INTRODUCTION Opera and film. Though these two cultural forms are not often thought of together, they have actually existed in an interesting symbiosis, ...

The book addresses how music (especially opera), the phonograph, and film served as cultural agents facilitating the many extraordinary social, artistic, and cultural shifts that characterized the nascent twentieth century and much of what followed long thereafter, even to the present. Three tropes are central: the tensions and traumas---cultural, social, and personal---associated with modernity; changes in human subjectivity and its engagement and representation in music and film; and the more general societal impact of modern media, sound recording (the development (...) of the phonograph in particular), and the critical role played by early-century opera recording. A principal focus of the book is the conflicted relationship in Western modernity to nature, particularly as nature is perceived in opposition to culture and articulated through music, film, and sound as agents of fundamental, sometimes shocking transformation. The book considers the sound/vision world of modernity filtered through the lens of aesthetic modernism and rapid technological change, and the impact of both, experienced with the prescient sense that there could be no turning back"--Provided by publisher. (shrink)

Opera, maintains the author of this comprehensive and provocative volume, finds itself in an artistic predicament that goes beyond previous generational disruptions and "is our own, and special." Arguing that we cannot solve the problem unless we recognize and define it, and that we cannot hope to envision the artform's future unless we first come to terms with its past, he examines all elements of recent operatic practice as revealed in performance--"Performance," he declares, "is our text." He asserts that (...) with renewal of the repertory long at a virtual standstill, we have tried to substitute auteurial production methods and cultural revisionism in its place, with disastrous results. Accordingly, Opera as Opera draws on performances encountered over an eighteen-year period to first analyze styles and techniques of production (direction and design), and then to trace, in copious detail, the developments in the performing disciplines of conducting, singing, and acting that have loosened our connection to the canon. "The masterworks," it flatly states, "are not before us." In a central section, it also surveys the more general cultural background of this situation, in particular the influence of modern and postmodern philosophy and literary criticism, and the turn away from the master narrative which in the author's view was the principal generating force behind opera's greatest era. Whether the reader's primary interest is musical or theatrical, whether it lies with intellectual and aesthetic matters or with into-the-weeds discussion of the work of the performers who bring opera to life, he or she will find much that will stimulate and challenge in this deeply informed, incisively written book."--Publisher's description. (shrink)

A characteristic feature of Wagnerian and post-Wagnerian opera is the tendency to link scenes with numerous and often surprisingly lengthy orchestral interludes, frequently performed with the curtain closed. Often taken for granted or treated as a filler by audiences and critics, these interludes can take on very prominent roles, representing dream sequences, journeys and sexual encounters, and in some cases becoming a highlight of the opera. Christopher Morris investigates the implications of these important but strangely overlooked passages. Combining (...) close readings of individual musical texts with an investigation of the critical discourse surrounding the operas, Morris shows how the interludes shed light not only on the representational and narrative capacities of the orchestra, but also on the supposed 'absolute' realm of instrumental music, a concept to which many critics appealed when they associated the interludes with 'purely musical' and 'symphonic' qualities. (shrink)

What is art? What counts as an aesthetic experience? Does art have to beautiful? Can one reasonably dispute about taste? What is the relation between aesthetic and moral evaluations? How to interpret a work of art? Can we learn anything from literature, film or opera? What is sentimentality? What is irony? How to think philosophically about architecture, dance, or sculpture? What makes something a great portrait? Is music representational or abstract? Why do we feel terrified when we watch a (...) horror movie even though we know it to be fictional? -/- In Conversations on Art and Aesthetics, Hans Maes discusses these and other key questions in aesthetics with ten world-leading philosophers of art: Noël Carroll, Gregory Currie, Arthur Danto, Cynthia Freeland, Paul Guyer, Carolyn Korsmeyer, Jerrold Levinson, Jenefer Robinson, Roger Scruton, and Kendall Walton. -/- The exchanges are direct, open, and sharp, and give a clear account of these thinkers' core ideas and intellectual development. They also offer new insights into, and a deeper understanding of, contemporary issues in the philosophy of art. (shrink)

The authors study opera from the perspective of the theories of psychoanalyst Jacques Lacan, and argue that opera's second death corresponded with the rise of psychoanalysis in the early 20th century. With a preface by Lanfossi and an afterword by Alberto Toscano.

This is the first study to recognise the broad impact of opera in early-modern French culture._Downing A. Thomas considers the use of operatic spectacle and music by Louis XIV as a vehicle for absolutism; the resistance of music to the aesthetic and political agendas of the time; and the long-term development of opera in eighteenth-century humanist culture. He argues that French opera moved away from the politics of the absolute monarchy in which it originated to address Enlightenment (...) concerns with sensibility and feeling. The book combines close readings of significant seventeenth-century and eighteenth-century operatic works, circumstantial writings and theoretical works on theatre and opera, together with a measure of reception history. Thomas examines key works by Lully, Rameau, and Charpentier, among others, and extends his reach from the late seventeenth century to the end of the eighteenth. (shrink)

Paul Thom argues that opera is a set of practices framed by the concepts of work, interpretation, performance, and art. His argument is that operatic works have the potential to be art, but so do operatic productions, independently of their value as interpretations of the works they stage.

This book is the first translation into the English language of a comprehensive study of opera and its constituent parts by an accomplished writer of the Eighteenth Century. Francesco Algarotti was concerned with developing opera as drama and a move away from the elaborate formality of the Baroque to a more naturalistic style. The Essay in its original Italian had considerable influence on the reform opera of Christoph Willibald Gluck.

This book is the first translation into the English language of a comprehensive study of opera and its constituent parts by an accomplished writer of the Eighteenth Century. Francesco Algarotti was concerned with developing opera as drama and a move away from the elaborate formality of the Baroque to a more naturalistic style. The Essay in its original Italian had considerable influence on the reform opera of Christoph Willibald Gluck.

This paper provides a reading of the opera criticism of Bernard Williams in the light of his philosophical writings. Beginning with the observations that his philosophical writing lacks engagement with musical and aesthetic issues, and his operatic writing appears to present no particular philosophy of the subject, I try to draw together certain themes by mapping Williams's operatic concerns onto his philosophical project more generally. I argue that the 'excessive' nature of the artform—the idea that opera tends (...) to exceed its musico-dramatic functions—was of particular interest to Williams, partly because it resonated with his dislike of easy theoretical solutions to thorny practical issues. More specifically, Mozart's Cosi fan tutte is related, via the way the way its emotional register exceeds its dramatic context, to the issues examined by Williams in his work on moral luck. Similarly, I discuss the way Williams's essay on Debussy's Pelléas et Mélisande seems to hint at an account of the emotions which is otherwise missing from Williams's oeuvre. (shrink)

Pourquoi les philosophes pleurent-ils à l'écoute de la musique?

In _Philosophy of Song and Singing: An Introduction_, Jeanette Bicknell explores key aesthetic, ethical, and other philosophical questions that have not yet been thoroughly researched by philosophers, musicologists, or scientists. Issues addressed include: The relationship between the meaning of a song’s words and its music The performer’s role and the ensuing gender complications, social ontology, and personal identity The performer’s ethical obligations to audiences, composers, lyricists, and those for whom the material holds particular significance The metaphysical status of isolated solo (...) performances compared to the continuous singing of opera or the interrupted singing of stage and screen musicals Each chapter focuses on one major musical example and includes several shorter discussions of other selections. All have been chosen for their illustrative power and their accessibility for any interested reader and are readily available. (shrink)

In _Philosophy of Song and Singing: An Introduction_, Jeanette Bicknell explores key aesthetic, ethical, and other philosophical questions that have not yet been thoroughly researched by philosophers, musicologists, or scientists. Issues addressed include: The relationship between the meaning of a song’s words and its music The performer’s role and the ensuing gender complications, social ontology, and personal identity The performer’s ethical obligations to audiences, composers, lyricists, and those for whom the material holds particular significance The metaphysical status of isolated solo (...) performances compared to the continuous singing of opera or the interrupted singing of stage and screen musicals Each chapter focuses on one major musical example and includes several shorter discussions of other selections. All have been chosen for their illustrative power and their accessibility for any interested reader and are readily available. (shrink)

