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Roger Parker and Mary Ann Smart, eds, Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848 (Oxford: Oxford University Press, 2001). x + 271pp. £45
Published online by Cambridge University Press: 13 April 2011
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page 176 note 3 She could have made reference to, for instance, Frank, Hilmar, ‘rabesque, Cipher, Hieroglyph: Between unending interpretation and loss of meaning’, in Romantic Spirit in German Art 1790–1990, ed. Hartley, Keith (London, 1994), 147–54,Google Scholar who draws particularly on Ludwig Tieck's Franz Sternbalds Wanderungen.
page 179 note 1 For a social context of sexual imagery, see Lathers, Marie, ‘Posing the “Belle Juive”: Jewish Models in Nineteenth-Century Paris’, Woman's Art Journal, 21/1 (Spring–Summer 2000): 27–32;CrossRefGoogle Scholar for a discussion of Ivanhoe as source, see Hallman, Diana R., Opera, Liberalism, and Antisemitism in Nineteenth-Century France: The Politics of Halévy's La Juive (Cambridge, 2002), 210–34Google Scholar.
page 180 note 2 See Hallman, Diana R., ‘The French Grand Opera La Juive (1835): A Socio-Historical Study’, 2 vols, Ph.D. diss. (City University of New York, 1995), and the book by Hallman noted above, pp. 220–22, 228–9Google Scholar.