Origins of a Menschendarstellerin: Characterization and Operatic Performance in Fin-de-siècle Vienna

2019 ◽  
Vol 144 (1) ◽  
pp. 55-82
Author(s):  
Melanie Gudesblatt
Keyword(s):  
Fin De Siecle ◽  
Human Subjectivity ◽  
Fin De Siècle ◽  
Dramatic Performance ◽  
Acting Technique ◽  
The Way

AbstractIn fin-de-siècle Vienna frustrations with ‘lifelessness’ began to boil over. Unlike previous generations of opera-goers, however, the Viennese did not so much fear singers becoming automata as desire dramatic performance that foregrounded humanness and subjectivity. Critics increasingly fetishized vitality – manifested in characters with dramatic integrity and singers capable of nestling themselves in their roles – and by 1910 wanted singers to communicate their own interiority and ‘wilfulness’ as well. This article uses the reception of the soprano Marie Gutheil-Schoder (1874–1935) to demonstrate the growing currency of these imperatives. A controversial hire for the Hofoper, she was initially disparaged by critics as vocally ‘weak’, but the Viennese gradually ‘learnt to love this voice’ for the way in which it could be pressed into the service of the drama and her will. I explain her changing fortunes, arguing that opera-goers valued certain voices in accordance with evolving conceptions of characterization, acting technique and human subjectivity.

scholarly journals The criticism of language in one-acter cycle of "The Comedy of Seduction" by Arthur Schnitzler

2019 ◽  
pp. 109-112
Author(s):  
Lyudmila Yu. Korshunova
Keyword(s):  
Fin De Siecle ◽  
Common People ◽  
Arthur Schnitzler ◽  
Fin De Siècle ◽  
The Common ◽  
The One ◽  
Release Of Information ◽  
The Way

The article deals with the issue of correlation of language and reality in the one-acter cycle "The Comedy of Seduction" by Arthur Schnitzler. It is underlined that this theme was on the front burner among philosophers and writers of the Fin de siècle epoch and was regarded rather negatively: the language seemed not to be able to highlight the outside world in a befitting way. In Arthur Schnitzler’s one-acter cycle "The Comedy of Seduction" the afore-referenced issue is strongly involved in difficulty by the confrontation of the common men and art people. It is demonstrated that the common people use the language for the release of information whereas in contrast the art people always grind their own axe using the language. In this case they have the bulge on the common men. The impossibility of language to be the way of highlighting the outside world is shown in the one-acter cycle.

scholarly journals Beyond the Boundaries of Realism Monstrous Islands and Literary Hybrids at the Fin de Siècle in Conan Doyle’s, R. L. Stevenson’s and H. G. Wells’s Fiction

2020 ◽  
Author(s):  
Julie Gay
Keyword(s):  
Fin De Siecle ◽  
Literary Texts ◽  
Modern World ◽  
Literary Aesthetics ◽  
Fin De Siècle ◽  
The Fantastic ◽  
The Creation ◽  
The Relationship ◽  
Geographical Space ◽  
The Way

This article explores the way in which at the fin de siècle, Doyle, Stevenson and Wells chose to set their works on marginal islands in order to spatially escape not only from the bleak reality of the modern world, but also from the constraints of realism, and to reconnect with more imaginative forms of writing. It thus aims to shed new light on the relationship between geographical space and literary aesthetics, and to demonstrate that the island space is especially conducive to generic excursions out of realism and towards the fantastic, the marvellous and even the monstrous, leading to the creation of eminently hybrid literary texts.

NEW WOMEN, OLD AND NEW

1999 ◽  
Vol 27 (2) ◽  
pp. 579-588 ◽  
Author(s):  
Sally Mitchell
Keyword(s):  
New Woman ◽  
Precise Definition ◽  
Fin De Siecle ◽  
New Women ◽  
Fin De Siècle ◽  
The New Woman ◽  
Core Questions ◽  
The Way

DESPITE SOME TWENTY YEARS of scholarship in the field, core questions such as “what is a New Woman?” and “what is New Woman fiction?” still remain vexed and all too often need more precise definition. Yet one can say that for all the conflicts of meaning and emphasis between sexual and political, discursive and actual, or caricature and didactic, the feminist rediscovery of the New Woman during the late 1970s has not only opened the canon but has also begun a transformation in the way we understand the entire fin de siècle.