I. History. Mainwaring's Handel : its relation to British aesthetics -- Herbert Spencer and a musical dispute -- II. Opera and film. Handel's operas : the form of feeling and the problem of appreciation -- Anti-semitism in Meistersinger? -- Speech, song, and the transparency of medium : on operatic metaphysics -- III. Performance. On the historically informed performance -- Ars perfecta : toward perfection in musical performance? -- IV. Interpretation. Another go at the meaning of music : Koopman, Davies, (...) and the meaning of "meaning" -- Another go at musical profundity : Stephen Davies and the game of chess -- From ideology to music : Leonard Meyer's theory of style change -- Sibley's last paper -- In defense of musical representation : music, representation, and the hybrid arts -- Music, language, and cognition : which doesn't belong? (shrink)

Both in opera studies and in most operatic works, the singing body is taken for granted. Jelena Novak reintroduces an awareness of the physicality of the singing body to opera studies. Arguing that the body-voice relationship itself is a producer of meaning, she furthermore posits this relationship as one of the major driving forces in recent opera. She takes as her focus six contemporary operas - La Belle et la Bête, Writing to Vermeer, Three Tales, One, Homeland (...) and La Commedia and dissects the singing body as a set of rules, protocols, effects, strategies. (shrink)

An inclusive sense of ‘opera’ is distinguished from the Western high‐art sense. The problem of aesthetic unity in opera is discussed in relation to hybrid art forms ; specific operatic styles ; individual operatic productions and performances . The article includes links to video clips from operatic performances.

If opera had existed in Elizabethan London, the world's Top Bard, as W.H. Auden called him, might have become the world's Top Librettist. As Gary Schmidgall shows in this illuminating study, Shakespeare's expressive ways and dramaturgical means are like those of composers and librettists in numerous and often astonishing ways. No wonder that well over two hundred operas have been based on Shakespeare's plays. Ranging widely through the Shakespearean canon and the standard operatic repertory, Schmidgall presents a fascinating comparison, (...) focusing on similarities of expressive style, scenic structure, staging, and performance practice. Shakespeare and Opera offers extended discussions of issues central to both theatrical genres, including their shared demand for virtuoso display, the comparable functions of set speeches and arias, and the similarities of verbal and musical rhetoric, and the charges of unreality and melodrama that have dogged them both. In addition, Schmidgall provides concise essays on the most intriguing Shakespeare-based operas, including works of Verdi, Wagner, Bellini, Rossini, Berlioz, Thomas, Vaughan Williams, Barber, and Britten. He enriches his argument with the insights of the great composers who never set Shakespeare (Mozart, Puccini, and Strauss among them), major observers of the legitimate stage (from Samuel Johnson to Eric Bentley) and the musical stage (from Joseph Addison to Joseph Kerman), as well as the incisive views of influential artists, critics, and performers as diverse as Walt Whitman, H.L. Mencken, and Laurence Olivier. For all who love the stage, Shakespeare and Opera offers endless insight and fascination. Schmidgall's extended comparison of the two dramaturgies provides a fresh perspective on Shakespeare, musical theater, comparative drama, and theater history. (shrink)

Ethics, Aesthetics and the Historical Dimension of Language collects together Gadamer's most important untranslated writings on ethics, aesthetics and language. With a substantial introduction by the editors exploring Gadamer's ethical project and providing an overview of his aesthetic work, this book collects Gadamer's writings on ancient ethics, including the moral philosophy of Aristotle, and on practical philosophy. In the final section, Gadamer's writings on art and language are collected, including his examination of poetry, opera and painting among (...) other art forms, and such topics as artistic language and translation. This important collection is a useful resource for scholars in philosophy, studying hermeneutics, continental, 20th-century and German philosophy. (shrink)

