Scandinavian Journal of History, 38.2 (2013), 245-61;
Tristan Journal of Nietzsche Studies, 44.1 (Spring 2013), 69-89; Therese Dolan, Manet, Wagner, and the Musical Culture of Their Time (Aldershot: Ashgate, 2013); Wagner in Russia, Poland and the Czech Lands: Musical, Literary, and Cultural Perspectives, ed. by Stephen Muir and Anastasia Belina-Johnson (Aldershot: Ashgate, 2013); William Kinderman, Parsifal (Oxford: Oxford Universi
Overture to Der fliegende Holländer Music Analysis, 32.1 (March 2013), 46-79; Martin Geck, Richard Wagner: A Life in Music, trans. by Stewart Spencer (Chicago: University of Chicago Press, 2013); Kevin C. Karnes, A Kingdom Not of This World: Wagner, the Arts, and Utopian Visions in Fin-de-Siècle Vienna (Oxford: Oxford Orchestra in Wag Choruses, Ancient & Modern, ed. by Joshua Billings, Felix Budelmann and Fiona Macintosh (Oxford: Oxford University Press, 2013), pp.
Ring Cambridge Opera Journal, 7.3 (November 1995), 207-31 (p. 207). 7 http://www.wagner200.co.uk/event/wagner-the-writer/ [accessed 21 June 2013]; Richard
Victorian Studies, 35.4 (Summer, 1992), 385-408 (p. 392); also Emma Sutton, Aubrey Beardsley and British Wagnerism in the 1890s (Oxford: Oxford University Press, 2002), and Stephen Downes, Music and Decadence in European Modernism: The Case of Central and Eastern Europe (Cambridge: Cambridge University Press, 2010). Studies of earlier Victorian writers in a Wagnerian context include Delia da Sousa Correa, George Eliot, Music and Victorian Culture (Basingstoke: Palgrave Macmillan, 2003), especially pp. 45-52, 24 See DiGaetani, Richard Wagner and the Modern British Novel , pp. 109-29; Robert J.
The Musical Quarterly, 66.2 (April 1980), 192- The Waste Land Journal of Modern Literature, 18.4 (Autumn 1993), 421-34; Leon Surette, The Birth of Modernism: Ezra Pound, T. S. Eliot, W. B. Yeats and the Occult (Montreal/London: McGill-
Mrs Dalloway English Studies in Africa, 49.2 (2006), 83-108; Emma Sutton,
The Voyage Out Words and Notes in the Long Nineteenth Century, ed. by Phyllis Weliver and Katharine Ellis (Woodbridge: The Boydell Press, 2013), pp. 145-64, and Virginia Woolf and Classical Music: Politics, Aesthetics, Form (Edinburgh: Edinburgh University Press, 2013). 25 and The Sacred Johnson, Wagner in Russia, Poland and the Czech Lands, pp. 71-92 and 137-58. 28