Interdisciplinary Studies; Opera and Medicine
Journal Articles:
"Medical Mythologies." Queen's Quarterly 94.4 (1987): 904-16.
"Otherhood Issues: Post-national Operatic Imperatives", Narrative, 3.1 (January 1995): 1-17.
"'All Concord's Born of Contraries': Marital Methodologies," Tulsa Studies in Women's Literature 14.1 (May 1995): 59-64.
"'Life-and-Death Passions': 'Operatic' AIDS and the Stage", Essays in Theatre 13.2 (May 1995): 111-33.
"Melodies and Maladies," Opera Canada (Winter 1995): 14-15.
"Sexuality, Sin and the Social Order: Richard Wagner's Parsifal." Cambridge Opera Journal 7.3 (1995): 261-75.
"Famous Last Breaths: The Consumptive Heroine in Opera," Parallax (U.K.), 2 (1996): 1-22.
"Arias, Anxieties and Epidemics," Canadian Medical Association Journal 157.12 (December 1997): 1734-5.
"'Alles was ist, endet': Living with the Knowledge of Death in Richard Wagner’s Der Ring des Nibelungen." University of Toronto Quarterly 67.4(1998): 789-811.
"'Here’s Lookin’ at You, Kid': The Empowering Gaze in Salome," Profession 98 (MLA), 11-22.
"Opera and National Identity: New Canadian Opera," Canadian Theatre Review 96 (1998): 5-8.
"'Beve, beve con me': An Operatic Brindisi." Forum Italicum 33.1 (1999): 73-93.
"Death Drive: Eros and Thanatos in Wagner’s Tristan und Isolde," Cambridge Opera Journal 11.3 (1999): 267-94.
"'Death, where is thy sting?'": The Emperor of Atlantis," Opera Quarterly 16.2 (2000): 224-39.
"Staging Der fliegende Holländer for Our Times," Wagner (U.K.) 21.2 (2000): 63-74.
"A Convenience of Marriage: Collaboration and Interdisciplinarity." PMLA 116.5 (2001): 1364-76.
"Academic Fear and Loathing," Arcadia 36.2 (2001): 230-34.
"Introduction: A Plague on . . . Your (Opera) Houses," University of Toronto Quarterly, Special Issue on Expanding Interdisciplinarity Through Opera, 72.4 (2003): 770-76.
“O corpo perigoso,” Estudos Feministas 11.1 (2003): 20-59.
“History, Empire, Opera”, Arcadia 38.2 (2003): 266-70.
“The ‘Phenomenal Image’ in Opera,” South Atlantic Quarterly, special issue on Music, Image, Gesture, 104.1 (Winter 2005): 63-78.
“The Tones of Venice,” Descant 36.2 (2005): 126-32.
“Medicine in/as Culture: The Teachings of Opera,” Canadian Creative Arts in Health, Training and Education Journal, http://www.emclean.com
“Postmodern European Wagner: The Legacies of War,” Conflitti, ed. Daniella Fortezza. Bologna: Meltemi, 2007 forthcoming), 4000 words
"Pompous Pedants, Medical Monsters, Humane Healers," Canadian Medical Association Journal 177.7 (25 Sept. 2007): 755-6.
"Heaven, Hell and the Wagnerians: Wagner in Victorian London," Essays in Theatre 21/1 (2002—came out in 2008), 49-72. (with Helmut Reichenbächer)
"Interdisciplinary Opera," Journal of the British Musical Association 134.1 (2009): 149-60.
"Prima la musica, poi le parole? Operatic Challenges to Word-Music Relations", University of Toronto Quarterly 79.3 (2010): 869-880.
"Philip Glass's Satyagraha: Para-Colonial Para-Opera." University of Toronto Quarterly, special issue in memory of Balachandra Rajan. Ed. David Clark, 80.3 (2011): 718-30.
Late Style(s): The Ageism of the Singular,” Occasion 4 (2012). http://arcade.stanford.edu/journals/occasion/articles/late-styles-ageism-singular-by-linda-hutcheon
Programme notes for La Traviata, Théâtre de la Monnaie, Brussels, Belgium, 2012.
