Juliana Pistorius
Biographic Data
| ID | 4119347 |
|---|---|
| NAME | Juliana Pistorius |
| GIVEN NAMES | Juliana |
| FAMILY NAME | Pistorius |
| SIGNATURE | PISTORIUS J |
| AFFILIATIONS | University of Huddersfield |
| ORCID | 0000-0002-9824-3857 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Andrea F. Bohlman, Musical Solidarities: Political Action and Music in Late Twentieth-Century Poland
In recent years, simplistic accounts of song as sonic protest have increasingly been subject to critical reappraisal.As repertories and methodologies diversify, scholarship on the sounds of political dissent has begun to embrace contestation, ambiguity and extra-academic approaches. 1 With Musical Solidarities: Political Action and Music in Late Twentieth-Century Poland, Andrea Bohlman adds to the growing diversification of studies in sonic strug…
A Modern-Day Florestan: Fidelio on Robben Island and South Africa's Early Democratic Project
In 2004, Cape Town Opera mounted a production of Beethoven's Fidelio at the former apartheid prison on Robben Island. Sponsored by Den Norske Opera, and endorsed by the South African government, the production was presented as a celebration of the country's tenth year of democracy. This article investigates the vision of democracy performed by Fidelio on Robben Island and asks how it interacts with the founding principles of the new South African…
Colloquy: Theorizing Global Music History
If we open our introduction to this colloquy with a question, namely how and to what ends we might theorize global music history, it is because critical questioning seems to be at the heart of the contributions gathered here. We invited six authors to reflect on a key historical concept, process, or formation they have encountered in their globally oriented music research; as we expected, the topics and methods of their resulting contributions va…
The Pan-African Gorée Institute at Thirty: A Tribute to Breyten Breytenbach and the Power of the Imagination
Amid mounting assaults on political freedom and self-determination – both on the African continent and further afield, the work of the Pan-African Gorée Institute for Democracy, Development and Culture in Africa is more urgent than ever. This article reflects on the first thirty years of the Institute’s existence. It pays special attention to gorin ’s creative projects, developed under the motto ‘Imagine Africa’, and reflects on South African poe…
Predicaments of Coloniality, or, Opera Studies Goes Ethno
Over the past decade or so, opera scholarship has enjoyed a remarkable expansion of both geographical and disciplinary territory. The result, articulated in such volumes as Pamela Karantonis and Dylan Robinson’s Opera Indigene (2011),1 Naomi André, Karen Bryan, and Eric Saylor’s Blackness in Opera (2012),2 and the three texts under consideration here, has been a valuable proliferation of perspectives and methodologies. Engaging repertories, voice…
Eoan: Our Story
Coloured opera as subversive forgetting
During South Africa’s apartheid regime, the Eoan Opera Group found itself precariously balanced on the tenuous fringe between complicity and resistance. Their elaborate productions of Italian operas were performed to segregated audiences under the auspices of the Department of Coloured Affairs. While the act of singing presented a crossing of the boundaries constructed by the geopolitics of apartheid, the songs themselves implicated them in a pro…
Predicaments of Coloniality, or, Opera Studies Goes Ethno
Over the past decade or so, opera scholarship has enjoyed a remarkable expansion of both geographical and disciplinary territory. The result, articulated in such volumes as Pamela Karantonis and Dylan Robinson’s Opera Indigene (2011),1 Naomi André, Karen Bryan, and Eric Saylor’s Blackness in Opera (2012),2 and the three texts under consideration here, has been a valuable proliferation of perspectives and methodologies. Engaging repertories, voice…
Coloured opera as subversive forgetting
During South Africa’s apartheid regime, the Eoan Opera Group found itself precariously balanced on the tenuous fringe between complicity and resistance. Their elaborate productions of Italian operas were performed to segregated audiences under the auspices of the Department of Coloured Affairs. While the act of singing presented a crossing of the boundaries constructed by the geopolitics of apartheid, the songs themselves implicated them in a pro…
Eoan: Our Story
Coloured opera as subversive forgetting
During South Africa’s apartheid regime, the Eoan Opera Group found itself precariously balanced on the tenuous fringe between complicity and resistance. Their elaborate productions of Italian operas were performed to segregated audiences under the auspices of the Department of Coloured Affairs. While the act of singing presented a crossing of the boundaries constructed by the geopolitics of apartheid, the songs themselves implicated them in a pro…
Predicaments of Coloniality, or, Opera Studies Goes Ethno
Over the past decade or so, opera scholarship has enjoyed a remarkable expansion of both geographical and disciplinary territory. The result, articulated in such volumes as Pamela Karantonis and Dylan Robinson’s Opera Indigene (2011),1 Naomi André, Karen Bryan, and Eric Saylor’s Blackness in Opera (2012),2 and the three texts under consideration here, has been a valuable proliferation of perspectives and methodologies. Engaging repertories, voice…
Andrea F. Bohlman, Musical Solidarities: Political Action and Music in Late Twentieth-Century Poland
In recent years, simplistic accounts of song as sonic protest have increasingly been subject to critical reappraisal.As repertories and methodologies diversify, scholarship on the sounds of political dissent has begun to embrace contestation, ambiguity and extra-academic approaches. 1 With Musical Solidarities: Political Action and Music in Late Twentieth-Century Poland, Andrea Bohlman adds to the growing diversification of studies in sonic strug…
A Modern-Day Florestan: Fidelio on Robben Island and South Africa's Early Democratic Project
In 2004, Cape Town Opera mounted a production of Beethoven's Fidelio at the former apartheid prison on Robben Island. Sponsored by Den Norske Opera, and endorsed by the South African government, the production was presented as a celebration of the country's tenth year of democracy. This article investigates the vision of democracy performed by Fidelio on Robben Island and asks how it interacts with the founding principles of the new South African…
Colloquy: Theorizing Global Music History
If we open our introduction to this colloquy with a question, namely how and to what ends we might theorize global music history, it is because critical questioning seems to be at the heart of the contributions gathered here. We invited six authors to reflect on a key historical concept, process, or formation they have encountered in their globally oriented music research; as we expected, the topics and methods of their resulting contributions va…
The Pan-African Gorée Institute at Thirty: A Tribute to Breyten Breytenbach and the Power of the Imagination
Amid mounting assaults on political freedom and self-determination – both on the African continent and further afield, the work of the Pan-African Gorée Institute for Democracy, Development and Culture in Africa is more urgent than ever. This article reflects on the first thirty years of the Institute’s existence. It pays special attention to gorin ’s creative projects, developed under the motto ‘Imagine Africa’, and reflects on South African poe…
Art (6 works) · Aesthetics (4 works) · History (4 works) · Law (4 works) · Literature (4 works) · Political science (4 works) · Politics (4 works) · Sociology (4 works) · Opera (3 works) · Computer Science (2 works)