Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-8bhkd Total loading time: 0 Render date: 2024-11-10T19:46:59.218Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  09 February 2023

Arthur Groos
Affiliation:
Cornell University, New York
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Madama Butterfly/Madamu Batafurai
Transpositions of a 'Japanese Tragedy'
, pp. 241 - 256
Publisher: Cambridge University Press
Print publication year: 2023

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

Primary Sources

Secondary Sources

Blanc, Claudius. Mélodies orientales. Paris: E. Baudoux, 1897. Reprint, Huntsville, TX: Recital Publications, 2007.Google Scholar
Carignani, Carlo. Raccolta di inni nazionali ridotti per piano. Milan: G. Ricordi, 1892.Google Scholar
Collection of Japanese Koto Music. Edited by Izawa, Shūji. Tokyo: Ongaku Gakkō, 1888.Google Scholar
Delibes, Léo. Lakmé: Opéra in 3 actes. Paris: Heugel, 1883.Google Scholar
Dittrich, Rudolf, ed. Nippon gakufu: Sechs japanische Volkslieder. Leipzig: Breitkopf & Härtel, 1894.Google Scholar
Dittrich, Rudolf, ed. Nippon gakufu, zweite Folge: Zehn japanische Lieder. Leipzig: Breitkopf & Härtel, 1895.Google Scholar
Dittrich, Rudolf, ed. Rakubai: Fallende Pflaumenblüthen: Japanisches Lied mit Koto für Klavier bearbeitet = Falling Plum Blossoms: Japanese Song with Koto Arranged for Pianoforte. Leipzig: Breitkopf & Härtel, 1894.Google Scholar
Jones, Sidney, Hall, Owen, and Greenbank, Harry. The Geisha: The Story of a Tea House: A Japanese Musical Play. London: Hopwood & Crew, 1896.Google Scholar
Kindaichi, Haruhiko, and Anzai, Aiko, eds. Nihon no shōka (Japanese school songs). Tokyo: Kōdansha, 1977.Google Scholar
Messager, André, Hartmann, Georges, Loti, Pierre, and Alexandre, André. Madame Chrysanthème: Comédie lyrique en quatre actes, un prologue et un epilogue. Paris: Choudens, 1893.Google Scholar
Nagai, Iwai, and Kobatake, Kenpachirō, eds. A Collection of the Popular Music of Japan/Nihon zokkyokushū. 4th ed. Osaka: S. Miki, 1893.Google Scholar
Nishino, Kotohiko, ed. Collection of Japanese Popular Music. 10 vols. Tokyo: Kaiseikwan, 1926.Google Scholar
Puccini, Giacomo, Giacosa, Giuseppe, and Illica, Luigi. La bohème (Founded upon “La vie de bohème” by Henry Murger). Milan: Ricordi, 1980.Google Scholar
Puccini, Giacomo, Giacosa, Giuseppe, and Illica, Luigi. Madam Butterfly: A Japanese Tragedy Founded on the Book by John L. Long and the Drama by David Belasco. English Version by R. H. Elkin. New York: G. Ricordi, 1906.Google Scholar
Puccini, Giacomo, Giacosa, Giuseppe, and Illica, Luigi. Madama Butterfly = Chōchō Fujin: Opera in due atti. Tokyo: Ongaku no Tomo Sha, 1962.Google Scholar
Puccini, Giacomo, Giacosa, Giuseppe, and Illica, Luigi. Madama Butterfly in Full Score. New York: Dover, 1990.Google Scholar
Puccini, Giacomo, Giacosa, Giuseppe, and Illica, Luigi. Madama Butterfly: Tragedia giapponese. Milan: G. Ricordi 1904.Google Scholar
Puccini, Giacomo, Giacosa, Giuseppe, and Illica, Luigi. Madama Butterfly: Tragedia giapponese. Nuova edizione. Milan: G. Ricordi, 1904.Google Scholar
Puccini, Giacomo, Giacosa, Giuseppe, and Illica, Luigi. Madama Butterfly: Tragedia giapponese. Milan: G. Ricordi, 1907.Google Scholar
Sullivan, Arthur, and Gilbert, W. S.. Vocal Score of “The Mikado.” Arranged by George Lowell Tracy. New York: William A. Pond, 1885.Google Scholar
Verdi, Giuseppe. Otello: Dramma lirico in quattro atti di Arrigo Boito. Edited by Parenti, Mario. Milan: Ricordi, 1980.Google Scholar
Ahmed, Sara. The Cultural Politics of Emotion. 2nd ed. Edinburgh: Edinburgh University Press, 2014.Google Scholar
Anderson, Joseph L. Enter a Samurai: Kawakami Otojirō and Japanese Theatre in the West. 2 vols. Tucson, AZ: Wheatmark, 2011.Google Scholar
Anderson, Joseph L., and Richie, Donald. The Japanese Film: Art and Industry. Rev. ed. Princeton, NJ: Princeton University Press, 1982.Google Scholar
Aoki, . “Kuronbo no memo” (A stagehand’s memo). Ongaku sekai (Music World) 2, no. 6 (June 1930): 3033.Google Scholar
Armbrecht, Thomas J. D.The Nostalgia of Nowhere: Pierre Loti’s Utopian Spaces.” Mosaic 36, no. 4 (December 2003): 81102.Google Scholar
Ashbrook, William. The Operas of Puccini. Ithaca, NY: Cornell University Press, 1985.Google Scholar
Baker, Frances J. The Story of the Woman’s Foreign Missionary Society of the Methodist Episcopal Church, 1869–1895. Rev. ed. Cincinnati: Curts & Jennings, 1898.Google Scholar
Baragwanath, Nicholas. The Italian Traditions and Puccini: Compositional Theory and Practice in Nineteenth-Century Opera. Bloomington, IN: Indiana University Press, 2011.Google Scholar
Barnes, Elinor, and Barnes, James A., eds. The Diary of Dr. Samuel Pellman Boyer. Vol. 2, Naval Surgeon: Revolt in Japan. Bloomington, IN: Indiana University Press, 1963.Google Scholar
Barnes, Jennifer. “Where Are the Mothers in Opera?” In Girls! Girls! Girls! Essays on Women and Music, edited by Cooper, Sarah, 8697. New York: New York University Press, 1995.Google Scholar
Beghelli, Marco. “Duettar d’amore.” In Poesia romantica in musica, edited by Caprioli, Alberto, 117–32. Bologna: Bologna University Press, 2005.Google Scholar
Belasco, David. Madame Butterfly. Manuscript (113 pages). Billy Rose Theatre Division, New York Library for the Performing Arts.Google Scholar
Belasco, David. Six Plays: Madame Butterfly, Du Barry, The Darling of the Gods, Adrea, The Girl of the Golden West, The Return of Peter Grimm. Boston: Little, Brown, and Company, 1928.Google Scholar
