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.
A vivid grasp of the story and the characters in "The Ring of Niebelung" brings Richard Wagner's mythic four-opera cycle to life. The Ring Cycle has a hold on our imagination like no other operatic work because it is archetypal and has the power of myth as well as music to reverberate in the psyche. Bolen shows how myth illuminates psychology, and more - Ring of Power goes beyond the psychology of the individual, revealing dysfunctional families and patriarchal institutions.
This first installment in the new Portraits in Song Series is an outstanding collection of hymnwriters and arrangers. Each of these solos may be performed separately, or -- paired with the brief biographical information -- together, creating an excellent recital or special worship program. Titles: * Amazing Grace (Althouse) * Blessed Assurance (Drennan) * Holy, Holy, Holy (Hayes) * I Sing the Mighty Power of God (Page) * It Is Well with My Soul (Page) * Joyful, Joyful, We Adore Thee (Larson) * My Life Flows On in Endless Song (Shafferman) * O for a Thousand Tongues to Sing (Wagner)
Here translated for the first time, Jean-Jacques Nattiez's widely hailed comparative guide to the techniques of music analysis focuses on a single vivid passage from Wagner's Tristan and Isolde.
After a research survey, the expert authors examined the comon causes of workplace conflict in libraries. The authors have developed 17 scenarios of conflict, along with realistic ways to manage them.
Nicholas Ray (1911-1979), cineasta del desequilibrio, realizador de singular fuerza lirica, a menudo condenado tanto a la penuria de la serie B como a la opulencia no menos molesta de las superproducciones, ha dejado, sin embargo, una impronta indeleble en el cine norteamericano y dos generaciones de cineastas del mundo entero que le profesan una pasion filial. Ray es la figura emblematica de un siglo en desarrollo que plasmo la inspiracion de visiones fulgurantes que continuan habilando en el imaginario cinematografico contemporaneo.
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 volume describes the isotopes, atoms, atomic ions, molecules, and clusters of the six platinum group elements Ru, Rh, Pd, Os, Ir, and Pt. It starts with a compilation of the properties of the isotopes, followed by the description of the formation and separation of the radioactive isotopes. The chapters on the atoms and atomic ions deal with the configuration of the outer-shell electrons, manifested by optical terms and spectra, ionization energy, and electron affinity, as weil as with the energy levels of the inner-shell electrons, manifested by X-ray spectra and Auger electron spectra. The last section gives information on the formation and the physical properties of the plati num group molecules and clusters. Most of the contributions are written by extern al experts (for details, see the back of the titte page). One of the authors (Prof. Y. Cauchois) thanks Dr. M. Othmane for his constant and efficient cooperation in the treatment of the drafts and the checking of the proofs. Frankfurt am Main, January 1989 Dieter Koschel XI Table 0' Contents Page 1 Ru, Rh, Pd, Os, Ir, and Pt Isotopes 1.1 Introductory Remarks . . . . .
This book, addressed to both specialists and the opera-going public, brings together a team of acknowledged authorities from round the world to examine the performance history and reception of Wagner's works in Europe and America. A connected sequence of essays on conducting, singing, production and stage design explores the nature of Wagner's demands on his interpreters. The book raises questions about the realization of opera on the stage: about the authority of the composer vis-a-vis the director and the audience: about the sanctity of the text, score and stage directions; and about the role of art itself in society.
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