Wagner

L’article analyse les écrits critiques (réunis dans Nos Maîtres) et les textes littéraires de Teodor de Wyzewa, en fonction de son attitude à l’égard de ceux qu’il considérait comme ses maîtres. L’évolution de la pensée de Wyzewa démontre que cet adepte du wagnérisme s’est progressivement éloigné de ceux qui l’ont influencé, en remplaçant une approche intellectuelle de l’art et la foi aveugle dans la science, jugée vaine, par un idéal à la fois esthétique et éthique. Dans le roman Valbert ou les Récits d’un jeune homme Wyzewa décrit un détachement de l’idéalisme aliénant au profit d’une attitude spontanée face à la vie. Sa relecture des paraboles bibliques met en question la philosophie schopenhauerienne au profit du tolstoïsme (Contes chrétiens). La quête des valeurs morales entraîne une rupture avec la pensée symboliste en faveur d’une religion de l’amour et de la beauté. En formulant son propre enseignement Wyzewa a donc dépassé l’autorité de ses maîtres, sans pourtant amoindrir leur importance pour toute sa génération.

An article (in Turkish) where Emre Aracı recalls his trip to Neuschwanstein Castle of King Ludwig II in the Bavarian Alps.

Emre Aracı bu makalesinde II. Ludwig'in sihirli dünyasını yansıtan ve besteci Richard Wagner'in sanatına hediye olarak inşa edilen Neuschwanstein Kalesi'ne yapmış olduğu bir ziyaretin anılarını bizimle paylaşıyor.

More than a century after Guido Adler's appointment to the first chair in musicology at the University of Vienna, Music, Criticism, and the Challenge of History provides a first look at the discipline in this earliest period, and at the ideological dilemmas and methodological anxieties that characterized it upon its institutionalization. Author Kevin Karnes contends that some of the most vital questions surrounding musicology's disciplinary identities today-the relationship between musicology and criticism, the role of the subject in analysis and the narration of history, and the responsibilities of the scholar to the listening public-originate in these conflicted and largely forgotten beginnings.

Е.А. Ручьевская – один из самых авторитетных российских исследователей жанра оперы. В своих работах она создала целостную теорию оперной драматургии, разработала методы анализа оперного либретто, композиции, вокальной мелодики и других элементов оперы. Е.А. Ручьевской принадлежит четыре масштабных исследования, посвященных классическим операм ХIХ – первой половины ХХ веков. Первым исследованием, в котором Е.А. Ручьевской были предложены новые методы анализа оперного текста, стала масштабная монография «Поэтическое слово Пушкина в опере Даргомыжского “Каменный гость”» (книга была издана в 1988 году, а в 2012 году вышло второе, исправленное и дополненное издание). Уникальность оперы А.С. Даргомыжского, написанной на оригинальный стихотворный текст Пушкина, обусловила особый ракурс исследования. Е.А. Ручьевская подробно рассматривает ритмическую организацию, синтаксис и пунктуацию стиха, и их музыкальное воплощение композитором. В центре внимания Е.А. Ручьевской – ариозная мелодика оперы и возникающие в ней устойчивые мелодические формулы. Эти формулы исследователь рассматривает далее на материале оперы П.И. Чайковского «Евгений Онегин». «“Руслан” Глинки, “Тристан” Вагнера и “Снегурочка” Римского-Корсакова» – второе масштабное исследование Е.А. Ручьевской (издано в 2002 году). По своему замыслу эта книга не имеет прецедентов в музыкознании. Впервые три оперы, принадлежащие разным авторам, написанные в разные периоды XIX века, рассматриваются не по отдельности, а в сравнении друг с другом. Это стало возможным благодаря обнаруженным исследователем общим закономерностям оперного жанра. Автором также выявлены специфические признаки, сближающие все три оперы, среди которых важнейшую роль играет принцип мелодической формульности. Драматургия и композиция трех опер рассматриваются в аспекте музыкальной формы и темпа. Во второй части книги исследуется соотношение текста драмы А.Н. Островского «Снегурочка» и его воплощение в опере Н.А. Римского-Корсакова, а также дается ее сравнительный анализ со «Снегурочкой» П.И. Чайковского, написанной в жанре музыки к драме. Подчеркивается свободное отношение композиторов к строению стиха Островского, различия в его музыкальной трактовке.