Berg, Karl Georg Maria. “Das Liebesduett aus Madama Butterfly: Überlegungen zur Szenendramaturgie bei Giacomo Puccini.” Die Musikforschung 38, no. 3 (1985): 183–94.Google Scholar
Bergson, Henri. Le Rire: Essai sur la signification du comique. In Œuvres [Édition du centenaire], 381485. Paris: Presses Universitaires de France, 1959.Google Scholar
Berrong, Richard M. In Love with a Handsome Sailor: The Emergence of Gay Identity and the Novels of Pierre Loti. Toronto: University of Toronto Press, 2003.CrossRefGoogle Scholar
Berrong, Richard M. Putting Monet and Rembrandt into Words: Pierre Loti’s Recreation and Theorization of Claude Monet’s Impressionism and Rembrandt’s Landscapes in Literature. Chapel Hill, NC: University of North Carolina Press, 2013.Google Scholar
Botsman, Daniel V.Freedom without Slavery? ‘Coolies,’ Prostitutes, and Outcasts in Meiji Japan’s ‘Emancipation Moment.’” The American Historical Review 116, no. 5 (2011): 1323–47.CrossRefGoogle Scholar
Bowers, Faubion. “An American at Meiji-za.” In Tsubouchi, Shōyo, History and Characteristics of Kabuki, the Japanese Classical Drama. Edited and translated by Matsumoto, Ryōzō, 283–92. Yokohama: H. Yamagata, 1960.Google Scholar
Budden, Julian. Puccini: His Life and Works. Oxford: Oxford University Press, 2002.Google Scholar
Burke-Gaffney, Brian. Nagasaki: The British Experience, 1854-1945. Folkstone, UK: Global Oriental, 2009.Google Scholar
Burke-Gaffney, Brian. Starcrossed: A Biography of Madame Butterfly. Norwalk, CT: Eastbridge, 2004.Google Scholar
Buruma, Ian. Occidentalism: The West in the Eyes of Its Enemies. New York: Penguin, 2004.Google Scholar
Carner, Mosco. Puccini: A Critical Biography. 2nd ed. [London]: Duckworth, 1974.Google Scholar
Carrier, James G., ed. Occidentalism: Images of the West. Oxford: Clarendon, 1995.Google Scholar
Carrier, James G.Occidentalism: The World Turned Upside-Down.” American Ethnologist 19, no. 2 (1992): 195212.Google Scholar
Caselli, Alfredo. “Catastrofe automobilistica del maestro Giacomo Puccini.” Musica e musicisti 58, no. 3 (March 15, 1903): 227–32.Google Scholar
Chamberlain, Basil Hall. Things Japanese: Being Notes on Various Subjects Connected with Japan for the Use of Travelers and Others. 5th rev. ed. London: J. Murray, 1905.Google Scholar
Checklist of United States Public Documents 1789–1909. 3rd ed. Washington, DC: Government Printing Office, 1911.Google Scholar
Chiba, Yoko. “Sada Yacco and Kawakami: Performers of Japonisme.” Modern Drama 35, no. 1 (1992): 3555.Google Scholar
Tzu, Chuang. Complete Works. Translated by Burton Watson. New York: Columbia University Press, 1968.Google Scholar
Conati, Marcello. “Maria Antonietta ovvero L’Austriaca: Un soggetto abbandonato da Puccini.” Rivista italiana di musicologia 33, no. 1 (1998): 89181.Google Scholar
Correll, Irwin. “Biographical Sketch.” The Gospel in All Lands 23, no. 10 (1897): 465–66.Google Scholar
Correll, Irwin. Obituary. New York Times, June 18, 1926.Google Scholar
Correll, Jennie Long. “Girlhood in Japan.” Missionary Woman’s Friend 29, no. 11 (1897/98): 360, and 30, no. 11 (1898/99): 405.Google Scholar
Correll, Jennie Long. “Mrs. Correll Tells How Famous Opera Came into Existence.” Japan Times, March 15, 1931.Google Scholar
Correll, Jennie Long. Obituary. New York Times, November 10, 1933.Google Scholar
Correl, [l], Mrs. Irvin H. [sic]. “Madame Butterfly: Her Long Secret Revealed.” The Japan Magazine 21 (1931): 341–45.Google Scholar
Cortazzi, Hugh. Dr. Willis in Japan (1862–1877): British Medical Pioneer. London and Dover, NH: Athlone Press, 1985.Google Scholar
Cortazzi, Hugh. Victorians in Japan: In and Around the Treaty Ports. London: Athlone Press, 1987.Google Scholar
Cotteau, Edmond. Un Touriste dans l’Extrème Orient: Japon, Chine, Indo-chine et Tonkin (4 août 1881 – 24 janvier 1882). Paris: Hachette, 1884.Google Scholar
Dal Verme, Luchino. Giappone e Siberia: Note d’un viaggio nell’Estremo Oriente. Milan: Fratelli Treves, 1885.Google Scholar
D’Angelo, Emanuele. “Puccini und die Librettisten.” In Puccini Handbuch, edited by Erkens, Richard, 7696. Stuttgart: Metzler, 2017.Google Scholar
Davis, Andrew C.Il Trittico,” “Turandot,” and Puccini’s Late Style. Bloomington, IN: Indiana University Press, 2010.Google Scholar
De Mascarenhas, Domingos. “Beyond Orientalism: The International Rise of Japan and the Revisions to Madame Butterfly.” In Art and Ideology in European Opera: Essays in Honour of Julian Rushton, edited by Cowgill, Rachel, Cooper, David, and Brown, Clive, 281302. Woodbridge: Boydell, 2010.Google Scholar
De Riseis, Giovanni. Il Giappone moderno. Milan: Fratelli Treves, 1896.Google Scholar
Dean, Britten. “That ‘Howling’ Music: Japanese Hōgaku in Contrast to Western Art Music.” Monumenta Nipponica 40, no. 2 (1985): 147–62.CrossRefGoogle Scholar
Directory & Chronicle for China, Japan, Corea, Indo-China, etc. Hongkong: The Hongkong Daily Press Office, 1895.Google Scholar
Dithmar, Edward A. Review of Madame Butterfly by David Belasco. New York Times, March 11, 1900, 16.Google Scholar
Erkens, Richard, ed. Puccini Handbuch. Stuttgart: Metzler, 2017.Google Scholar
Erkens, Richard, and Pecci, Riccardo. “Madama Butterfly.” In Puccini Handbuch, edited by Erkens, Richard, 251–64. Stuttgart: Metzler, 2017.CrossRefGoogle Scholar
Fairtile, Linda B. Giacomo Puccini: A Guide to Research. New York: Garland, 1999.Google Scholar
Fairtile, Linda B. “Revising Cio-Cio-San.” In Madama Butterfly: L’orientalismo di fine secolo, 301–15.Google Scholar
Farrar, Geraldine. Such Sweet Compulsion: The Autobiography of Geraldine Farrar. New York: Greystone Press, 1938.Google Scholar
Fitzgerald, Gerald. Annals of the Metropolitan Opera: The Complete Chronicle of Performances and Artists. New York: Metropolitan Opera Guild, 1989.Google Scholar
Flury, Roger. Giacomo Puccini: A Discography. Lanham, MD: Scarecrow Press, 2012.Google Scholar
France, Anatole. Review of Madame Chrysanthème. Le Temps, December 4, 1887. Reprint in La Vie littéraire, 1: 356–63. Paris: Calmann-Lévy, 1889.Google Scholar
Franklin, William B. Biography. In The National Cyclopedia of American Biography (New York: J. T. White, 1930–), 33:548–49.Google Scholar
Franklin, William B. Obituary. Philadelphia Inquirer and New York Times, September 15, 1942.Google Scholar
Yoshie, Fujiwara. Opera no ura omote: Fujiwara opera no nijūgonen (Onstage and behind the scenes of opera – 25 years of Fujiwara Opera). Tokyo: Kawai Gakufu, 1962.Google Scholar
Funaoka, Suetoshi. Pierre Loti et l’Extrême-Orient – Du Journal à l’œuvre. Tokyo: Librarie-Éditions France Tosho, 1988.Google Scholar
Gara, Eugenio, ed. Carteggi pucciniani. Milan: G. Ricordi, 1958.Google Scholar
Gautier, Judith. La Musique japonaise à l’Exposition de 1900: Les danses de Sada-Yacco. Les Musiques bizarres à l’Exposition de 1900, vol. 4. Paris: Ollendorff/Enoch, 1900.Google Scholar
Gendai Nihon Jinbutsu Jiten (Modern Japanese Who’s Who). Tokyo: Ōbunsha, 1986.Google Scholar
Giacomo Puccini. L’uomo, il musicista, il panorama europeo. Atti del Convegno internazionale di studi su Giacomo Puccini nel 70o anniversario della morte. Edited by Ravenni, Gabriella Biagi and Gianturco, Carolyn. Lucca: lim, 1997.Google Scholar
Giacosa, Giuseppe. Impressioni d’America. Milan: Cogliati, 1898.Google Scholar
Girardi, Michele, ed. Giacomo Puccini, “Madama Butterfly”: Mise en scène di Albert Carré. Turin: EDT, 2012.Google Scholar
Girardi, Michele. Puccini: His International Art. Translated by Laura Basini. Chicago: University of Chicago Press, 2000.Google Scholar
Girardi, Michele. “Puccini, Madama Butterfly e l’intertestualità: Un prologo, tre casi e un epilogo.” Schweizer Jahrbuch für Musikwissenschaft, n.s. 33 (2015): 153170.Google Scholar
Goncourt, Edmond de. Hokousaï: L’art japonais au XVIIIe siècle. Paris, 1896. Reprint, Œuvres complètes 2526 ([Geneva: Slatkine, 1986]).Google Scholar
Gori, Gianni. “Il fascino perverso della piovra nel ‘teatro di poesia’ post-romantico.” In Mascagni e l’Iris fra simbolismo e floreale, edited by Morini, Mario and Ostali, Pietro, 7178. Atti del 2o Convegno di studi su Pietro Mascagni. Milan: Sonzogno, 1989.Google Scholar
Grăjdian-Mengel, Maria. Die Takarazuka Revue, oder Die Überwindung der Tradition. Studien zur traditionellen Musik Japans 11. Wilhelmshaven: Noetzel, 2005.Google Scholar
Greenwald, Helen M. “Character Distinction and Rhythmic Differentiation in Puccini’s Operas.” In Giacomo Puccini. L’uomo, il musicista, il panorama europeo, 495515.Google Scholar
Greenwald, Helen M.Picturing Cio-Cio-San: House, Screen, and Ceremony in Puccini’s Madama Butterfly.” Cambridge Opera Journal 12, no. 3 (2000): 237–59.Google Scholar
Groos, Arthur. “Cio-Cio-San and Sadayacco: Japanese Music-Theater in Madama Butterfly.” Monumenta Nipponica 54, no. 1 (1999): 4173.Google Scholar
Groos, Arthur. “John Luther Long.” American National Biography, 13:878–79. Oxford: Oxford University Press, 1999.Google Scholar
Groos, Arthur. “The Lady Vanishes: The Lost Act of Madama Butterfly.” Opera News 59, no. 8 (January 7, 1995): 1619.Google Scholar
Groos, Arthur. “Lieutenant F. B. Pinkerton: Problems in the Genesis and Performance of Madama Butterfly.” In The Puccini Companion, edited by Weaver, William and Puccini, Simonetta, 169201. New York: W. W. Norton, 1994.Google Scholar
Groos, Arthur. “Luigi Illica’s Libretto for Madama Butterfly (1901).” Studi pucciniani 2 (2000): 91204.Google Scholar
Groos, Arthur. “Madama Butterfly between Comedy and Tragedy.” In Madama Butterfly: L’orientalismo di fine secolo, 159–81.Google Scholar
Groos, Arthur. “Madama Butterfly between East and West.” In Giacomo Puccini and His World, edited by Schwartz, Arman and Senici, Emanuele, 4984. Princeton, NJ: Princeton University Press, 2016.Google Scholar
Groos, Arthur. “Madama Butterfly: Il perduto atto del consolato americano.” In Giacomo Puccini. L’uomo, il musicista, il panorama europeo, 147–58.Google Scholar
Groos, Arthur. “Madame Butterfly: The Story.” Cambridge Opera Journal 3, no. 2 (1991): 125–58.CrossRefGoogle Scholar
Groos, Arthur. “Mimì’s Bonnet and Colline’s Coat: Bohemian Nostalgia and the Remembrance of Things Past.” In Libretto – Partitur – Szene. Studien zum Musiktheater. Festschrift für Jürgen Maehder zum 70. Geburtstag, edited by Betzwieser, Thomas, Erkens, Richard, Jacobshagen, Arnold, and Ross, Peter, 261–83. Perspektiven der Opernforschung 27. Bern: Peter Lang, 2021.Google Scholar
Groos, Arthur. “Return of the Native: Japan in Madama Butterfly/Madama Butterfly in Japan.” Cambridge Opera Journal 1, no. 2 (1989): 167–94.Google Scholar
Groos, Arthur, and Parker, Roger, eds. Giacomo Puccini: “La bohème.” Cambridge: Cambridge University Press, 1986.Google Scholar
Groos, Arthur, and Parker, Roger, eds. Reading Opera. Princeton, NJ: Princeton University Press, 1988.Google Scholar
Guimet, Émile, and Regamey, Félix. Promenades japonaises: Tokio-Nikko. Paris: Charpentier, 1880.Google Scholar
