(Sculpt!) Group Argument

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Antonio Vivaldi's work in Baroque Italian Opera was heavily influenced through the governmental structure of eighteenth century Italy. Throughout the course of his playwritng career his work from "Arsilda" (opera) to "Juditha Triumphans" (opera), Vivaldi evokes a strong essence of survival and an overcoming of power struggle within Italian government. For instance, Arsillda tells the story a young girl who poses as her brother, whom she believes is dead, in order to inherit the throne and sustain nobility within her royal family. Vivaldi's "Juditha Triumphans" serves as a historical mirror reflecting the happeing of a war between the Turkish and Venetian army, where the Venetian army ends victorious. It is clear that in these plays Vivaldi's plot ties back to a power strugge shared between the opera characters and government. In "Arsilda", Vivaldi plays with the idea of one "posing" as what one is not-- which was the essence of the Early Modern Period during this time. This was an era in Italy where foreign lands were "posing" as the rulers and leaders of countries of differing nationalities. All in all, the basis of our argument is that Vivaldi's work served as a mirror reflection of eighteenth century Italian rule and governmental structure. We will also argue how and why Vivaldi's work is considered Baroque Opera, and its most concrete definition, which would be that of a "well-crafted imperfection." In doing this we will explain how composers and artists like Vivaldi broke societal rules and restrictions and found other ways art could be found--"good" art. Our argument will also contain how Baroque Art became less about structure and more about the feelings it could provoke as shown in Vivaldi's work. (We will speak about some other Baroque Italian Opera artists as well).

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Hi all,

I really like this specific argument about Vivaldi. You've done a good job to think through how he interacts with the politics of the age, and how his art reflects the overall concept of the baroque. One of my worries is that you might be trying to talk about a little too much within the 20 minutes that you are allotted. The place where I'm worried about too much sprawl is in the discussing of other composers of the Baroque. I don't think it's a bad idea to talk about Vivaldi's contemporaries, but you want to make sure that the main points you're making about them are tied to your specific arguments of Vivaldi. Maybe there's a way to tuck discussion of other composers into your contextual discussion of the Baroque?

The main thing is that you should attempt to be very specific about the information you will be discussing. It would be a good idea to write out, or at least outline the specific areas you'll be examining. This will help ensure that you are able to cover all of that you need to; if you go over time, look for the discussion of those "other" composers as a possible area to cut from.

Good work overall!

Grade: 90%

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This page contains a single entry by mansw039 published on November 21, 2012 4:49 PM.

Three Questions was the previous entry in this blog.

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