E.A. Ruchyevskaya is one of the most competent Russian researchers of the genre of opera. In her works she has created a holistic theory of the opera dramatic concept, developed method of the analysis of the opera libretto, composition, vocal melodic pattern and other elements of the opera. Е.А. Ruchyevskaya is the author of four comprehensive investigations dedicated to classical operas of the 19th and the beginning of 20th centuries.The first investigation in which E.A. Ruchyevskaya has set forth new methods of the analysis of operatic text was monograph ”Poetic word of Pushkin in opera The Stone Guest by A.S. Dargomyzhsky” (the book was published in 1988 and in 2012 the second corrected and supplemented edition came out). The uniqueness of the opera composed after the original poetic text of Pushkin predetermined a special aspect of the research. E.A. Ruchyevskaya thoroughly examines the rhythmic arrangement, syntax and punctuation of the verse and their musical realization by the composer. E.A. Ruchyevskaya concentrates her attention on the arioso melody of the opera and therein arising settled melodic formulas. The researcher examines these formulas later using the material of “Eugene Onegin”, opera by P.I. Tchaikovsky. “Ruslan” by Glinka, “Tristan” by Wagner and “Snow Maiden” by Rimsky Korsakov” is the second investigation of E.A. Ruchyevskaya (published in 2002). As to its concept this book has no precedents in the musicology. For the first time, three operas of different composers written during different periods of the 19th century are considered not separately, but in comparison with each other. This became possible thanks to the common laws of the genre of opera disclosed by the researcher. The author has also revealed specific signs making closer all three operas among which the principle of the melodic formulas is of the utmost importance. The dramatic concept and composition of three operas are examined in the aspect of the musical form and tempo. The second part of the book investigates the relation of text of the A.N. Ostrovsky’s drama “Snow Maiden” and its embodiment in the opera of N.A. Rimsky Korsakov, as well as the analysis of the comparison is given with the “Snow Maiden” of P.I. Tchaikovsky composed in the genre of music to the drama. Free attitude of composers to the structure of verse of Ostrovsky, differences in its musical interpretation are emphasized.

Throughout the course of this thesis, I examine the evidence of racial, religious and gender discrimination in Richard Wagner’s final music drama, Parsifal (1882). The question is how and with what effects these forms of discrimination are constructed. In other words, does the work promote or simply “just” dramatize discrimination, and what are the consequences of these actions? Furthermore, how should opera directors today tackle these evident forms of discrimination? In short, how can Parsifal still be acceptable and even relevant to produce today?
I examine Parsifal broadly and interdisciplinarily as both a historical document – i.e. Richard Wagner’s original music score, libretto, stage notes and photographs from 1882 – and as a contemporary, live performance – i.e. the British director Keith Warner’s staging of Parsifal at the Royal Danish Opera from 2012. This, I believe, is essential in order to explore the work’s constructions of gender, racial and religious stereotyping and discrimination in its semiotic and performative interplaying dimensions – a methodological approach inspired by German theatre theorist Erika Fisher-Lichte.
From a semiotic perspective, inspired by theorists such as Zygmunt Bauman, Simone de Beauvoir, Edward W. Said, Catherine Clément, Susan McClary and Herbert Lindenberger, I examine how the work reproduces and subverts stereotypes of the binary opposition between the norm and the Other in both the musical score, libretto and visual elements. From a performative approach, inspired by theorists such as Judith Butler, Erika Fisher-Lichte and Carolyn Abbate, I examine how these stereotypes are performed and subverted in the work as a staged (i.e. live visual, sounding and sensory) performance and experience.

I show how Parsifal can indeed be read as a critique of racial, religious and gender discrimination - and go further to suggest that the work  endorses an inclusion of the Other, symbolically represented in the characters Klingsor, Kundry and through the means of musical chromaticism. We move from Act 1 in which the Other is excluded, to Act 2 in which we are in the realm of the Other and finally to Act 3 in which the Other is included in the realm and characters.
It is in this fact that I view Parsifal as a highly relevant work to produce today. Furthermore, this places Parsifal as a work embodying strong socio-political potentials. Directors today should then not shy away from staging Klingsor and Kundry as the Other, that being any supressed group of identity to fully embrace this subversive potential.

Long considered to lie ‘light years’ apart, Ravel and Wagner actually have multiple
points of contact. Several appear in the comments Ravel made about the German composer in his articles, interviews and correspondence. Another is a previously unrecognised allusion to Parsifal in the Passacaille of Ravel’s Trio (1914), which he composed shortly after writing a review of the opera’s premiere in Paris. Additional Wagnerisms can be located in Daphnis et Chloe´ (1909–12) and L’Enfant et les sortile`ges (1920–5). More broadly, Wagner plays a central role in the ‘decadent dialectics’ of Ravel’s style.

