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.
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 political crises and upheavals of our age often originate from the periphery rather than the center of power. Figures like Edward Snowden, Julian Assange, and Chelsea Manning acted in ways that disrupted power, revealing truths that those in power wanted to keep hidden. They are thorns in the side of power, troublemakers in the eyes of the powerful, though their actions may be valuable and lead to positive changes. In this important new book, Dieter Thomä examines the crucial but often overlooked function of these figures on the margins of society, developing a philosophy of troublemakers from the seventeenth century to the present day. Thomä takes as his starting point Hobbes’s idea of the puer robustus (literally “stout boy”), meaning a figure who rebels against order and authority. While Hobbes saw the puer robustus as a threat, he also recognized the potential, in the right conditions, for figures to rise up and become agents of positive change. Building on this notion, Thomä provides a rich survey of intellectuals who have been inspired by this idea over the past 300 years, from Rousseau, Diderot, Schiller, Victor Hugo, Marx, and Freud to Carl Schmitt, Leo Strauss, and Horkheimer, right up to the recent work of Badiou and Agamben. In doing so, he develops a typology of the puer robustus and a means by which we can evaluate and assess the troublemakers of our own times. Thomä shows that troublemakers are an inescapable part of modernity, for as soon as social and political boundaries are defined, there will always be figures challenging them from the margins. This book will be of great interest not only to students and scholars in the humanities and social sciences but to anyone seeking to understand the crucial impact of these liminal figures on our world today.
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