Les récits cachés de Richard Wagner

2018 ◽  
Author(s):  
Jean-Jacques Nattiez
Keyword(s):  
Richard Wagner

Richard Wagner

2009 ◽  
Author(s):  
Francis Hueffer
Keyword(s):  
Richard Wagner

Richard Wagner and the Synthesis of the Arts . Jack M. Stein .

1963 ◽  
Vol 16 (1) ◽  
pp. 98-100
Author(s):  
Aubrey S. Garlington, Jr.
Keyword(s):  
Richard Wagner ◽  
The Arts

Grand Illusion

2020 ◽  
Author(s):  
Gabriela Cruz
Keyword(s):  
Karl Marx ◽  
Walter Benjamin ◽  
Richard Wagner ◽  
Giuseppe Verdi ◽  
Theodor Adorno ◽  
Tristan Und Isolde ◽  
Giacomo Meyerbeer ◽  
History Of ◽  
Grand Opera ◽  
Philosophical Understanding

Grand Illusion is a new history of grand opera as an art of illusion facilitated by the introduction of gaslight illumination at the Académie Royale de Musique (Paris) in the 1820s. It contends that gas lighting and the technologies of illusion used in the theater after the 1820s spurred the development of a new lyrical art, attentive to the conditions of darkness and radiance, and inspired by the model of phantasmagoria. Karl Marx, Walter Benjamin, and Theodor Adorno have used the concept of phantasmagoria to arrive at a philosophical understanding of modern life as total spectacle, in which the appearance of things supplants their reality. The book argues that the Académie became an early laboratory for this historical process of commodification, for the transformation of opera into an audio-visual spectacle delivering dream-like images. It shows that this transformation began in Paris and then defined opera after the mid-century. In the hands of Giacomo Meyerbeer (Robert le diable, L’Africaine), Richard Wagner (Der fliegende Holländer, Lohengrin, and Tristan und Isolde), and Giuseppe Verdi (Aida), opera became an expanded form of phantasmagoria.

scholarly journals A Maximal Understanding of Sacrifice: Bataille, Richard Wagner, Pilgrimage and the Bayreuth Festival

Religions ◽  
2021 ◽  
Vol 12 (1) ◽  
pp. 48
Author(s):  
Philip Smith ◽  
Florian Stoll
Keyword(s):  
Emotional Experience ◽  
The Body ◽  
Richard Wagner ◽  
Mixed Methods Study ◽  
Historical Research ◽  
Structured Interviews ◽  
Paradigm Case ◽  
Comparative Sociology ◽  
Sacred Spaces ◽  
Classical Work

This paper calls for a broad conception of sacrifice to be developed as a resource for cultural sociology. It argues the term was framed too narrowly in the classical work of Hubert and Mauss. The later approach of Bataille permits a maximal understanding of sacrifice as non-utilitarian expenditures of money, energy, passion and effort directed towards the experience of transcendence. From this perspective, pilgrimage can be understood as a specific modality of sacrificial activity. This paper applies this understanding of sacrifice and pilgrimage to the annual Bayreuth “Wagner” Festival in Germany. Drawing on a multi-year mixed-methods study involving ethnography, semi-structured interviews and historical research, the article traces sacrificial expenditures at the level of individual festival attendees. These include financial costs, arduous travel, dedicated research of the artworks, and disciplines of the body. Some are lucky enough to experience transcendence in the form of deep emotional experience, and a sense of contact with sacred spaces and forces. Our study is intended as an exemplary paradigm case that can be drawn upon analogically by scholars. We suggest that other aspects of social experience, including many that are more ‘everyday’, can be understood through a maximal model of sacrifice and that a rigorous, wider comparative sociology could be developed using this tool.

From great man to fittest survivor: Reputation, recapitulation and survival in Victorian concepts of Wagner's genius

2009 ◽  
Vol 13 (2_suppl) ◽  
pp. 415-445
Author(s):  
Bennett Zon
Keyword(s):  
Richard Wagner ◽  
Victorian Culture ◽  
Modern Music ◽  
Scientific Terminology ◽  
The Arts ◽  
Victorian Period ◽  
Musical History ◽  
Survival Of The Fittest

The transposition of the Great Man into the Fittest Survivor is at the very root of an endemic interchange between the sciences and the arts in late Victorian culture, giving rich metaphoric substance to more heavily concretised scientific terminology. Herbert Spencer's famous phrase, “survival of the fittest” is, arguably, one of the most commonly transposed and consequently influential scientific expressions of the Victorian period, and as such, one of its most malleable idioms. In Victorian musicology this influence is especially obvious in biographical works which privilege Richard Wagner as the greatest genius of musical history. Thus in Mezzotints in Modern Music (1899) James Huneker declares that “Wagner carried within his breast the precious eucharist of genius. ” It is the attitude of Huneker and like-minded musicologists, like C. Hubert H. Parry, William Wallace, Francis Hueffer and Richard Wallaschek, which forms the basis of a three-part exploration of Wagner's genius, covering (1) the role of “endurance” in Victorian definitions of genius, from Carlyle and Sully to Galton; (2) the influence of German morphology on evolutionary terminology in Britain, with particular reference to ontogeny, phylogeny and recapitulation; and (3) Spencer's adaptation of German morphology and his influence on Victorian perceptions of Wagner's genius. These collectively argue through the paradigm of Wagner that the formulation of late Victorian musical genius was incomplete without recourse to evolutionary terminology of survival. Indeed, for Victorian musicology, Wagner, the Great Man, had evolved Into Wagner, the Fittest Survivor.

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