Scholars have long framed similarities between Bedřich Smetana’s “Vyšehrad” (the first movement of Má vlast) and Zdeněk Fibich’s symphonic poem, Záboj, Slavoj, and Luděk (prem. 1874), as a threat to Smetana’s originality. In his biography of the composer, for example, Brian Large moved to “exonerate” Smetana from charges of “plagiarism” by arguing that Smetana began “Vyšehrad” at least two years before Záboj’s premiere, not six months later as Smetana’s diary attests. Rather than regarding these works’ similarities as a problem, this discussion embraces their close relationships as a starting point. Situating both symphonic poems and their reception within the discourses generated by a powerful organization called the “Umělecká beseda” (“Artistic Society,” or UB, in which both Smetana and Fibich participated) illuminates the larger intellectual and aesthetic space from which they emerged. Such a process of contextualization reveals how both composers’ works constructed each other and uncovers Smetana not as a “lone genius”—a composer untainted by influence—but as a participant in a shared conversation. Ultimately, this examination opens up new understandings of Smetana and his “Vyšehrad” and, as an extension of Michael Beckerman’s landmark “In Search of Czechness in Music,” invites scholars to reengage with the deliberate subjectivity of Czechness and nationalistic sounds more broadly.

The present publication means to disclose for the first time the Wagnerian section of the library of Max Koch (1855-1931), kept at the Istituto Italiano di Studi Germanici since the institution's birth in 1932. The now forgotten figure of the Germanist from Breslau provides the opportunity to present a perfect example of Wagnerianer, personally involved in the creation of an ideal symbol of the Deutschtum, especially useful for the cause of the völkisch ideological movement. The six hundred volumes of the Wagnerian section, which will be examined in a separate publication, are a collection of well-organized sources by a learned Wagnerianer in direct contact with Villa Wahnfried and many scholars orbiting in Bayreuhter-Kreis. The main aim of the essay is to demonstrate how the material collected and reorganized by Koch is not an ordinary and progressive collection of titles but a set of organized knowledges starting from a comparative, multifocal and ultimately multimedia point of view.

Liszt’s decision to stage the premiere of _Lohengrin_ in Weimar on 28 August 1850 involved political as well as artistic risk. Wagner’s compromised public profile, following his activities as a republican agitator during the Dresden uprising in 1849, risked tainting the Grand Duke Carl Alexander’s Weimar court by association. Yet the money invested by the Grand Duchess Maria Pawlowna in the premier was unprecedented, and the event was widely trumpeted as part of a new progressive agenda for music in Weimar. The evidence suggests, however, that the premiere was much less of an artistic success than Wagner had hoped. In seeking to uncover the motives and machinations of the figures involved in the unveiling of _Lohengrin_, this article examines the political dynamics of Wagner’s interaction with Carl Alexander alongside the apparent artistic failure of the premiere itself (evidenced through Liszt’s conducting score as well as discourse analysis). It raises the question of why Liszt wrote his essay on _Lohengrin_ so quickly after the premiere, and the extent to which he sought to steer Wagner’s public profile away from any unwanted political associations.

In occasione della rappresentazione del Lohengrin di Wagner al Teatro Comunale di Bologna (autunno 2002)

After the  great success of the first Italian staging of Lohengrin in Bologna (1 November 1871), Richard Wagner was appointed Bolognese honourary citizen (31 May 1872); Wagner thanked the Bolognese citizens by means of a letter written in Bayreuth on 3 October 1872 which is far too famous to be reported here, saying that he would like to visit the renowned city as soon as possible. The occasion was on 4 December 1876, when Wagner attended one performing of Rienzi conducted by Marino Mancinelli at the Teatro Comunale. That was the only occasion on which Wagner stayed in Bologna; but the great composer’s link with the city, which had staged his operas in Italy for the first time, was very significant. In a letter addressed to Giovannina Lucca from Bayreuth on 28 October 1877, he wrote as follows:
“It is there, in Bologna only, that I have had the opportunity of setting my foot in Italy. In Bologna I have found some true friends, some eminent people indeed, and a whole set of things which could  have persuaded me to take up my residence among such excellent and earnest friends, who were so favourable to my leading idea in art, had it not been too late for me by now”.

The essay means to disclose a comparative perspective between theoretical, epistemic and hermeneutical issues of two musical projects with an intense metaphysical value such as the compositions by Richard Wagner and Gustav Mahler. They are dialectically antithetical composers and for this reason fruitful of reflections concerning the essence of the music, its connection with the transcendence and its dramaturgic and symphonic declinations.
Wagner and Mahler proceed along two different paths but both involve in their compositions a constant reflection about the human essence and its connection with the universal. Ultimate purpose of this essay is to establish a dialogue between the symbolic revelation and redemption of the Wagnerian idea of Gesamt and the tragic irony of the Mahlerian Panic sentiment, or rather between the presence of the idea in Wagner’s Bühnenfestspiel and the nostalgia for the present in Mahler’s symphonies.

