This category needs an editor. We encourage you to help if you are qualified.
Volunteer, or read more about what this involves.
Related categories
Siblings:
8 found
Search inside:
(import / add options)   Order:
  1. B. W. A. (1979). Opera Philosophica 2. Review of Metaphysics 32 (4):766-768.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  2. Andreas Dorschel (2006). ‘Best to Have the Opera House Bombarded’. An Unpublished Letter by Hugo Wolf. Studia Musicologica 47 (2):233-240.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  3. Andreas Dorschel (2001). The Paradox of Opera. The Cambridge Quarterly 30 (4):283-306.
    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 (...)
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  4. Andreas Dorschel (1987). Die Idee der ‘Einswerdung’ in Wagners Tristan. In Heinz-Klaus Metzger & Rainer Riehn (eds.), Richard Wagner, Tristan und Isolde. Edition Text + Kritik 19-25.
  5. A. Hamilton & N. Zangwill (eds.) (2012). Scruton's Aesthetics. Palgrave Macmillan.
    Remove from this list  
    Translate
     
     
    Export citation  
     
    My bibliography  
  6. Machiel Keestra (2014). Conflict & Compassie: een hedendaagse blik op Wagner en een wagneriaanse blik op onszelf. In Rutger Helmers & Philip Westbroek (eds.), Conflict en compassie. 200 jaar Richard Wagner. Nationale Opera & Ballet 157-166.
    (text in Dutch) Mediated by the so-called Dream-organ ('Traumorgan') which opera composer Richard Wagner mentions in his writings, the author engages in a fictitious dialogue with Wagner. Their dialogue focuses on a few topics related to the conference theme 'Conflict and compassion' that were of concern to Wagner in his days and which have undergone some serious changes since his death. The author discusses with Wagner the 'death of tragedy', sexuality and desire after the sexual revolution, the attractivity of musical (...)
    Remove from this list  
    Translate
      Direct download  
     
    Export citation  
     
    My bibliography  
  7. Sarah-Jane Leslie (forthcoming). Redemption and the Sacred Subject: Themes From Wagner. In A. Hamilton & N. Zangwill (eds.), Scruton's Aesthetics.
    Remove from this list  
    Translate
      Direct download  
     
    Export citation  
     
    My bibliography  
  8. Nina Penner (2013). Opera Singing and Fictional Truth. Journal of Aesthetics and Art Criticism 71 (1):81-90.
    In this paper, I make two claims: an opera’s music, both vocal and instrumental, is part of the ontology of its fictional world, and song constitutes the normative mode of communication and expression in the fictional world. I refute Carolyn Abbate’s influential arguments that both of these claims are untrue. Abbate’s contention that opera characters do not have epistemic access to the music is based on false premises and gives rise to serious interpretive problems. My account of operatic metaphysics refines (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography