GEORGE K HAGGETT
Biographic Data
| ID | 6336011 |
|---|---|
| NAME | GEORGE K HAGGETT |
| GIVEN NAMES | GEORGE K |
| FAMILY NAME | HAGGETT |
| SIGNATURE | HAGGETT G K |
| AFFILIATIONS | University of Oxford |
| ORCID | 0000-0001-8514-8597 |
| VERIFIED | Yes |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2022 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Neoliberalism, Homophobia, and the Long Arm of the 1980s
In May 1986, Harrison Birtwistle’s The Mask of Orpheus premiered at the English National Opera. Despite being lauded in the New York Times as ‘unquestionably the greatest achievement by a British composer in our time’, it would not be staged again for another 33 years. When it finally was, again at the ENO in 2019, Daniel Kramer’s production was suffused with queer signification. Deemed too kinky, too violent, too camp, and obscene, it was critic…
Difference in Contact
Towards the middle of 2021, the world felt like a shattered place. The fatigue of a little more than a year of social distancing was perhaps at its most acute and resuming a more immediate form of academic exchange seemed all but impossible. It was during this time that we were approached by this Journal’s then newly appointed reviews editor, Amanda Hsieh, to co-author a review article. It was an intriguing request for us both: review articles in…
No prominent works on this page.
Difference in Contact
Towards the middle of 2021, the world felt like a shattered place. The fatigue of a little more than a year of social distancing was perhaps at its most acute and resuming a more immediate form of academic exchange seemed all but impossible. It was during this time that we were approached by this Journal’s then newly appointed reviews editor, Amanda Hsieh, to co-author a review article. It was an intriguing request for us both: review articles in…
Neoliberalism, Homophobia, and the Long Arm of the 1980s
In May 1986, Harrison Birtwistle’s The Mask of Orpheus premiered at the English National Opera. Despite being lauded in the New York Times as ‘unquestionably the greatest achievement by a British composer in our time’, it would not be staged again for another 33 years. When it finally was, again at the ENO in 2019, Daniel Kramer’s production was suffused with queer signification. Deemed too kinky, too violent, too camp, and obscene, it was critic…
Musicology and Musical Analysis (2 works) · Art history (1 work) · Art, Politics, and Modernism (1 work) · Diverse Musicological Studies (1 work) · Gender Studies (1 work) · History (1 work) · Media studies (1 work) · Music History and Culture (1 work) · Opera (1 work) · Queer (1 work)