Starting with Wittgenstein’s remark about his allegedly frequent visits to the performance of Wagner’s Die Meistersinger von Nürnberg, the paper presents Wagner’s opera – being explicitly an opera about rules and rule-following – as a possible stimulus for the later Wittgenstein’s thinking about language. Besides Wittgenstein’s systematic interest in parallels between music and language, the paper draws on the choice of terminology and on Wittgenstein’s own examples of rule-following. More speculatively, the phrasing as well as the solution to (...) what Kripke called Wittgenstein’s sceptical paradox is used as a point of comparison that brings Wittgenstein’s aesthetic innuendos closer not only to mainstream philosophy of language, but due to the antithetical structure of Kripke’s argument, also to the broader philosophical and aesthetic tradition of German idealism. (shrink)

Starting with Wittgenstein’s remark about his allegedly frequent visits to the performance of Wagner’s _Die Meistersinger von Nürnberg,_ the paper presents Wagner’s opera – being explicitly an opera about rules and rule-following – as a possible stimulus for the later Wittgenstein’s thinking about language. Besides Wittgenstein’s systematic interests in parallels between music and language, the paper draws on the choice of terminology (such as the comparison of rules to rails) and on Wittgenstein’s own examples of rule-following. More speculatively, (...) the phrasing as well as the solution to what Kripke called Wittgenstein’s sceptical paradox is used as a point of comparison that brings Wittgenstein’s aesthetic innuendos closer not only to mainstream philosophy of language, but due to the antithetical structure of Kripke’s argument also to the broader philosophical and aesthetical tradition, with a particular focus on the great philosophical systems of German idealism. (shrink)

Une étude sur l'opéra wagnérien et ses principaux thèmes, notamment la mort et la rédemption ainsi que leurs liens avec l'antisémitisme et l'hitlérisme. L'auteur explique comment le compositeur a tenté de résoudre à travers ses oeuvres les crises politique et spirituelle que traverse alors l'Allemagne, et établit une comparaison avec les opéras de Mozart. Electre 2018.

"Monteverdi et Wagner : hiatus, mariage impossible, défiance à l’entendement. Le mélomane proteste. Mais le parallèle n’est pas inédit. Car mettre en relation Monteverdi et Wagner, qu’a priori tout oppose, permet de lever le voile sur l’essentiel. À deux siècles d’intervalle, les changements de paradigme opérés par les deux artistes ont un terreau commun. Au-delà des analogies formelles, les attaques portées aux deux compositeurs et leurs répliques sous forme d’écrits théoriques mettent en évidence un monde d’idées. Nietzsche commença sa carrière (...) philosophique en le soulignant. À travers Ficin et Politien pour Monteverdi – Hölderlin, Schelling et Novalis pour Wagner –, les racines néoplatoniciennes communes aux deux créateurs constituent une autre correspondance révélatrice. On les retrouve au seuil du baroque comme du symbolisme. Venise, Pétrarque et Le Tasse ne laissent pas de réunir Monteverdi et Wagner, tandis qu’Orphée et Tristan offrent au chercheur une série d’analogies frappantes. Alors pourquoi ce rapprochement a-t-il été si peu approfondi? Certes, la dénonciation des frontières interdisciplinaires propres au système académique n’est pas nouvelle. Mais faut-il rester muet devant leur persistance? Il existe aujourd’hui toute une philosophie de la musique, ou précisément de la musique instrumentale. Mais où est la philosophie de l’opéra? Après avoir évoqué les apports lumineux de Romain Rolland et de Jean-Jacques Nattiez à la musicologie, Olivier Lexa établit un bref historique de la philosophie de l’opéra, de Rousseau à Nietzsche en passant par Hegel, Novalis, Schopenhauer et Kierkegaard. Par la suite, l’auteur aborde la portée exemplaire de l’histoire de l’art, de l’histoire culturelle et de l’esthétique analytique, avant de se pencher sur les relations que plusieurs grands penseurs récents et contemporains ont entretenues avec l’art lyrique : Adorno, Lévi-Strauss, Barthes, Deleuze, Foucault, Bourdieu, Badiou, Lacoue-Labarthe et Žižek. Sera-t-on surpris de retrouver les noms de Monteverdi et Wagner parmi les récurrences dominantes?" -- Site internet de l'éditeur. (shrink)

