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E-raamat: Beyond Reason: Wagner contra Nietzsche

  • Formaat: 552 pages
  • Ilmumisaeg: 15-Nov-2016
  • Kirjastus: University of California Press
  • Keel: eng
  • ISBN-13: 9780520966130
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  • Formaat: 552 pages
  • Ilmumisaeg: 15-Nov-2016
  • Kirjastus: University of California Press
  • Keel: eng
  • ISBN-13: 9780520966130
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Beyond Reason relates Wagner’s works to the philosophical and cultural ideas of his time, centering on the four music dramas he created in the second half of his career: Der Ring des NibelungenTristan und IsoldeDie Meistersinger von Nürnberg, and Parsifal. Karol Berger seeks to penetrate the “secret” of large-scale form in Wagner’s music dramas and to answer those critics, most prominently Nietzsche, who condemned Wagner for his putative inability to weld small expressive gestures into larger wholes. Organized by individual opera, this is essential reading for both musicologists and Wagner experts.

Arvustused

"The author develops his new interpretative perspective with so much mastery and such highly reflective circumspection that he is sure to convince even some inveterate Nietzscheans. ... Karol Berger has written a great and momentous book, and only now the work begins. What more could one wish from the contemporary Wagner research?" * Wagnerspectrum * "This is an exceptionally clear and accessible book on topics on which it is traditionally difficult to be clear and accessible: the origin, genesis, and nature of Wagner's achievement in his music dramas, and the evaluation of these dramas in terms of their impact on German culture from a philosophical point of view. . . .Musicologists will have a feast with this work, as Berger surprisingly shows the origin of Wagner's musical forms in Italian operatic models, and also shows how superficial and incorrect was Nietzsche's later, spiteful criticism of his former master and idol. . ." * The Heythrop Journal * it is the textual-critical in­terpretation of Wagners works that is most satisfying in Beyond Reason. Bergers freshly imagined and vividly expounded narratives have most in common with such apprecia­tive readings, of a predominantly literary character, as those published in recent years by Richard H. Bell, Paul Dawson-Bowling and Roger Scruton.Berger deploys his chosen terminology with confidence, and argues for his interpretations with eloquence and unflagging commitment. * The Wagner Journal *

Preface xi
Prologue: Beyond Autonomy
1(1)
The Uncanny Grace: A Gloss on Kleist's Marionettes
1(9)
Reason
10(12)
Beyond Reason
22(1)
History
22(3)
Nation
25(9)
Will
34(10)
Religion, the Enlightenment, the Counter-Enlightenment The New Configuration
44(5)
PART ONE
1 The Secret of Music-Dramatic Form: Music Drama as Opera
49(13)
2 Der Ring des Nibelungen: The Anarchist Utopia
62(131)
Das Rheingold: The Fall
65(13)
Die Walkure: How One Becomes Human
78(40)
Act 1 Becoming Wagner
78(21)
Act 2 Becoming Brunnhilde
99(14)
Act 3 Waiting for the Hero
113(5)
Siegfried: How One Becomes a Hero
118(22)
Act 1 Getting the Sword
119(5)
Act 2 Using It
124(5)
Act 3 The Awakening
129(11)
Gotterdammerung: The Apocalypse
140(38)
Prologue: The Past and the Future
140(7)
Act 1 The Entrapment 1
147(10)
Act 2 The Entrapment 2
157(7)
Act 3 Death and Transfiguration
164(14)
The Myth of Revolution
178(15)
PART TWO
3 Tristan und Isolde: The Erotic Utopia
193(49)
The Lyrical Axis
194(9)
The Narrative Axis
203(14)
The Orchestral Strand
217(3)
The Music-Dramatic Form
220(6)
The Myth of Will
226(8)
Postscript
234(8)
4 Die Meistersinger von Nurnberg: Politics after Tristan
242(51)
Act 1 The Knights Failure
242(7)
Act 2 The Clerk's Failure
249(8)
Act 3, Part 1 A Lesson in Poetics
257(10)
Act 3, Part 2 The Shoemaker's Triumph
267(12)
The Myth of Nation
279(14)
5 Parsifal: Ethics after Tristan
293(120)
The Communion Sequences of Acts 1 and 3
293(15)
The Monologues of Acts 1 and 3
308(21)
Act 2 The Kiss of Self-Knowledge
329(6)
The Music-Dramatic Form
335(4)
Eros and Agape
339(6)
The Myth of Redemption
345(14)
Epilogue: Wagner contra Nietzsche
359(54)
Wagner and Nietzsche: A History of the Relationship
363(13)
Becoming Nietzsche
376(17)
Nietzsche contra Wagner, Wagner contra Nietzsche
393(20)
Appendix 1 Das Rheingold: The Music-Dramatic Plan 413(4)
Appendix 2 Die Walkure: The Music-Dramatic Plan 417(6)
Appendix 3 Siegfried: The Music-Dramatic Plan 423(4)
Appendix 4 Gotterdammerung: The Music-Dramatic Plan 427(4)
Appendix 5 Tristan und Isolde: The Music-Dramatic Plan 431(6)
Appendix 6 Die Meistersinger von Nurnberg: The Music-Dramatic Plan 437(8)
Appendix 7 Parsifal: The Music-Dramatic Plan 445(4)
Acknowledgments 449(4)
Abbreviations Used in Notes 453(2)
Notes 455(46)
Works Consulted 501(16)
Index 517
Karol Berger is the Osgood Hooker Professor in Fine Arts, Department of Music, Stanford University. His award-winning books include Musica Ficta; A Theory of Art; and Bach's Cycle, Mozart's Arrow.