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This book addresses one of the most hotly contested debates in contemporary cultural the question of how anti-Semitism figures in the operas of Richard Wagner. Until now, scholars have generally acknowledged Wagner's anti-Semitism but have argued that it is irrelevant to the operas themselves. Marc A. Weiner challenges that traditional view by asserting that anti-Semitism is a crucial, pervasive feature in Wagner's operas.Weiner argues that the operas exemplify and contribute to a vast collection of images that are patently anti-Semitic - and that were readily recognized as such by nineteenth-century German audiences. These images were associated particularly with the body.Through a careful examination of Wagner's music, libretti, and stage directions, Weiner reconstructs iconographies of corporeal images - iconographies of the eye, voice, smell, gait, and sexuality - that were essential to the operas and were "associated with anti-Semitism and the longing for an imagined German community."
Acquisto del libro
Richard Wagner and the Anti-Semitic Imagination, Marc A. Weiner
- Lingua
- Pubblicato
- 1995
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- (Copertina rigida)
Metodi di pagamento
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- Titolo
- Richard Wagner and the Anti-Semitic Imagination
- Lingua
- Inglese
- Autori
- Marc A. Weiner
- Editore
- University of Nebraska Press
- Pubblicato
- 1995
- Formato
- Copertina rigida
- Pagine
- 439
- ISBN10
- 0803247753
- ISBN13
- 9780803247758
- Serie
- Valutazione
- 3,15 su 5
- Descrizione
- This book addresses one of the most hotly contested debates in contemporary cultural the question of how anti-Semitism figures in the operas of Richard Wagner. Until now, scholars have generally acknowledged Wagner's anti-Semitism but have argued that it is irrelevant to the operas themselves. Marc A. Weiner challenges that traditional view by asserting that anti-Semitism is a crucial, pervasive feature in Wagner's operas.Weiner argues that the operas exemplify and contribute to a vast collection of images that are patently anti-Semitic - and that were readily recognized as such by nineteenth-century German audiences. These images were associated particularly with the body.Through a careful examination of Wagner's music, libretti, and stage directions, Weiner reconstructs iconographies of corporeal images - iconographies of the eye, voice, smell, gait, and sexuality - that were essential to the operas and were "associated with anti-Semitism and the longing for an imagined German community."