Né vers 1600 en Italie, l'opéra encourait les foudres de Marcello dès 1720. L'ouverture des salles au public, les nécessités commerciales et le vedettariat l'avaient éloigné des idéaux qui présidèrent à sa naissance. L'opuscule de Benedetto Marcello aborde, sur le ton de la dérision et de la satire, tous les aspects de l'opéra, du livret à la musique, en passant par les chanteurs, les compositeurs, les directeurs de théâtre, la mise en scène, etc. Le texte méritait une nouvelle traduction française (...) (la dernière datait de la fin du dix-neuvième siècle), plus précise et plus complète, car le savant compositeur de l'Estro poetico-armonico y déploie une verve irrésistible, proche de celle dont se servira Carlo Goldoni dans l'imprésario de Smyrne. Cette satire représente l'étincelle qui allait embraser le flambeau de la réforme par le biais du comte Francesco Algarotti (1712-1764) poète et écrivain. Son Essai sur l'Opéra en musique contient en effet tous les points importants sur lesquels Calzabigi et Gluck allaient asseoir leur reconstruction : choix du livret, rôle de la poésie et de la musique, rôle des chanteurs, du compositeur, moyens et contrôle artistiques des productions. La traduction française qu'un fit Chastellux en 1773, nonobstant sa finesse et son élégance, fait pourtant figure de " belle infidèle ". Force nous était donc d'élaborer là encore une nouvelle traduction de ce texte fondateur. A côté de ces deux grands titres, nous avons réuni un dossier important d'écrits émanant des acteurs de la réforme : Métastase, Angiolini, Calzabigi, Gluck et Du Roullet. (shrink)

This volume contains a selection of nine essays with an interdisciplinary perspective. They were originally presented at the Sixth International Conference on Word and Music Studies, which was held at Edinburgh University in June 2007 and was organized by the International Association for Word and Music Studies (WMA). The contributions to this volume focus on self-reference in various systematic, historical and intermedial ways. Self-reference - including, as a special case, metareference (the self-conscious reflection on music, literature and other medial concerns) (...) - is explored, among others, in instrumental music by Mozart, Mahler and Satie, in the structure and performance of (meta-)operas, in operatic adaptations of drama and filmic adaptations of opera, as well as in intermedial novelistic references to music. The essays cover a historical range from the 18th century to the present and are of interest to literary and opera scholars and students, musicologists as well as all readers generally interested in medial self-reference and intermediality studies. (shrink)

Discusses songs by the troubadours, trouvères, and Guillaume de Machaut, performed live and on the page, in the context of antique, late antique, and medieval thought and poetic practice and in the light of later opera. Topics include cosmology, education, astronomy, breath, beasts, monsters, hybridity, imagination, life, and death.

Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these (...) subjects are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music. (shrink)

As I sit down to begin this essay, the strains of “Tristan und Isolde” are still ringing in my ears; meanwhile, another dozen or so Pakistanian refugees have died for lack of sufficient food, shelter, or medical attention, probably, during the time it will have taken to compose this paragraph. The Isolde in that performance commanded, probably, a fee of four or five thousand dollars; each member of the audience paid, on the average, perhaps ten dollars to see the performance. (...) This works out, probably, to an average of one year’s worth of refugees kept alive and in some sort of health for every two members of the audience, or about two hundred for the wages of the leading soprano for one evening. The arithmetic is doubtless inaccurate: possibly it would require as much as three opera tickets to keep our refugee going, and Isolde could manage but fifty. But the orders of magnitude are about right. (shrink)

Although it can hardly be denied that BT is—as its first paragraph declares—centrally concerned to advance the science of aesthetics by coming to grips with the essence of Attic tragedy, it should not be forgotten that its author also characterizes the book (in its foreword) as being in constant conversation with Richard Wagner, and hence as a continuation of their joint struggle properly to grasp the true purpose and full value of Wagnerian opera, understood as aspiring to the status (...) of a Gesamtkunstwerk. One might say that BT is an attempt to make sense of the Wagner circle’s habit of referring to their leader as Aeschylus—to ground Nietzsche’s intuition that the work of both men embodies an enigmatic sublimity .. (shrink)

