Download Free Wagner Androgyne Book in PDF and EPUB Free Download. You can read online Wagner Androgyne and write the review.

That Wagner conceived of himself creatively as both man and woman is central to an understanding of his life and art. So argues Jean-Jacques Nattiez in this richly insightful work, where he draws from semiology, music criticism, and psychoanalysis to explore such topics as Wagner's theories of music drama, his anti-Semitism, and his psyche. Wagner, who wrote the libretti for the operas he composed, maintained that art is the union of the feminine principle, music, and the masculine principle, poetry. In light of this androgynous model, Nattiez reinterprets the Wagnerian canon, especially the Ring of the Nibelung, which is shown to contain a metaphorical transposition of Wagner's conception of the history of music: Siegfried appears as the poet, Brunnhilde, as music, and their union is an androgynous one in which individual identity fades and the lovers revert to a preconflictual, presexual state. Nattiez traces the androgynous symbol in Wagner's theoretical writings throughout his career. Looking to explain how this idea, so closely bound up with sexuality, took root in Wagner's mind, the author considers the possibility of Freudian and Jungian interpretations. In particular he explores the composer's relationship with his mother, a distant woman who discouraged his interest in the theater, and his stepfather, a loving man whom Wagner suspected was not only his real father but also a Jew. Along with psychoanalysis, Nattiez critically applies various structuralist and feminist theories to Wagner's creative enterprise to demonstrate how the nature of twentieth-century hermeneutics is itself androgynous. Originally published in 1993. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
This is the first ever book to analyse outsourcing - contracting out public services to private business interests. It is an unacknowledged revolution in the British economy, and it has happened quietly, but it is creating powerful new corporate interests, transforming the organisation of government at all levels, and is simultaneously enriching a new business elite and creating numerous fiascos in the delivery of public services. What links the brutal treatment of asylum-seeking detainees, the disciplining of welfare benefit claimants, the profits effortlessly earned by the privatised rail companies, and the fiasco of the management of security at the 2012 Olympics? In a word: outsourcing. This book, by the renowned research team at the Centre for Research on Socio-Cultural Change in Manchester, is the first to combine 'follow the money' research with accessibility for the engaged citizen, and the first to balance critique with practical suggestions for policy reform.
Publisher Description
Richard Wagner is remembered as one of the most influential figures in music and theatre, but his place in history has been marked by a considerable amount of controversy. His attitudes towards the Jews and the appropriation of his operas by the Nazis, for example, have helped to construct a historical persona that sits uncomfortably with modern sensibilities. Yet Wagner's absolutely central position in the operatic canon continues. This volume serves as a timely reminder of his ongoing musical, cultural, and political impact. Contributions by specialists from such varied fields as musical history, German literature and cultural studies, opera production, and political science consider a range of topics, from trends and problems in the history of stage production to the representations of gender and sexuality. With the inclusion of invaluable and reliably up-to-date biographical data, this collection will be of great interest to scholars, students, and enthusiasts.
It has long been acknowledged that Richard Wagner was a virulent antisemite, yet the composer has also been characterized as an idealistic revolutionary, and historians have puzzled over the paradox of these conflicting elements in his character. In this fascinating book, Paul Lawrence Rose argues that Wagner did not suddenly change from a progressive revolutionary into a reactionary racist; for him, as for many other Germans, the idea of revolution always contained a racial and antisemtic core. Rose approaches Wagner on varying levels so as to see him as he really was: he places Wagner within the context of mid-nineteenth-century German revolutionary culture; he studies the composer's whole range of theoretical and artistic works, tracing his career and the evolution of his thought; and he considers Wagner's personality and his personal relationships (especially with those Jews who considered themselves his friends). Rose demonstrates that Wagner's conversion to antisemitism dates not from 1850--the year in which his infamous essay Judaism in Music was published--but from his conflict with the Jewish composer Giacomo Meyerbeer three years earlier over the Berlin production of Rienze. This affects our understanding of the genesis of the Ring operas. In addition, Rose offers fresh and stimulating interpretations of Tristan und Isolde, Die Meistersinger, and Parsifal, based on an analysis of their revolutionary and antisemitic elements.
The Companion is an essential, interdisciplinary tool for those both familiar and unfamiliar with Wagner's Ring. It opens with a concise introduction to both the composer and the Ring, introducing Wagner as a cultural figure, and giving a comprehensive overview of the work. Subsequent chapters, written by leading Wagner experts, focus on musical topics such as 'leitmotif', and structure, and provide a comprehensive set of character portraits, including leading players like Wotan, Brünnhilde, and Siegfried. Further chapters look to the mythological background of the work and the idea of the Bayreuth Festival, as well as critical reception of the Ring, its relationship to Nazism, and its impact on literature and popular culture, in turn offering new approaches to interpretation including gender, race and environmentalism. The volume ends with a history of notable stage productions from the world premiere in 1876 to the most recent stagings in Bayreuth and elsewhere.