scholarly journals РЕМІНІСЦЕНЦІЇ ВІКТОРІАНСЬКОГО «АВАНГАРДУ» В УКРАЇНСЬКОМУ, ПОЛЬСЬКОМУ ТА РОСІЙСЬКОМУ ОБРАЗОТВОРЧОМУ МИСТЕЦТВІ ДЕКАДАНСУ ТА СИМВОЛІЗМУ

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Turn Of The Century ◽  
Fin De Siecle ◽  
Victorian Era ◽  
Russian Art ◽  
Fin De Siècle ◽  
The Impact ◽  
The Way

Досліджено вплив англійського мистецтва вікторіанської доби на творчість представників українського, польського та російського мистецтва межі століть. Проаналізовано відмінності у втіленні декадентських й символістських тенденцій, які були характерні для кожної з зазначених країн. Зокрема, розглянуто стилістичні рецепції мистецтва руху прерафаелітів та графіки Обрі Бердслея у творах митців об’єднання «Мир искусства», польських і українських художників-символістів, а також роботах Вільгельма Котарбінського як єдиного представника декадансу в українському образотворчому мистецтві.Ключові слова: декаданс, символізм, прерафаеліти, fin de siècle, Англія, Україна, Польща, Росія. The article studies the impact of English art of the Victorian era on the work of representatives of Ukrainian, Polish and Russian art at the turn of the century. In particular, the reception of the art of the movement of the PreRaphaelites and Aubrey Vincent Beardsley was found in the decadent and symbolist works of artists from these countries. By the way, essential differences in themes and images of Decadent movement and Symbolism among the works of Ukrainian, Polish and Russian artists are identified.Key words: Decadence, Symbolism, Pre Raphaelitas, fin de siècle, England, Ukraine, Poland, Russia.

scholarly journals Modal Idioms and Their Rhetorical Associations in Rachmaninoff’s Works

2014 ◽  
Vol 20 (4) ◽  
Author(s):  
Blair Johnston
Keyword(s):  
Fin De Siecle ◽  
Future Research ◽  
Silver Age ◽  
Equal Interval ◽  
The Third ◽  
Harmonic Language ◽  
Fin De Siècle ◽  
The Way

In this article, I examine passages from more than a dozen works by Rachmaninoff—especially the Third Symphony, op. 44—in order to better understand the significance that certain modal idioms (diatonic and equal-interval) have in his harmonic language and to show the consistency with which he treats these idioms across his oeuvre. I describe three types of diatonic modal idiom and three types of equal-interval modal idiom and I outline their basic rhetorical associations in Rachmaninoff’s music: diatonic modal idioms are consistently associated with introduction, exposition, digression, and post-climactic activity while equal-interval modal idioms are consistently associated with intensification, climax, and destabilization. I consider the implications those rhetorical associations have for the analysis of entire compositions, and, along the way, I suggest possible avenues for future research on Rachmaninoff’s position within both the pan-Europeanfin de siècleand the so-called Russian “silver age.”

Illustrated Media, the Built Environment and Identity Politics in Fin-de-siècle Catalonia: Printing Images, Making the Nation

2015 ◽  
Vol 4 (2) ◽  
pp. 113-135
Author(s):  
Lucila Mallart
Keyword(s):  
Nineteenth Century ◽  
Built Environment ◽  
Identity Politics ◽  
Nation Building ◽  
Constitutive Relationship ◽  
Fin De Siecle ◽  
Late Nineteenth Century ◽  
Fin De Siècle ◽  
Late Nineteenth

This article explores the role of visuality in the identity politics of fin-de-siècle Catalonia. It engages with the recent reevaluation of the visual, both as a source for the history of modern nation-building, and as a constitutive element in the emergence of civic identities in the liberal urban environment. In doing so, it offers a reading of the mutually constitutive relationship of the built environment and the print media in late-nineteenth century Catalonia, and explores the role of this relation as the mechanism by which the so-called ‘imagined communities’ come to exist. Engaging with debates on urban planning and educational policies, it challenges established views on the interplay between tradition and modernity in modern nation-building, and reveals long-term connections between late-nineteenth-century imaginaries and early-twentieth-century beliefs and practices.

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