Philosophy is, generally speaking, divorced from real life, and therefore, monotonous and rigid. But the author maintains that philosophy must be poetic. He advocates philosophy with beautiful features. Western postmodern art is closely related to real life, so art becomes life-oriented and vitalized. Philosophy may be inspired by Western postmodern art as follows: It should philosophize about life; philosophers may use reason to argue for an art-oriented realm of life and achieve a philosophy featuring beauty. (...) Traditional Western philosophy is typical of pursuit of abstract concepts and ideals and an estrangement from the sensible world and life. To make philosophy achieve artistic beauty, we must bring to an end traditional Western philosophy. With the end of old philosophy, a new philosophy came into being with the name of “post-philosophy”. One of the features of “post-philosophy” is the union of philosophy and poetry, which is no other than making philosophy achieve artistic beauty. The union of philosophy and poetry is also an important feature of most of traditional Chinese philosophy. Traditional Chinese philosophy ,especially, that of Daoism is similar to Western post-modern art. Both of them stress the realm of life and uphold the beauty of life, mind and spirit. Since the middle of the last century, under the influence of traditional Western philosophy, Chinese philosophy lost its traditional beauty. To keep this beauty, we need to go further and understand philosophy as a discipline to upgrade the realm of life. The beauty of life realm comes before the beauty of philosophy. Therefore, Chinese philosophy needs to become life-oriented like postmodern art. Inheriting and developing Daoism philosophy while absorbing the philosophy of life shown through postmodern art, seems to be a good way for us to enhance the realm of life and pursue the beauty of philosophy. (shrink)

Introduction -- The symbolic form of art -- Kant's theory of the mathematical sublime and the boundlessness of the symbolic form of art -- The classical sublimity of Judaism -- The classical form of art -- The original epic -- The ideal -- The transition to the revealed religion and the romantic form of art -- The revealed religion -- Representational thought and the romantic form of art -- Traces of left-hegelianism in Hegel's lectures on aesthetics -- The end of (...) mythology -- The significance of Kierkegaard's interpretation of Don Giovanni in relation to Hegel's theory of the end of art -- The end of art -- The opera as a modern art form -- Hegel and Lukács's on the possibility of a modern epic -- The problem of a modern epic -- The modern epic and history -- Civil society as the background to the modern epic -- Myth and society : a common theme in the thought of Hegel and Sorel -- Sorel's myth of the general strike -- Myth and modern ethical life. (shrink)

Aesthetic responsivity and the phenomenology of arts processes reflect integrative self-world engagements, and are informative about the nature of the world and our biology in ways that are often not be made evident through scientific research. Akins’ and Hahn’s research regarding human trichromatic visual perception brings together the art of photography, neuroscience, and psychophysics, along with analyses of perspectives on vision in science and philosophy, to invoke anti-reductive, holistic understandings of how we see colour. We bring aesthetics and the (...) phenomenology of arts processes to bear in exploring creaturely re-sponsivity to the complex inter-relational dynamics of light perception, and o˙er reflective metaphors for human engagements that challenge Darwinian utilitarian conceptions. We argue that attending to aesthetic and phenomenological aspects of experiences is essential to understanding how the shared circuits of cognition and sensory-motor engagement shape our perceptive responsive interactions. (shrink)

Opera is a paradoxical genre. For it seems self-defeating to create an illusion of reality by means of the theatrical apparatus if the art form’s central mode of expression, lavish singing in all kinds of circumstances, defies realism anyway. A solution to the paradox is implied by the 18th century turn of European philosophy of art from mimēsis to aisthēsis. In terms of aesthetics, reality is no longer an object of imitation but rather the impact upon and presence (...) for a consciousness – that are actually heightened by singing. Of course we remain aware that to deal with everything in the mode of singing is in a way surreal. But then the simultaneous production and suspension of illusion turns out to be not a fault of art; rather it features as one of its peculiar achievements. (shrink)

