Hostname: page-component-586b7cd67f-t8hqh Total loading time: 0 Render date: 2024-11-23T02:55:24.202Z Has data issue: false hasContentIssue false
  • English
  • Français

The Diva, la Traviata, the Gendered Spectacle: Marina Abramović’s 7 Deaths of Maria CallasComposers: Marko Nikodijevic, Marina Abramović. With Music by Marko Nikodijević and scenes of operas by Vincenzo Bellini, Georges Bizet, Gaetano Donizetti, Giacomo Puccini, and Giuseppe Verdi. World premiere: April 1, 2020, at the Bayerische Staatsoper in Munich. Berlin Premiere: April 8, 2022, at the Deutsche Oper Berlin. 100 minutes / no interval

Review products

The Diva, la Traviata, the Gendered Spectacle: Marina Abramović’s 7 Deaths of Maria CallasComposers: Marko Nikodijevic, Marina Abramović. With Music by Marko Nikodijević and scenes of operas by Vincenzo Bellini, Georges Bizet, Gaetano Donizetti, Giacomo Puccini, and Giuseppe Verdi. World premiere: April 1, 2020, at the Bayerische Staatsoper in Munich. Berlin Premiere: April 8, 2022, at the Deutsche Oper Berlin. 100 minutes / no interval

Published online by Cambridge University Press:  25 October 2022

Brigitte Biehl
Brigitte Biehl*
Affiliation:
SRH Berlin University of Applied Sciences; FernUniversität in Hagen
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Art Review
Information
Business Ethics Quarterly , Volume 32 , Issue 4 , October 2022 , pp. 681 - 685
Copyright
© The Author(s), 2022. Published by Cambridge University Press on behalf of the Society for Business Ethics

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

REFERENCES

Bell, E., & Sinclair, A. 2016. Bodies, sexualities and women leaders in popular culture: From spectacle to metapicture. Gender in Management, 31(5/6): 322–38.CrossRefGoogle Scholar
Borgerson, J. L. 2007. On the harmony of feminist ethics and business ethics. Business and Society Review, 112(4): 477–509.CrossRefGoogle Scholar
Bronfen, E. 2022. Diven in der Kunstgeschichte. In Abramović, M. (Ed.), 7 Deaths of Maria Callas, Programmheft: 21–26. Berlin: Deutsche Oper Berlin.Google Scholar
Grosser, K., Moon, J., & Nelson, J. 2017. Gender, business ethics, and corporate social responsibility: Assessing and refocusing a conversation. Business Ethics Quarterly, 27(4): 541–67.CrossRefGoogle Scholar
Höpfl, H. 2000. The suffering mother and the miserable son: Organizing women and organizing women’s writing. Gender, Work, and Organization, 7(2): 98–105.CrossRefGoogle Scholar
Kaufmann, L. 2022. Feminist epistemology and business ethics. Business Ethics Quarterly, 32(4): 546–72.CrossRefGoogle Scholar
Lehmann, H.-T. 2006. Postdramatic theatre. New York: Routledge.CrossRefGoogle Scholar
Manne, K. 2018. The logic of misogyny. New York: Oxford University Press.Google Scholar
McCarthy, L. 2017. Empowering women through corporate social responsibility: Feminist Foucauldian critique. Business Ethics Quarterly, 27(4): 603–31.CrossRefGoogle Scholar
Pullen, A., & Vachhani, S. 2021. Feminist ethics and women leaders: From difference to intercorporeality. Journal of Business Ethics, 173: 233–43.CrossRefGoogle ScholarPubMed