Programming the Absolute discusses the notorious opposition between absolute and program music as a true dialectic that lies at the heart of nineteenth-century German music. Beginning with Beethoven, Berthold Hoeckner traces the aesthetic problem of musical meaning in works by Schumann, Wagner, Liszt, Mahler, and Schoenberg, whose private messages and public predicaments are emblematic for the cultural legacy of this rich repertory. After Romanticism had elevated music as a language "beyond" language, the ineffable spurred an unprecedented proliferation of musical analysis and criticism. Taking his cue from Adorno, Hoeckner develops the idea of a "hermeneutics of a moment," which holds that musical meaning crystallizes only momentarily--in a particular passage, a progression, even a single note. And such moments can signify as little as a fleeting personal memory or as much as the whole of German music. Although absolute music emerged with a matrix of values--the integrity of the subject, the aesthetic autonomy of art, and the intrinsic worth of high culture--that are highly contested in musicology today, Hoeckner argues that we should not completely discard the ideal of a music that continues to offer moments of transcendence and liberation. Passionately and artfully written, Hoeckner's quest for an "essayistic musicology" displays an original intelligence willing to take interpretive risks. It is a provocative contribution to our knowledge about some of Europe's most important music--and to contemporary controversies over how music should be understood and experienced.
Richard Wagner continues to be the most controversial artist in history, a perpetually troubling figure in our cultural consciousness. The unceasing debate over his works and their impact--for and against--is one reason why there has been no genuinely comprehensive modern account of his musical dramas until now. Dieter Borchmeyer's book is the first to present an overall picture of these musical dramas from the standpoint of literary and theatrical history. It extends from the composer's early works--still largely ignored--to the Ring Cycle and Parsifal, and includes Wagner's unfinished works and operas he never set to music. Through lively prose, we come to see Wagner as a librettist--and as a man of letters--rather than primarily as musical composer. Borchmeyer uncovers a vast field of cultural and historical cross-references in Wagner's works. In the first part of the book, he sets out in search of the various archetypal scenes, opening up the composer's dramatic workshop to the reader. He covers all of Wagner's operas, from early juvenilia to the canonical later works. The second part examines Wagner in relation to political figures including King Ludwig II and Bismarck, and, importantly, in light of critical reactions by literary giants--Thomas Mann, whom Borchmeyer calls "a guiding light in this exploration of the fields that Wagner tilled," and Nietzsche, whose appeal to "philology" is a key source of inspiration in attempts to grapple with Wagner's works. For more than twenty years, Borchmeyer has placed his scholarship at the service of the famed Bayreuth Festival. With this volume, he gives us a summation of decades of engagement with the phenomenon of Wagner and, at the same time, the result of an abiding critical passion for his works.
The Gesamtkunstwerk ('total work of art'), once a key concept in Wagner studies, has become problematic. This book sheds light on this conundrum by first tracing the development of the concept in the 19th century through selected examples, some of which include combinations of different art forms. It then focuses on the culmination of the Gesamtkunstwerk in Wagner's theories and in the practice of his late music dramas, of which Der Ring des Nibelungen is the most complete representation. Finally, the book contrasts the view of the Ring as a fusion of dramatic text and music with the 20th century trend towards Deconstruction in Wagnerian productions and the importance of Régie. Against this trend a case is made here for a fresh critical approach and a reconsideration of the nature and basis for the fundamental unity which has hitherto been widely perceived in Wagner's Ring. Approaches through Leitmotiv alone are no longer acceptable. However, in conjunction with another principle, Moment, which Wagner insisted on combining with Motive, these can be ingeniously 'staged' and steered to dramatic ends by means of musical dynamics and expressive devices such as accumulation. Analysis of the two Erda scenes demonstrates how this complex combination of resources acts as a powerful means of fusion of the musical and dramatic elements in the Ring and confirms its status as a Gesamtkunstwerk.
"Scrupulous . . . planned and executed with quite unusual care." —Opera There has long been a need for a modern English translation of Wagner's Ring—a version that is reliable and readable yet at the same time is a true reflection of the literary quality of the German libretto. This acclaimed translation, which follows the verse form of the original exactly, fills that niche. It reads smoothly and idiomatically, yet is the result of prolonged thought and deep background knowledge. The translation is accompanied by Stewart Spencer's introductory essay on the libretto and a series of specially commissioned texts by Barry Millington, Roger Hollinrake, Elizabeth Magee and Warren Darcy that discuss the cycle's musical structure, philosophical implications, medieval sources and Wagner's own changing attitude to its meaning. With a glossary of names, a review of audio and video recordings, and a select bibliography, the book is an essential complement to Wagner's great epic.