Mozart's _Don Giovanni_ is an operatic masterpiece full of iconic and mythical tensions that still resonate today. The work redefines the terms of power, seduction, and morality, and the resulting conflict between the aesthetic and the ethical is deeply rooted in the Enlightenment and romanticism. _The_ Don Giovanni _Moment_ is the first book to examine the aesthetic and moral legacy of Mozart's opera in the literature, philosophy, and culture of the nineteenth century. The prominent scholars in this collection (...) address the opera's impact on the philosophical visions of Kierkegaard, Goethe, and Williams and its influence on the literary and dramatic works of Pushkin, Hoffmann, Mörike, Byron, Wagner, Strauss, and Shaw. Through a close and careful analysis of _Don Giovanni_'s literary and philosophical reception and its many appropriations, rewritings, and retellings, these contributors treat the opera as a vantage point from which theory and philosophy can reconsider romanticism's central themes. As lively and passionate as the opera itself, these essays continue the spirited debate over the meaning and character of _Don Giovanni_ and its powerful legacy. Together they prove that Mozart's brilliant artistic achievement is as potent and relevant today as when it was first performed two centuries ago. (shrink)

Once shunned, interdisciplinarity has now become fashionable-but badly in need of unpacking. The transfer of ideas from one field to another requires full understanding of the ways in which they are used and understood, where they come from and where they are going. This book calls attention to certain linguistic tools that served scholars in the past and that are still relevant today-if properly employed. It offers a roadmap that inter-relates problems within and between the sciences-human and natural. Throughout, the (...) book interpolates excerpts from scholarly texts that light the road. Spelling out how research may go beyond the mere assembly of facts, it invites the reader to join a sequence of steps that highlights the processes which problem solving entails. Ruth Katz (Ph.D. Columbia University) is one of the founding members of the Department of Musicology at the Hebrew University of Jerusalem. Upon receiving the prestigious Israel Prize in 2012, her work was cited for shedding light on such things as the interdisciplinary processes implicated in "the origin of opera, the history of Western notation, the relationship of stylistic change to the history of ideas, music's place in philosophy, and the role of musical aesthetics in cognition." She founded the Excellence Program at the University and co-founded the Laboratory for the study of music. Her most recent book, hailed as "magisterial," is entitled A Language of Its Own: Sense and Meaning in the Making of Western Art Music (University of Chicago Press, 2009). It is an analysis of the decisions that underlay the crafting and understanding of stylistic change. (shrink)

Opera dilettantes will forever argue over the relative importance of words and music in the creation and performance of their beloved art form. For philosophers brave enough to enter the fray, the issue raises a number of interesting ontological and phenomenological questions. In what does the work of opera primarily exist? What is distinctive of opera as a mode of dramatic presentation?

Covers Indian philosophy and Aesthetics along with Western philosophy.

The analysis concerns the interpretation of the story about Helen of Troy in the Goethe tragedy “Faust” and in the Hofmannsthal mythological opera “The Egyptian Helen” in terms of succession and development of philosophical and aesthetic conception of image. For the first time the work on the opera “The Egyptian Helen” is considered as a fruitful period of the combined creation of Hugo von Hofmannsthal and Richard Strauss on the basis of Nietzsche’s antiquity reception. It is proved, that (...) in the Hofmannsthal’s philosophical and aesthetic views the conception of the opera “Helen” is the symbol of synthesis of opposite view points on antique perception of the world and the basic sources of the ancient Greek art. The light Olympic Greece of Winckelmann and Goethe and the spontaneous titanism, Dionysus’s ecstasy and Nietzsche’s, Burckhardt’s, Bachofen’s archaic mysticism merged in Helen’s “Mystic wedding”. The basis for such unification serves an invincible life instinct of an ancient Greek, who becomes apparent in ability to moral transformation and revival by force of overcoming inevitable things in human existence of suffering. (shrink)