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  1. B. W. A. (1979). Opera Philosophica 2. Review of Metaphysics 32 (4):766-768.
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  2. Andreas Dorschel (2006). ‘Best to Have the Opera House Bombarded’. An Unpublished Letter by Hugo Wolf. Studia Musicologica 47 (2):233-240.
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  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 (...)
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  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.
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  5. A. Hamilton & N. Zangwill (eds.) (2012). Scruton's Aesthetics. Palgrave Macmillan.
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  6. Sarah-Jane Leslie (forthcoming). Redemption and the Sacred Subject: Themes From Wagner. In A. Hamilton & N. Zangwill (eds.), Scruton's Aesthetics.
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