Table des matières
Emily Wilbourne et Suzanne G. Cusick
IntroductionIreri E. Chávez Bárcenas
2. Native Song and Dance Affect in Seventeenth-Century Christian Festivals in New SpainGlenda Goodman
4. ‘Hideous Acclamations’Captive Colonists, Forced Singing, and the Incorporation Imperatives of Mohawk Listeners
Danielle Skeehan
5. Black Atlantic Acoustemologies and the Maritime ArchiveEmily Wilbourne
6. Little Black Giovanni’s DreamBlack Authorship and the ‘Turks, and Dwarves, the Bad Christians’ of the Medici Court
Zhuqing (Lester) S. Hu
7. A Global Phonographic RevolutionTrans-Eurasian Resonances of Writing in Early Modern France and China
Suzanne G. Cusick
8. ‘La stiava dolente in suono di canto’War, Slavery, and Difference in a Medici Court Entertainment
- La stiava: Of the Long Mediterranean War, Slavery, and Spectacles of Combat
- Christine de Lorraine, the New Crusade for Jerusalem, and La stiava
- La stiava as moresca, Stylizing War
- ‘La stiava dolente in suono di canto’: Sound Design, Affect, and Difference in the Slave’s Scene
- Of Sonic Alterity and ‘Race’, the Historiography of Women’s Musical Culture, and the Historiography of Opera
- Appendix A: Text and Translation of La stiava
- Archivio Buonarroti 81, f. 295v–296r
- Appendix B: Text and Translation of Description of La stiava (Fair Copy)
- Archivio Buonarroti 81, f. 307r–310r
- Schiava. Misera ove son io? ec insino alla linea .A.
- Schiava. Deh che di vostro ardire: ec insino alla linea .B.
- La canzonetta del coro de soldati, e de marinari fu questa.
- Real donna prigioniera, ec insino al fine
Nina Treadwell
9. ‘Now Despised, a Servant, Abandoned’Wounded Italy, the Moresca, and the Performance of Alterity