Abstract
Law and opera may seem, at first glance, as two alien worlds, separated by immense cultural and thematical differences. The first is the world of rules, prescriptions, sanctions; the second is the world of imagination, passion, and spectacularization. However, law and opera can and actually do dialogue with each other, and on various different planes.
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Notes
- 1.
- 2.
The distinction already appears, for example, in the anthology edited by London (1960).
- 3.
See Posner (2009).
- 4.
Fish (1999).
- 5.
Nussbaum (2007).
- 6.
- 7.
See, for example, Bernardi (1991).
- 8.
The literature on the subject is extensive, beginning in the 1990s: Cascetta (1994); with studies that seek specifically to reconstruct the spectacle of guilt and expiation in the rituals of tortures Cascetta (1995). For a specific and particularly interesting case, see the volume by Friedland (2003).
- 9.
As is well known, discussion of the literary value of the opera libretto is highly articulated, and now goes back some time: see the contributions collected in Decroisette (2011).
- 10.
Resta (2011).
- 11.
See, among the many, the essays collected in Montemorra Marvin and Thomas (2006), and the following texts: Schmidgall (1980), Conrad (1981), Lindenberger (1984), Robinson (1986), Tambling (1987), Groos and Parker (1988), Arblaster (1992), Abbate (1996), Conrad (1996), Lindenberger (1998), Hutcheon and Hutcheon (1999), Kivy (1999), Hutcheon and Hutcheon (2000), Smart (2000), McClary (2002), Smart (2004), Hunter and Webster (2006), and Bokina (2009).
- 12.
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Annunziata, F., Colombo, G.F. (2018). Law in the Opera, Law on the Opera, Law Around the Opera: A Multidisciplinary Approach. In: Annunziata, F., Colombo, G. (eds) Law and Opera. Springer, Cham. https://doi.org/10.1007/978-3-319-68649-3_1
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