{"title":"安妮·兰德尔和罗莎琳德·格雷·戴维斯:《普契尼与女孩:《黄金西部女孩》的历史与接受》","authors":"E. Lockhart","doi":"10.1093/OQ/KBN063","DOIUrl":null,"url":null,"abstract":"","PeriodicalId":42382,"journal":{"name":"OPERA QUARTERLY","volume":"24 1","pages":"112-119"},"PeriodicalIF":0.5000,"publicationDate":"2008-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/OQ/KBN063","citationCount":"0","resultStr":"{\"title\":\"Annie J. Randall and Rosalind Gray Davis: Puccini and the Girl: History and Reception of “The Girl of the Golden West”\",\"authors\":\"E. Lockhart\",\"doi\":\"10.1093/OQ/KBN063\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\",\"PeriodicalId\":42382,\"journal\":{\"name\":\"OPERA QUARTERLY\",\"volume\":\"24 1\",\"pages\":\"112-119\"},\"PeriodicalIF\":0.5000,\"publicationDate\":\"2008-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1093/OQ/KBN063\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"OPERA QUARTERLY\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1093/OQ/KBN063\",\"RegionNum\":1,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"OPERA QUARTERLY","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/OQ/KBN063","RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
期刊介绍：
Since its inception in 1983, The Opera Quarterly has earned the enthusiastic praise of opera lovers and scholars alike for its engagement within the field of opera studies. In 2005, David J. Levin, a dramaturg at various opera houses and critical theorist at the University of Chicago, assumed the executive editorship of The Opera Quarterly, with the goal of extending the journal"s reputation as a rigorous forum for all aspects of opera and operatic production. Under his stewardship, the journal is resituated squarely at the intersection of performance, theory, and history, with a purview encompassing contemporary developments on the stage and in the academy.
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