Guzanov, Vitaly. “Madame Butterfly: A Russian Version.” Far Eastern Affairs (Moscow) 3 (1992): 8395.Google Scholar
Hall, Francis. Japan through American Eyes: The Journal of Francis Hall, Kanagawa and Yokohama, 1859–1866: From the Cleveland Public Library, John G. White Collection of Orientalia. Edited by Notehelfer, F. G.. Princeton, NJ: Princeton University Press, 1992.Google Scholar
Hamberlin, Larry. Tin Pan Opera: Operatic Novelty Songs in the Ragtime Era. Oxford: Oxford University Press, 2011.Google Scholar
Hammitzsch, Horst, ed. Japan-Handbuch. Wiesbaden: Steiner, 1981.Google Scholar
Hara, Kunio. “The Death of Tamaki Miura: Performing Madama Butterfly during the Allied Occupation of Japan.” Music & Politics 11, no. 1 (2017): 126.Google Scholar
Hara, Kunio. “Rudolf Dittrich’s Nippon Gakufu and Giacomo Puccini’s Madama Butterfly.” Music Research Forum 19 (2004): 125.Google Scholar
Harding, Mabel. “Madame Butterfly at Home: Western Opera in the Far East.” Sunset Magazine 35, no. 2 (August 1915): 352–55.Google Scholar
Harrison, Mark. “Health, Sovereignty and Imperialism: The Royal Navy and Infectious Disease in Japan’s Treaty Ports.” Social Science Diliman 14, no. 2 (2018): 4975.Google Scholar
Hase, Kaoru. “Madame Butterfly Avenged.” The Japan Times, August 3, 1931.Google Scholar
Hashimoto, Yorimitsu. “Japanese Tea Party: Representations of Victorian Paradise and Playground in The Geisha (1896).” In Histories of Tourism: Representation, Identity and Conflict, edited by Walton, John K., 104–24. Tourism and Cultural Change 6. Clevedon: Channel View Publications, 2005.Google Scholar
Hepokoski, James A. “‘Un bel dì? Vedremo!’ Anatomy of a Delusion.” In Madama Butterfly: L’orientalismo di fine secolo, 219–46.Google Scholar
Hill, Patricia. “Heathen Women’s Friends: The Role of Methodist Episcopal Women in the Women’s Foreign Mission Movement, 1869–1915.” Methodist History 19, no. 3 (1981): 146–54.Google Scholar
Hirsbrunner, Theo. “Madame Chrysanthème: An Operetta by André Messager.” In Madama Butterfly: L’orientalismo di fine secolo, 7382.Google Scholar
Hoare, James E., ed. Culture, Power & Politics in Treaty Port Japan, 1854–1899: Key Papers, Press and Contemporary Writings. 2 vols. Folkestone, Kent: Renaissance Books, 2018.Google Scholar
Hoare, James E. Japan’s Treaty Ports and Foreign Settlements: The Uninvited Guests 1858–1899. Folkestone, Kent: Japan Library, 1994.Google Scholar
Hodgson, C. Pemberton. A Residence at Nagasaki and Hakodate in 1859–60. With an Account of Japan Generally. London: R. Bentley, 1861.Google Scholar
Katsushika, Hokusai. Denshin kaishu Hokusai manga (Transmitting the spirit and revealing the form of things: Random drawings of Hokusai). Vol. 4. Nagoya: Eirakuya Tōshirō, 1816. http://pulverer.si.edu/node/663/title/4/3.Google Scholar
Katusushika, Hokusai. Kinoe no komatsu (Young pine trees). Vol. 3 [n. p.], ca. 1814. https://pulverer.si.edu/node/277/title/3.Google Scholar
Horiuchi, Keizō. “Kakegi Madamu Batafurai: Jōen ni tsuki” (The opera Madama Butterfly: Regarding its performance). Unidentified music periodical, 76–79. Yamada Kōsaku Collection, microfilm 90, scrapbook 16, frames 290–91. Nihon Kindai Ongakukan (Documentation Center for Modern Japanese Music).Google Scholar
Houziaux, Josef. Un Musicien belge méconnu: Gaston Knosp 1874–1942. Tilff: L. Houziaux, 1970.Google Scholar
Huebner, Steven. “‘Addio fiorito asil’: The Evanescent Exotic.” In Madama Butterfly: L’orientalismo di fine secolo, 83128.Google Scholar
Huebner, Steven, trans. “Albert Carré’s Staging Manual for Madama Butterfly” (1906). In Giacomo Puccini and His World, edited by Schwartz, Arman and Senici, Emanuele, 291322. Princeton, NJ: Princeton University Press, 2016.Google Scholar
Huysmans, Joris-Karl. “Felicien Rops.” In Certains, 8889. Paris: Tresse & Stock, 1889.Google Scholar
Takashi, Iba. Kageki daitsū (The big book of opera). Tokyo: Shiroku Shoin, 1931.Google Scholar
Illica, Luigi. Iris. Musica di Pietro Mascagni. [Libretto] Milan: G. Ricordi, 1898.Google Scholar
Illica, Luigi. “Luigi Illica’s Libretto for Madama Butterfly (1901).” Edited by Arthur Groos. Studi pucciniani 2 (2000): 91204.Google Scholar
Illica, Luigi. Reminiscence of Giuseppe Giacosa. La lettura 6, no. 10 (1906): 873–74.Google Scholar
Ito, Michio. “A Japanese View of Madame Butterfly.” Japan Times, January 23, 1933.Google Scholar
Johnson, H. B.Nagasaki and Its Missions.” The Gospel in All Lands 23, no. 1 (1897): 61.Google Scholar
Johnson, Robert Erwin. Far China Station: The U.S. Navy in Asian Waters 1800–1898. Annapolis, MD: Naval Institute Press, 1979.Google Scholar
Jones, Jr., Stanleigh H.Experiment and Tradition: New Plays in the Bunraku Theater.” Monumenta Nipponica 36, no. 2 (1981): 113–31.Google Scholar
Jones, , Jr., Stanleigh H.Puccini among the Puppets: Madame Butterfly on the Japanese Puppet Stage.” Monumenta Nipponica 38, no. 2 (1983): 163–74.CrossRefGoogle Scholar
Karsten, Peter. The Naval Aristocracy: The Golden Age of Annapolis and the Emergence of Modern American Navalism. New York and London: Free Press, 1972.Google Scholar
Karsten, Peter. Patriot-Heroes in England and America: Political Symbolism and Changing Values over Three Centuries. Madison, WI: University of Wisconsin Press, 1978.Google Scholar
“Katakoto majiri de kokujoku kaifuku no iki” (With broken speech, actress determined to rectify national humiliation). Yomiuri Shimbun, May 21, 1930.Google Scholar
Kawaguchi, Yoko. Butterfly’s Sisters: The Geisha in Western Culture. New Haven, CT: Yale University Press, 2010.Google Scholar
