Law in the opera, law on the opera, law around the opera: a multidisciplinary approach
págs. 1-9
Scalia/Ginsburg: the rythm of the US Federal Supreme Court
págs. 13-31
Exile and identity: findings of fact and opinions of law, in Bellini's "La Straniera"
págs. 33-47
Fiat iustitia et pereat mundus: the tragic conflicts of the judge in "I due Foscari"
págs. 49-64
“That may be Japanese law … but not in my country!”: marriage, divorce, and private international law in Giacomo Puccini’s "Madama Butterfly"
págs. 65-77
págs. 79-92
págs. 93-102
págs. 103-117
Le Nozze di Wolfgang: about the meaning of marriage in Mozart’s operas
págs. 119-133
Criminal law in Giacomo Puccini operatic production: the crimes against persons in Tosca
págs. 135-157
págs. 159-171
págs. 173-193
págs. 195-208
págs. 209-221
págs. 223-239
Musica and law, law in lyrical operas: "Gianni Schicchi" by Giacomo Puccini, the harmony of the system
págs. 241-250
The voice of the opera singer and its protection: another look at the Maria Callas case
págs. 253-267
Critical edition of an opera, a new look for an old lady?: the boundaries of copyright protection in the EU countries
págs. 269-282
A "stolen" theatre on Rue de la Loi: the Opéra after Thermidor
págs. 283-295
What is alowed in the opera: law as the borderline of artistic experiment
págs. 297-314
The Italian "scrittura teatrale": a peculiar case of unwritten terms integrating contracts
págs. 315-331
"Der Ring des Nibelungen": from a criminal law perspective
págs. 333-342
págs. 345-359
Beethoven’s Ninth and the quest for a European identity: a law and music perspective
págs. 361-375
págs. 377-390
Nemorino's plagiarism: copyright and circulation of texts in the Golden Age of Italian opera
págs. 391-401
© 2001-2024 Fundación Dialnet · Todos los derechos reservados