- Gebundene Ausgabe: 256 Seiten
- Verlag: Routledge Chapman & Hall; Auflage: 0010 (13. Dezember 2001)
- Sprache: Englisch
- ISBN-10: 0415930162
- ISBN-13: 978-0415930161
- Größe und/oder Gewicht: 22 x 14,6 x 2,3 cm
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Produktbeschreibungen
Pressestimmen
..."provides many new and remarkable conclusions from a contemporary, Eastern European point of viewthat will interest opera specialists and cultural historians.."
-A.M. Hanson, Ihoice
...".an engaging and frequently illuminating commentary on the impulses, desires and fantasies that enrich both our own lives and those of the colorful characters that populate our favorite operas."
-Barry Millington, "BBC Music Magazine Direct, December 1, 2002
-A.M. Hanson, Ihoice
...".an engaging and frequently illuminating commentary on the impulses, desires and fantasies that enrich both our own lives and those of the colorful characters that populate our favorite operas."
-Barry Millington, "BBC Music Magazine Direct, December 1, 2002
Kurzbeschreibung
Operas are about the meaning of love and life, and also very much about the meaning of death. Opera as a form, however, might even be dead itself. The last great operas are said to be those written around 1900. But, the psychoanalytic critic and philosopher Slavoj Zizek is quick to point out, 1900 is also the year in which Freud 'invents' psychoanalysis. Can this be a coincidence? Opera's Second Death is a passionate exploration of opera---the genre, its masterpieces, and the nature of death. Using a dazzling array of tools, Slavoj Zizek and coauthor Mladen Dolar explore the strange compulsions that overpower characters in Mozart and Wagner, as well as our own desires to die and to go to the opera. Mozart's understanding of psychoanalysis and Wagner's sense of humor are but two of the many surprises in Zizek and Dolar's operatic tour de force. Opera's Second Death is an extended aria on a subject that is far from dead.
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Einleitungssatz
Philosophers did not go to the opera very often. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
Philosophers did not go to the opera very often. Lesen Sie die erste Seite
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Opera on the Couch
1. April 2002
Format:Taschenbuch
To those who love opera and know nothing about psychoanalysis or philosophy this book will be challenging and probably incomprehensible. Still, if anyone can get an Opera Queen to think, it might be Slavoj Zizek and Mladen Dolar. Dolar's is a more conventional and comprehensive treatment of the history of opera as a history of ideas. It is excellent and one can almost read the copious notes as a separate and equally enjoyable experience. Zizek uses particular operas to explain profound and fascinating ideas about love and death, narcissism and self-destruction, through the ideas (among others) of Lacan and Hegel. Ever since Zizek's seminal books explaining the complexities of Lacan and Hegel through popular entertainment he has accrued fame in intellectual circles without ever becoming pompous or complacent. He makes for enjoyable and provocative reading and chances are, after you've read him, you'll be keeping an eye out for his next book.
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leads you backstage into places opera don't know
1. Mai 2005
Format:Taschenbuch|Von Amazon bestätigter Kauf
Opera is perhaps the most perfect subject for Zizek's gaze with Hegelian negations and Absolutes Lacan's "object petit a,"Four Discourses" in the Master Signifier, the divided self,desire, don't be scared away for the cloistered world of opera can use such insights to help clarify its own anxieties self-indulgences and excesses throughout its histories. In fact opera now cannot live without someone speaking about it deeply as Zizek does, especially the self-conscious dimensions in Wagner's dramas, the negations of the negations(from Hegel) as "Parsifal" a redeemer redeeming the redemption,or dealing with "Other" those aspects that we wish we could do without but are there anyways, like feminist extremism not wanting man to be around,as in Carmen, or Tosca, or Wotan not wanting to be responsible for his pacts carved on his staff. Zizek and Dolar both bring a formidable array of concepts to opera to make some illuminations clearer I think. If you simply want opera to go on as it is without comment, simply sit back and let it wash over your brain, well this is not a book for you.
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