Tokuji, Kawamura. “Chōchō-san sandaiki no ongaku” (The music of Chōchō-san sandaiki). Meikyoku kaisetsu jiten (An encyclopedia of famous songs), 3: 7678. Tokyo: Ongaku no Tomosha, 1953.Google Scholar
Shigetoshi, Kawatake. Engeki hyakka daijiten (Encyclopedia of the theatre arts). 6 vols. Tokyo: Heibonsha, 1960–62.Google Scholar
Keene, Donald, ed. Twenty Plays of the Nō Theatre. New York: Columbia University Press, 1970.Google Scholar
Kerman, Joseph. Opera as Drama. Rev. ed. Berkeley: University of California Press, 1988.Google Scholar
Rōjin, Kikuen, Yokohama kidan: minato no hana (Strange tales of Yokohama: Flowers of the port city). [Japan]: Kinkōdō, 1864?Google Scholar
Kipling, Rudyard. From Sea to Sea and Other Sketches: Letters of Travel. 2 vols. New York: Scribner’s, 1899.Google Scholar
Klein, Ronald D. Japan as Western Women Saw It: A Bibliographic Companion. New York: Routledge, 2016.Google Scholar
Knosp, Gaston. G. Puccini. Brussels: Schott, 1937.Google Scholar
Kok, Roe-Min. “Negotiating Children’s Music: New Evidence for Schumann’s ‘Charming’ Late Style.” Acta Musicologica 80, no. 1 (2008): 99128.Google Scholar
Toyotaka, Komiya. Japanese Music and Drama in the Meiji Era. Translated and adapted by Seidensticker, Edward G. and Keene, Donald. Tokyo: Ōbunsha, 1956.Google Scholar
Krause, Ernst. Puccini: Beschreibung eines Welterfolgs. Rev. ed. Munich: Piper, 1986.Google Scholar
Kutsch, Karl-Josef, and Riemens, Leo. Groβes Sängerlexikon, Ergänzungsband l. Bern: Franke, 1991.Google Scholar
Leffingwell, Albert Tracy. Rambles through Japan without a Guide. London: Low, Marston, 1892.Google Scholar
Lehmann, Jean-Pierre. The Image of Japan: From Feudal Isolation to World Power, 1850–1905. London: Allen & Unwin, 1978.Google Scholar
Leupp, Gary P. Interracial Intimacy in Japan: Western Men and Japanese Women, 1543–1900. London and New York: Continuum, 2003.Google Scholar
Linhart, Sepp. “Chonkina – ein japanischer Tanz in europäischen Schilderungen.” In Festgabe für Nelly Naumann, edited by Antoni, Klaus and Blümmel, Maria-Verena, 211–43. Hamburg: Gesellschaft für Natur-und Völkerkunde Ostasiens, 1993.Google Scholar
Locke, Ralph P.A Broader View of Musical Exoticism.” The Journal of Musicology 24, no. 4 (2007): 477521.Google Scholar
Locke, Ralph P. Musical Exoticism: Images and Reflections. Cambridge: Cambridge University Press, 2009.Google Scholar
Long, John Luther. Interview in the Philadelphia Record. Reprint, Hanover Herald, November 17, 1900.Google Scholar
Long, John Luther. Madame Butterfly, Purple Eyes, A Gentleman of Japan and a Lady, Kito, Glory. New York: Century, 1903.Google Scholar
Long, John Luther. Miss Cherry-Blossom of Tokyo. Philadelphia: J. B. Lippincott, 1895.Google Scholar
Loti, Pierre, Journal (1879–1886). Edited by Quella-Villéger, Alain and Vercier, Bruno. 2 vols. Paris: Indes Savantes, 2008.Google Scholar
Loti, Pierre. Madame Chrysanthème. Paris: Calmann Lévy, 1888.Google Scholar
Loti, Pierre. Madame Chrysanthème. Translated by Laura Ensor. Manchester: Routledge, 1897.Google Scholar
Madama Butterfly: L’orientalismo di fine secolo, l’approccio pucciniano, la ricezione. Edited by Groos, Arthur and Bernardoni, Virgilio. Florence: Olschki, 2008.Google Scholar
Maehder, Jürgen, ed. Esotismo e colore locale nell’opera di Puccini. Atti del I Convegno internazionale sull’opera di Giacomo Puccini. Pisa: Giardini, 1985.Google Scholar
Marker, Lise-Lone. David Belasco: Naturalism in the American Theatre. Princeton, NJ: Princeton University Press, 1975.Google Scholar
Martens, Frederick H. The Art of the Prima Donna and Concert Singer. 1923. Reprint, New York: Arno Press, 1977.Google Scholar
Massad, Joseph. “Orientalism as Occidentalism.” History of the Present 5, no. 1 (2015): 8394.Google Scholar
Keiji, Masui. Nihon no opera – Meiji kara Taishō e (Japanese opera from Meiji to Taishō). [Tokyo]: Min-on Ongaku Shiryōkan, 1984.Google Scholar
Satoko, Matsudaira. “Hatsu-butai Ochō Fujin no kansō” (Reflection on the first performance of Madama Butterfly), Ongakusekai (July 1930): 9092.Google Scholar
Matsumoto, Naomi. “Giovanni Vittorino Rosi’s Musical Theatre: Opera, Operetta and the Westernization of Modern Japan.” In Musical Theatre in Europe 1830–1945, edited by Niccolai, Michela and Rowden, Clair, 351–85. Turnhout: Brepols, 2017.Google Scholar
McClary, Susan. “Mounting Butterflies.” In A Vision of the Orient: Texts, Intertexts, and Contexts of Madame Butterfly, edited by Wisenthal, Jonathan, Grace, Sherrill, Boyd, Melinda, McIlroy, Brian, and Micznik, Vera, 2135. Toronto: University of Toronto Press, 2006.Google Scholar
Meech-Pekarik, Julia. The World of the Meiji Print: Impressions of a New Civilization. New York and Tokyo: Weatherhill, 1986.Google Scholar
Mertens, Volker. Giacomo Puccini: Wohllaut, Wahrheit und Gefühl. Leipzig: Militzke, 2008.Google Scholar
Metcalf. Review of Madame Butterfly. Life 35 (March 15, 1900): 212.Google Scholar
Michener, James A. Sayonara. New York: Ballantine Books, 1985.Google Scholar
Mikhaĭlovich, Aleksandr. Once a Grand Duke. New York: Cosmopolitan Book Corporation, Farrar & Rinehart, 1932.Google Scholar
Hiroshi, Minagawa. “Aspects in the Reception of Classical Music Culture: A Survey Concerning the History of Concerts by Visiting Performers” [in Japanese]. Journal of Informatics for Arts (Geijutsu Joho Gakubu Kiyo), Shobi University Faculty of Arts and Information Bulletin 4 (2004): 71164.Google Scholar
