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摘要
摘要
In this bold recasting of operatic history, Gary Tomlinson connects opera to shifting visions of metaphysics and selfhood across the last four hundred years. The operatic voice, he maintains, has always acted to open invisible, supersensible realms to the perceptions of its listeners. In doing so, it has articulated changing relations between the self and metaphysics. Tomlinson examines these relations as they have been described by philosophers from Ficino through Descartes, Kant, and Nietzsche, to Adorno, all of whom worked to define the subject's place in both material and metaphysical realms. The author then shows how opera, in its own cultural arena, distinct from philosophy, has repeatedly brought to the stage these changing relations of the subject to the particular metaphysics it presumes.
Covering composers from Jacopo Peri to Wagner, from Lully to Verdi, and from Mozart to Britten, Metaphysical Song details interactions of song, words, drama, and sounds used by creators of opera to fill in the outlines of the subjectivities they envisioned. The book offers deep-seated explanations for opera's enduring fascination in European elite culture and suggests some of the profound difficulties that have unsettled this fascination since the time of Wagner.
摘要
Contaba un Rector que intentar trasformar la universidad es como querer cambiar un cementerio. Puedes contar con cualquiera menos con los de dentro. Graciosa pero exagerada afirmación que no hace justicia al enorme esfuerzo que muchos docentes universitarios están realizando por mejorar la enseñanza universitaria y modernizar sus estilos docentes. Y lo están haciendo en un contexto social y económico que no favorece ni estimula, precisamente, ese objetivo. En cualquier caso, nunca como en la actualidad se ha hecho patente la conciencia de que es preciso buscar mecanismos e iniciar estrategias de innovación que mejoren la docencia y propicien un mejor aprendizaje de los estudiantes. Es un proceso no exento de dificultades y diletancias. No resulta fácil abandonar viejas fórmulas, de las que algunos se sienten, pese a todo, orgullosos, para adoptar nuevos estilos cuya eficacia formativa está por demostrar. Pero ése es el gran reto de la Universidad en este inicio del Siglo XXI. Este libro sobre las Guías Docentes señala uno de los posibles caminos a seguir en ese proceso de transformar la Universidad. Tomando como eje la "planificación de la docencia" se van abordando los diversos componentes del diseño curricular para configurar, finalmente, una propuesta formativa innovadora y capaz de enriquecer los aprendizajes de nuestros estudiantes que, al final, es nuestro propósito básico. La Guía Docente constituye un "container" abierto y flexible en el que podremos ir integrando progresivamente todos los avances que deseemos en cada uno de los campos del quehacer didáctico. Por otra parte, la Guía docente es un diálogo que entablamos con nuestros estudiantes, es un recurso didáctico que ponemos en sus manos para que les oriente y apoye en su tarea de aprender. Elaborar la Guía es repensar nuestra docencia, pero poniéndonos en el pupitre del estudiante para anticipar sus dificultades y revisar punto por punto en qué podríamos ayudarles para asimilar mejor los conocimientos y competencias que deben adquirir con nosotros.
评论 (2)
Choice 评论
This short book appears unpretentious among recent volumes devoted to opera, but readers should not judge by size: Tomlinson (Univ. of Pennsylvania) joins thoughtful, illuminating, sometimes irritating insights in an essay on how listeners, past and present, have understood the "voice" of opera both as the sound of an individual singer and as the bearer of opera's expressive power, its distinctive subjectivity. Though not a history per se, the book proceeds chronologically through periods labeled "Late Renaissance" (early 1600s), "Early Modern" (c. 1650-1800), and "Modern" (c. 1800-present). Tomlinson characterizes these periods according to theories of the nature and application of human knowledge and perception drawn from writers as diverse as Kant, Schopenhauer, Nietzsche, Adorno, Derrida, Foucault, Abbate, et al. The author then calls on familiar works by Peri, Lully, Mozart, Bizet, Verdi, and Wagner to demonstrate how his introductory ideas underpin interpretations of the works. Between chapters are intermezzi ("Excursis"), which allow the mind to relax and consider aspects of opera production and even the relationship between Star Wars and Wagner's Ring. Though readers without a solid background in philosophy may find some trains of Tomlinson's thought difficult to follow, they will discover that understanding is worth the effort. Upper-division undergraduates through professionals. K. Pendle; University of Cincinnati
《图书馆杂志》(Library Journal )书评
As Tomlinson (humanities, Univ. of Pennsylvania) states in his preface, This is not a history of opera. Although the seven chapters are organized roughly along historical lines from late Renaissance to modern, Guggenheim and MacArthur fellowship recipient Tomlinson feels no obligation to present anything resembling the usual kind of survey. Instead, he picks and chooses his examples on a quite different level in order to discuss broad issues of representation, comprehension, social context, and their changes over the centuries. Integrating history, drama, and philosophy, Tomlinsons discussion centers around the way music and text represent emotion; how the composer uses voice, characterizations, and plot; and how he communicates the real and unreal to his audience. Not since Joseph Kermans Opera as Drama (1952; Univ. of California, 1988. reprint) has there been such a well-written, wide-ranging, and thought-provoking look at opera. Highly recommended.Timothy J. McGee, Univ. of Toronto (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
目录
| Preface | |
| I Voices of the Invisible | p. 3 |
| II Late Renaissance Opera | p. 9 |
| Excursus 1 A Cosmos of Apollinian Harmony | p. 28 |
| III Early Modern Opera | p. 34 |
| Excursus 2 The Borders of Theatrical Space | p. 68 |
| IV Modern Opera | p. 73 |
| Excursus 3 Noumenal Themes | p. 104 |
| Excursus 4 Composing Schopenhauer | p. 107 |
| V Nietzsche: Overcoming Operatic Metaphysics | p. 109 |
| VI Ghosts in the Machine | p. 127 |
| Excursus 5 Mechanical Reproduction of Opera | p. 143 |
| Excursus 6 Film Fantasy, Endgame of Wagnerism | p. 145 |
| VII The Sum of Modernity | p. 147 |
| Notes | p. 157 |
| Index | p. 181 |