“Death in Venice and Beyond: Benjamin Britten’s Late Works.” University of Toronto Quarterly 81.4 (2012): 893-908. (with Kimberly Fairbrother Canton, Amelia Defalco, Katherine R. Larson, and Helmut Reichenbächer).
“Staging the Narrative Voice: From the (Jamesian) Page to the (Britten/Piper) Operatic Stage,” Textos/Pretextos (Literatura e Opera) 18 (2013): 74-78.
“Verdis Letzter Lacher/ Verdi’s Last Laugh,” Salzburg Festival Program, 2013. 40-45.
“Creativity, Productivity, Aging: The Case of Benjamin Britten,” Age, Culture, Humanities: An Interdisciplinary Journal 1 (2013). http://ageculturehumanities.org/WP/creativity-productivity-aging-the-case-of-benjamin-britten/
“The Inward Turn: American Opera Revisits America’s Past,” Canadian Review of American Literature 44.2 (2014): 178-93.
Chapters in Books:
"Interdisciplinary Possibilities: Opera and Medicine?" Constructive Criticism: The Human Sciences in the Age of Theory Eds. M. Kreiswirth and T. Carmichael. Toronto: University of Toronto Press, 1995. 137-47.
"Imagined Communities: Post-National Canadian Opera." The Work of Opera: Genre, Nationhood, and Sexual Difference. Eds. D. Fischlin and R. Dellamora. New York: Columbia UP, 1997. 235-52.
"Staging the Female Body: Richard Strauss’s Salome," Siren Songs: Gender and Sexuality in Opera. Ed. M-A Smart. Princeton: Princeton UP, 2000. 204-221.
"'Tutto nel mondo è burla’: Rethinking Late Style in Verdi (and Wagner).” Verdi 2001: Atti del convegno internazionale di studi. Ed. Fabrizio Della Seta, Roberta Montemorra Marvin, and Marco Marica. Florence: Olschki, 2003. 905-28.
"Smoking in Opera." Smoke: A Global History of Smoking. Ed. Sander Gilman and Zhou Xun. London: Reaktion Press, 2004. 230-35.
"Displacement and Anxiety: Empire and Opera," Imperialisms: Historical and Literary Investigations, 1500-1900. Ed. Balachandra Rajan and Elizabeth Sauer. London: Palgrave Macmillan, 2004. 203-16.
"The End of the Beginning." Canadian Opera Company programme notes for Richard Wagner’s Götterdämmerung, January-February, 2006.
"Narrativizing the End: Death and Opera," A Companion to Narrative Theory. Ed. Peter Rabinowitz and James Phelan. London: Blackwell, 2006. 441-50.
"Beauvais Lyons: Hokes Medical Arts." Catalogue essay for exhibit at Open Studio, 2008.
"Museum Art vs. Living Art" (reprinted from Canadian Opera Company programme for The Flying Dutchman) in Portland Opera programme for the same opera. 2007.
"Beauvais Lyons: Hokes Medical Arts." Catalogue essay for exhibit at Open Studio, 2008.
"Wagner e l'Europa postmoderna: le eridità della guerra" in Conflitti: Strategie di rappresentazione della Guerra nella cultura contemporanea. Rome: Meltemi, 2008. 77-84.
"Opera: Forever and Always Multimodal." In New Perspectives on Narrative and Multimodality. Ed. Ruth Page. New York and London: Routledge, 2009. 65-77.
"The Consumptive Heroine in Opera: Sexuality and Gender in Medical and Cultural History." Partnership Id-Entities: Cultural and Literary Re-Inscriptions of the Feminine. Ed. A. Riem Natale et al. (Udine: Forum Editrice, 2010). 163-73.
"Creativity Undiminished". Liner Notes for ATMA cd of the late music of Benjamin Britten, "Divine Musick" (Lawrence Wiliford and Jennifer Swartz)
“Opera,” The Routledge Encyclopedia of Narrative Theory. Ed. David Herman, Manfred Jahn, and Marie-Laure Ryan. London and NY: Routledge, 2010.
“Portrait of the Artist as an Older Man: Hans Pfitzner’s Palestrina and Paul Hindemith’s Mathis der Maler”, Masculinity in Opera: Gender, History and the New Musicology, ed. Philip Purvis (NY and London: Routledge, 2013), 216-35.