that he only loves Isabelle for her money and he leaves, and Lyse hesitates before continuing with her plot against the lovers. Matamore arrives on stage and hides himself when Isabelle and Clindor appear, Clindor and Isabelle try to kiss, when Adraste arrives with Géronte and his valets. Matamore flees, Clindor attacks Adraste, but Adraste strikes back, the final image is of Pridamant, who believes his son is dead. Act IV opens with Isabelles tragic monologue, Adraste is dead, Clindor is hurt and also sentenced to death
15.
Cinna (play)
–
Cinna ou la Clémence dAuguste is a tragedy by Pierre Corneille written for the Théâtre du Marais in 1641, published two years later. It takes place in ancient Rome, but the ideas and themes characterize the age of Louis XIV, a production was laid on in Bayonne in 1660 just before the King arrived for his wedding to the Infanta. Corneille addresses the question of clemency and advocates an end to spiraling vengeance and his response is apologetic towards absolute power. As in many of his plays, the heroine is noted for her high tone, act 1 - Emperor Augustus has executed Toranius, the father of young Emilie whom he considers nonetheless like a daughter. Emilie, in love with Cinna, asks him to save her honor by killing Augustus, in exchange, she will marry Cinna. With the help of his friend, Maxime, Cinna plots to kill the emperor, act 2 - Augustus, tired of ruling the Roman Empire, seeks the advice of his friends Maxime and Cinna. Because he desires the love of Emilie, Cinna advises Augustus to keep his throne so he can go forward with his assassination plot, Augustus thanks the two men by offering them important government posts and land, and he even offers Emilie to Cinna as wife. Act 3 - Meanwhile, Maxime is also in love with Emilie, maximes servant, Euphorbe, suggests that Maxime betray Cinna and go to Caesar with the assassination plot so that he may receive Emilie in marriage, however, Maxime does not listen. Cinna is faced with a dilemma, the probity and generosity of Augustus has caused him to question his devotion to Emilie and he nonetheless decides to go through with the assassination attempt to please his lover. Act 4 - Euphorbe, claiming to be sent by Maxime, caesars wife, Livie, tells him to pardon Cinna in order to gain glory and respect, but Augustus is apparently deaf to these arguments and calls Cinna before him. Maxime goes to find Emilie to declare his love, but Emilie pushes him away, act 5 - Emilie finds Cinna before Augustus. She declares her guilt and tries to clear Cinnas name by saying that she seduced him to do her will, Cinna tries to protect Emilie by declaring her story to be false. Finally, Maxime enters and declares that he and Euphorbe had made the story up. Faced with those he holds dear, Augustus decides to pardon them all and he proposes that his enemies take the government positions and lands that he offered them prior to the scandal, and they all accept and thank him graciously. Octave - César Auguste Livie Cinna Maxime Émilie Fulvie Polyclète Évandre Euphorbe Text in French from the University of Virginia Plot overview in French Text in French from Gallica
16.
Polyeucte
–
Polyeucte is also the name of an overture by Paul Dukas. Polyeucte martyr is a drama in five acts by French writer Pierre Corneille and it was finished in December 1642 and debuted in October 1643. It is based on the life of the martyr Saint Polyeuctus, in 1878 it was adapted into an opera by Charles Gounod, with the assistance of the librettist Jules Barbier. The opera was not a success and is rarely performed except for a number of arias including Source délicieuse, other works based on the play include a ballet by Marc-Antoine Charpentier, the opera Poliuto by Donizetti, an overture by Paul Dukas and a composition by Edgar Tinel. The drama is set in ancient Armenia during a time when Christians were persecuted there under the Roman Empire, Polyeucte, an Armenian nobleman, converts to Christianity to the great despair of his wife, Pauline, and of his father-in-law, Felix. Despite them, Polyeucte becomes a martyr, causing Pauline and Felix to finally convert as well, there is also a romantic subplot, the Roman Severus is in love with Pauline and hopes she will be his after the conversion of Polyeucte. However, she chooses to stay at the side of her husband, before dying, Polyeucte entrusts Severus with Pauline. Later playwrights were not as willing to mix religious and worldly themes
17.
Virtual International Authority File
–
The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
18.
Integrated Authority File
–
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