Tamaki, Miura. “Chō-chō san no tanjō” (The birth of Madama Butterfly). In Miura Tamaki, Kageki no O-Chō Fujin, 135.Google Scholar
Tamaki, Miura. “Chō-chō san to watashi” (Madama Butterfly and me). In Miura Tamaki, Kageki no O-Chō Fujin, 140.Google Scholar
Tamaki, Miura. Kageki no O-Chō Fujin (The opera Madama Butterfly). Tokyo: Ongaku sekai kaisha, 1937.Google Scholar
Tamaki, Miura. Sekai no opera (Operas of the world). Tokyo: Kyōeki Shōsha, 1912.Google Scholar
Miyazawa, Jūichi. “Honpō kageki undōshi oboegaki-sho (2): Teikoku Gekijō kagekibu shiroku” (Notes on the activities of opera companies in Japan 2: Historical documents of the Imperial Theatre Opera Department). Musashino Ongaku Daigaku (Bulletin of the Musashino Academia Musicae) 5 (1971): 89115.Google Scholar
Miyazawa, Jūichi. “Madama Butterfly.” In Meisaku opera kyōshitsu (Guide to famous operas), 234–36. Tokyo: Chūō Kōronsha, 1956.Google Scholar
Miyazawa, Jūichi. “Some Original Japanese Melodies in Madama Butterfly.” In Giacomo Puccini nel centenario della nascita, edited by the Comitato nazionale per le onoranze a Giacomo Puccini, 157–61. Lucca: [Lorenzetti & Natali], 1958.Google Scholar
Keisen, Motoyama. Nagasaki hanamachi hen (The pleasure districts of Nagasaki). Tokyo: Shunyōdō, 1927.Google Scholar
Keisen, Motoyama. Nagasaki Maruyama-banashi (The story of the Maruyama district of Nagasaki). Tokyo: Sakamoto Shoten Shuppanbu, 1926.Google Scholar
Nakauchi, Chōji. “Shōgatsu shibai no inshō” (Impressions of January’s performances). Engei gahō (February 1914): 133.Google Scholar
Ning, Wang. “Orientalism versus Occidentalism?New Literary History 28, no. 1 (1997): 5767.Google Scholar
Nitobe, Yoshio. “Why Madam Butterfly Cannot Be Presented in Japan.” Japan Times, September 26, 1926.Google Scholar
Norman, Henry. The Real Japan: Studies of Contemporary Japanese Manners, Morals, Administration and Politics. New York: Scribner’s, 1892.Google Scholar
Numismatic and Antiquarian Society of Philadelphia. Proceedings of the Numismatic and Antiquarian Society of Philadelphia. Philadelphia: Published by the Society, 1904.Google Scholar
Ochō Fujin wo miru” (Viewing Madama Butterfly). Unidentified newspaper review. Yamada Kōsaku Collection, Microfilm 90, scrapbook 16, frame 288. Documentation Center for Modern Japanese Music (Nihon Kindai Ongakukan).Google Scholar
Takashi, Ogawa. Nihon no kōkyō gakudan: teiki kōen kiroku 1927–1971 (Japanese symphony orchestras: Record of performances 1927–1971). Tokyo: Kawai Gakufu, 1972.Google Scholar
Takashi, Ogawa. Shinpen Nihon no kōkyō gakudan: Teiki ensōkai kiroku, tsuiho 1927–1981 (Supplement to the Revised Japanese Symphony Orchestras: Record of performances 1927–1981). Tokyo: Min’on Ongaku Shiryōkan, 1983.Google Scholar
Toshio, Onishi. Ochō Fujin (Madame Butterfly). Program libretto. National Bunraku Theatre (Osaka), March 1956.Google Scholar
Osler, William. The Principles and Practice of Medicine. New York: Appleton, 1892.Google Scholar
Ōtaguro, Motō. Kageki taikan (General survey of opera). Tokyo: Daiichi Shobo, 1925.Google Scholar
Pagannone, Giorgio. “Come segmentare Madama Butterfly? L’opera sotto la lente dell’analista.” In Madama Butterfly: L’orientalismo di fine secolo, 199218.Google Scholar
Pagannone, Giorgio. “Sedurre cantando: Uno sguardo sulle scene di seduzione nell’opera in musica.” In Ricerche e prospettive di teatro e musica: Linguaggi artistici, società e nuove tecnologie, edited by Fazzini, Elisabetta and Grimaldi, Giorgio, 183215. Milan: LED, 2015.Google Scholar
Paladini, Carlo. Giacomo Puccini. Edited by Paladini, Marzia. Florence: Vallecchi, 1961.Google Scholar
Parker, Roger. “The Act I Love Duet: Some Models (Interpretative and Otherwise).” In Madama Butterfly: L’orientalismo di fine secolo, 247–56.Google Scholar
Partner, Simon. The Merchant’s Tale: Yokohama and the Transformation of Japan. New York: Columbia University Press, 2018.Google Scholar
Patessio, Mara. “Western Women Missionaries and Their Japanese Female Charges.” In Women and Public Life in Early Meiji Japan: The Development of the Feminist Movement, 71105. Ann Arbor: University of Michigan Center for Japanese Studies, 2011.Google Scholar
Pompe van Meerdervoort, J. L. C. Doctor on Desima: Selected Chapters from J. L. C. Pompe van Meerdervoort’s “Vijf Jaren in Japan” (Five years in Japan) (1857–1863). Translated and annotated by Wittermans, Elizabeth P. and Bowers, John Z.. Tokyo: Sophia University, 1970.Google Scholar
Powils-Okano, Kimiyo. Puccinis “Madama Butterfly.” Orpheus-Schriftenreihe zu Grundfragen der Musik 44. Bonn: Verlag für systematische Musikwissenschaft, 1986.Google Scholar
Preble, George Henry. The Opening of Japan: A Diary of Discovery in the Far East, 1853–1856. Edited by Szczesniak, Boleslaw. Norman, OK: University of Oklahoma Press, 1962.Google Scholar
Quella-Villéger, Alain. “Nagasaki. Promenade illustrée [sur les traces de P. Loti].” Bulletin de l’Association internationale des amis de P. Loti 40 (June 2020): 1831.Google Scholar
Quella-Villéger, Alain. Pierre Loti: Le pèlerin de la planète. Bordeaux: Auberon, 1998.Google Scholar
Record of the Class of 1878, Princeton College: Decennial 1878–1888. New York: Gilliss Brothers & Turnure, 1889.Google Scholar
Reed, Christopher, ed. and trans. The Chrysanthème Papers: The Pink Notebook of Madame Chrysanthème and Other Documents of French Japonisme. Honolulu: University of Hawaiʻi Press, 2010.Google Scholar
Régamey, Félix. Le Cahier rose de Madame Chrysanthème. In Christopher Reed, The Chrysanthème Papers, 65120.Google Scholar
Ricordi, Giulio. Announcement of withdrawal of Madama Butterfly from La Scala. Musica e musicisti 59, no. 3 (March 15, 1904): 189.Google Scholar
[Ricordi, Giulio]. “La nostra musica: Madama Butterfly di G. Puccini.” Musica e musicisti 59, no. 2 (February 15, 1904): 109.Google Scholar
Robertson, Jennifer. Takarazuka: Sexual Politics and Popular Culture in Modern Japan. Berkeley: University of California Press, 1998.Google Scholar
Rosen, David. “‘Pigri ed obesi Dei’: Religion in the Operas of Puccini.” In Madama Butterfly: L’orientalismo di fine secolo, 257–98.Google Scholar
Ross, Peter. “Elaborazione leitmotivica e colore esotico in Madama Butterfly.” In Esotismo e colore locale nell’opera di Puccini. Atti del I Convegno internazionale sull’opera di Puccini, edited by Maehder, Jürgen, 99110. Pisa: Giardini, 1983.Google Scholar
Rossi, Francesco Rocco. “Genesi e dialettica dei Leitmotive nel duetto d’amore.” In Madama Butterfly: L’orientalismo di fine secolo, 183–98.Google Scholar
Said, Edward. Orientalism. New York: Vintage, 1979.Google Scholar
Saino, Stefano. “Fra realismo ed esotismo: La composita produzione di Luigi Illica.” In Il magnifico parassita: Librettisti, libretti e lingua poetica nella storia dell’opera italiana, edited by Bonomi, Ilaria and Buroni, Edoardo, 180219. Milan: FrancoAngeli, 2010.Google Scholar
Salz, Jonah. “Intercultural Pioneers: Otojiro Kawakami and Sadda Yacco.” The Journal of Intercultural Studies 20 (1993): 2574.Google Scholar
Toshio, Sawada. “Chōchō Fujin to sobo: Ōyama Hisako” (Madama Butterfly and my grandmother, Ōyama Hisako). Chūō kōron 1369 (July 1998): 182–95.Google Scholar
Schickling, Dieter. “Criteri per un’edizione critica di Madama Butterfly.” In Madama Butterfly: L’orientalismo di fine secolo, 317–24. Florence: Olschki, 2008.Google Scholar
Schickling, Dieter. Giacomo Puccini: Biografie. Rev. ed. Stuttgart: Carus-Verlag and Philipp Reclam Jr., 2007.Google Scholar
Schickling, Dieter. Giacomo Puccini: Catalogue of the Works. Kassel: Bärenreiter, 2003.Google Scholar
Schickling, Dieter. “Puccini’s ‘Work in Progress’: The So-Called Versions of Madama Butterfly.” Music & Letters 79, no. 4 (1998): 527–37.Google Scholar
Schickling, Dieter. “Wer war Corinna? Neue Erkenntnisse zur Biografie Giacomo Puccinis.” Forthcoming in Studi Pucciniani 8.Google Scholar
Schwartz, Arman. Puccini’s Soundscapes: Realism and Modernity in Italian Opera. Premio Rotary Giacomo Puccini Ricerca (Centro studi Giacomo Puccini) 2. Florence: Leo S. Olschki, 2016.Google Scholar
Schwartz, Arman, and Senici, Emanuele, eds. Giacomo Puccini and His World. Princeton, NJ: Princeton University Press, 2016.CrossRefGoogle Scholar
Seidlitz, Woldemar von. Geschichte des japanischen Farbenholzschnitts. Dresden: Kühtmann, 1897.Google Scholar
Selden, Kyoko, trans. The Takarazuka “Concise Madame Butterfly” (Shukusatsu Chōchō-san), Review of Japanese Culture and Society 27 (Special Issue in Honor of Kyoko Selden, 2015): 6380.Google Scholar
Semenza, Nevada. “Woman Who Gave Idea for Madame Butterfly Libretto Visits Shanghai.” China Press, May 2, 1931.Google Scholar
Senici, Emanuele. “‘Teco io sto’: Strategies of Seduction in Act 2 of Un ballo in maschera.” Cambridge Opera Journal 14, nos. 12 (2001): 7992.Google Scholar
Sheppard, W. Anthony. “Cinematic Realism, Reflexivity, and the American ‘Madame Butterfly’ Narratives.” In Extreme Exoticism: Japan in the American Musical Imagination, 150–68. Oxford: Oxford University Press, 2019.Google Scholar
Sheppard, W. Anthony. “Exoticism.” In The Oxford Handbook of Opera, edited by Greenwald, Helen, 795816. New York, Oxford University Press, 2014.Google Scholar
Sheppard, W. Anthony. “Puccini and the Music Boxes.” Journal of the Royal Musical Association 140, no. 1 (2015): 4192.Google Scholar
Shinsen geinō jinbutsu jiten: Meiji-Heisei (Biographical dictionary of entertainers: From Meiji to Heisei). Tokyo: Nichigai Associates, 2010.Google Scholar
Sladen, Douglas. The Japs at Home. 5th ed. London: Ward, Locke & Bowen, 1895.Google Scholar
Slonimsky, Nicolas. Lexicon of Musical Invective: Critical Assaults on Composers since Beethoven’s Time. 2nd ed. New York: Coleman-Ross, 1965.Google Scholar
Smith, George, Bishop of Victoria. Ten Weeks in Japan. London: Longman, Green, Longman, & Roberts, 1861.Google Scholar
Smith, Julian. “A Metamorphic Tragedy.” Proceedings of the Royal Musical Association 106 (1979–80): 105–14.Google Scholar
Smith, Julian. “Musical Exoticism in Madama Butterfly.” In Esotismo e colore locale nell’opera di Puccini. Atti del I Convegno internazionale sull’opera di Puccini, edited by Maehder, Jürgen, 111–17. Pisa: Giardini, 1983.Google Scholar
Stanley, Amy. Selling Women: Prostitution, Markets, and the Household in Early Modern Japan. Berkeley: University of California Press, 2012.Google Scholar
Steblin, Rita. A History of Key Characteristics in the Eighteenth and Early Nineteenth Century. 2nd ed. Rochester, NY: University of Rochester Press, 2002.Google Scholar
Suzuno, Isamu. “A Burlesque of Madam Butterfly.” Japan Times, March 10, 1925.Google Scholar
Symons, Arthur. Plays, Acting, and Music (New York: Dutton, 1903).Google Scholar
Takagi, Shirō. Chōchō-san sandaiki. Takarazuka Kageki Kyakuhonshū (Takarazuka Opera Libretto Collection), March 1953.Google Scholar
Takagi, Shirō. “Chōchō-san sandaiki. Three Generations of Madame Butterfly,” translated by Kyoko Selden. Studi pucciniani 4 (2010): 143–78.Google Scholar
Takaori, Shūichi. “Kageki Madamu Batafurai” (The opera Madame Butterfly). Ongakukai (January 1914): 1522.Google Scholar
Takaori, Shūichi. “Sokoku seinen gakka wa ikanishite shin-tenchi ni hatten subeki ka?” (How should a young musician from Japan approach the development of new styles?). Ongakukai (September 1916): 1621.Google Scholar
Tamagawa, Yuko. “Die imaginierte Exotik einer Sängerin: ‘Madame Butterfly’ Tamaki Miura.” In Diva: Die Inszenierung der übermenschlichen Frau – Interdisziplinäre Untersuchungen zu einem kulturellen Phänomen des 19. und 20. Jahrhunderts, edited by Grotjahn, Rebecca, Schmidt, Dörte, and Seedorf, Thomas, 126–37. Forum Musikwissenschaft 7. Schliengen: Argus, 2011.Google Scholar
Hisayuki, Tanabe. Kīshō Miura Tamaki (Madame Tamaki Miura). Tokyo: Kindai Bungeisha, 1995.Google Scholar
Shiro, Terada. “Teisō no kuni no onna Ochō Fujin (Madame Butterfly, the woman from the country of chastity).” Fujin kōron 64 (April 1921): 70.Google Scholar
Tilley, Henry Arthur. Japan, the Amoor, and the Pacific: With Notices of Other Places Comprised in a Voyage of Circumnavigation in the Russian Corvette “Rynda” in 1858–60. London: Smith, Elder and Co., 1861.Google Scholar
Tintori, Giampiero. Cronologia: Opere, balletti, concerti 1778–1977. Duecento anni di Teatro alla Scala 2. Gorle: Grafica Gutenberg, 1979.Google Scholar
Tsou, Judy. “Composing Racial Difference in Madama Butterfly: Tonal Language and the Power of Cio-Cio-San.” In Rethinking Difference in Music Scholarship, edited by Bloechl, Olivia, Lowe, Melanie, and Kallberg, Jeffrey, 214–37. Cambridge: Cambridge University Press, 2014.Google Scholar
Tsubouchi, Shikō. Shukusatsu Chōchō-san (Concise Madame Butterfly). Takarazuka Shōjō Kageki Kyakuhonshū (Takarazuka Young Woman’s Theatre Libretto Collection). August 1931.Google Scholar
Tsubouchi, Shōyo, and Yamamoto, Jirō. History and Characteristics of Kabuki. Translated and edited by Matsumoto, Ryōzō. Yokohama: Yamagata, 1960.Google Scholar
Turberfield, Peter James. Pierre Loti and the Theatricality of Desire. Amsterdam: Rodopi, 1994.Google Scholar
Végeto, Raffaele. “Discografia pucciniana.” In Gara, Eugenio, ed., Carteggi pucciniani, 611–91. Milan: G. Ricordi, 1958.Google Scholar
Verdi, Luigi. “I manoscritti di Madama Butterfly nell’Archivio dell’Accademia Filarmonica di Bologna.” Programma di sala. Teatro Comunale Bologna (1996): 5790.Google Scholar
Viani-Visconti, Cavanna. Storia del Giappone. Milan: Paolo Carrara, 1902.Google Scholar
Whitney, Clara A. Clara’s Diary: An American Girl in Meiji Japan. Edited by William Steele, M. and Ichimata, Tamiko. Tokyo: Kodansha, 1979.Google Scholar
Williams, Harold S. Foreigners in Mikadoland. Tokyo and Rutland, VT: Tuttle, 1963.Google Scholar
Williams, Harold S. Shades of the Past; or, Indiscreet Tales of Japan. Tokyo and Rutland, VT: Tuttle, 1959.Google Scholar
Wilson, Alexandra. “A Frame without a Canvas: Madama Butterfly and the Superficial.” In The Puccini Problem: Opera, Nationalism, and Modernity, 97124. Cambridge: Cambridge University Press, 2007.Google Scholar
Winter, William. The Life of David Belasco. 2 vols. New York: Moffat, Yard and Co., 1918.Google Scholar
Yamada, Kōsaku. “Kageki Ochō Fujin to Nihon musume no teisō” (The opera Madama Butterfly and the chastity of a Japanese young woman). Unidentified newspaper interview. Yamada Kōsaku Collection, Nihon Kindai Ongakukan (Documentation Center for Modern Japanese Music). Microfilm 90, scrapbook 16. Reprinted in Yamada Kōsaku Chosaku Zenshu (Complete works of Yamada Kōsaku), 2: 229–30. Tokyo: Iwanami Shoten, 2001.Google Scholar
Yamanashi, Makiko. A History of the Takarazuka Revue since 1914: Modernity, Girls’ Culture, Japan Pop. Leiden: Brill, 2012.Google Scholar
Yokoyama, Toshio. “In Quest of the Inner Life of the Japanese.” In Japan in the Victorian Mind: A Study of Stereotyped Images of a Nation 1850–80, 88108. London: Macmillan, 1987.Google Scholar
Yoshida, Meikō. “Nakenu Chō Chō Fujin” (A Madama Butterfly that fails to make you cry), Yomiuri Shimbun, June 30, 1936.Google Scholar
Yoshihara, Mari. “The Flight of the Japanese Butterfly: Orientalism, Nationalism, and Performances of Japanese Womanhood.” American Quarterly 56, no. 4 (2004): 9751001.Google Scholar
Yoshihara, Mari. Musicians from a Different Shore: Asians and Asian Americans in Classical Music. Philadelphia: Temple University Press, 2007.Google Scholar
Young, Robert J. C. Colonial Desire: Hybridity in Theory, Culture and Race. London: Routledge, 1995.Google Scholar
Yunesuko Higashi Ajia Bunka Kenkyū Sentā (UNESCO Center for East Asian Studies). The Meiji Japan through Contemporary Sources, 1: Basic Documents 1854–1889. Tokyo, 1969.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Arthur Groos, Cornell University, New York
  • Book: <i>Madama Butterfly/Madamu Batafurai</i>
  • Online publication: 09 February 2023
  • Chapter DOI: https://doi.org/10.1017/9781009250696.010
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Arthur Groos, Cornell University, New York
  • Book: <i>Madama Butterfly/Madamu Batafurai</i>
  • Online publication: 09 February 2023
  • Chapter DOI: https://doi.org/10.1017/9781009250696.010
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Arthur Groos, Cornell University, New York
  • Book: <i>Madama Butterfly/Madamu Batafurai</i>
  • Online publication: 09 February 2023
  • Chapter DOI: https://doi.org/10.1017/9781009250696.010
Available formats
×