Wagner ainsi ouvre le drame à une toute autre dimension qu’il n’avait jamais vraiment eu avant. Il n’est plus un exploit ou une geste de la libération de l’humanité d’un mal et de l’apport à l’humanité d’un bien, mais la fable d’un adolescent orphelin dans sa quête de la liberté, de l’autonomie, de la gloire et de l’amour. Il s’agit donc en définitive d’un drame parfaitement romantique où l’épée n’est que l’outil de cette maturité d’homme conquise à sa pointe. La dramatisation de l’enlèvement du plastron de l’armure de Brünnhilde, justement à la pointe de l’épée de Siegfried, de Notung devient une forme symbolique clairement identifiée comme un viol, une perte de virginité, de valeur féminine et montre combien on est près à ce moment là de ne considérer Notung que comme un symbole de la masculinité sexuelle (je ne dirai pas phallique car en fait il s’agit du pénis de l’homme et Lacan a toujours clairement déclaré que même les femme ont un phallus puisque le phallus n’est que l’Idéal du Moi).
Nous avons vu au début comment le mythe nous fait passer d’une société matriarcale à une société patriarcale avec un questionnement sur la libération des eaux, de la mer, des rivières. Ici nous approfondissons ce passage et nous atteignons une société de domination sexuelle mâle que seul l’amour permet de dépasser. On entre là dans une vision quasi matrimoniale (ou ne devrions-nous pas dire patrimoniale) de la société dont l’épée est le symbole direct.
On est loin de la mère de Grendel et de ses épées de géants

Richard Wagner notiert in einer seiner letzten Schriften ("Was nützt diese Erkenntnis?", 1880): "Die deutsche Einheit muß überall hin die Zähne weisen können, selbst wenn sie nichts damit zu kauen mehr haben sollte." Und es folgt eine erbitterte Attacke auf Bismarck, der "rastlos der Vermehrung seiner Machtmittel nachspürt" - und damit den Krieg verewige. Der von seiner Kriegsbegeisterung in den Jahren 1870/71 radikal abgerückte, zum Pazifisten gewordene Wagner hat in
seinen letzten Lebensjahren kaum jemanden so tief gehaßt wie Bismarck. Die Tagebücher Cosima Wagners verzeichnen eine ganze Reihe exzessiver Ausbrüche gegen den "Gewaltigen", der ihm geradezu zum apokalyptischen Drachen einer durch immer fürchterlichere Kriege auf ihren Untergang zutreibenden Menschheit wird. "Ich kam in die elendeste Zeit, welche Deutschland je erlebt, mit diesem Sauhetzer an der Spitze", ereifert er sich am 18. März 1880. Einen "brutalen Barbaren" nennt er Bismarck am 21. März 1881. Wagners Bismarck-Haß überträgt sich auf ganz Preußen, wenn er am 21. Januar 1881 höhnt, "daß immer die dümmsten Stämme unter den Völkern bestimmt seien, die Tatze des Stärkeren protzig auf alles zu legen" wie eben "die Preußen bei den Deutschen".

A review-article based around three recent publications:

[i] Nicholas Vazsonyi, __Richard Wagner: Self-Promotion and the Making of a Brand_ (CUP, 2010); [ii] Daniel Foster, _Wagner's Ring Cycle and the Greeks_ (CUP, 2010); and [iii] Laurence Dreyfus, _Wagner and the Erotic Impulse_ (Harvard UP, 2010)

Özel askeri şirketler günümüz savaş/çatışma alanlarında çokça görülen bir olgu olup, Soğuk Savaş sonrası dönemde orduların dağılması ve küresel özelleştirme dalgasıyla etkinliklerini arttırmışlardır. Bu yapılar dönemin savaş alanlarında yöneticiler tarafından; halkın baskısından kurtulmak, düşmana dolaylı baskı uygulamak veya üstünlüğünü kanıtlamak, toprak elde etmek, ekonomik olarak çıkar sağlamak ve daha birçok sebeplerle; altın, güç, toprak, yönetimden pay gibi bedeller ödenerek kullanılmışlardır. Bu kullanım sonucunda yönetimce elde edilen görece başarı kavramı ilerleyen zamanlarda paralı askerlik kavramının geliştirilerek kullanımına yol açmıştır. Paralı askerliğin, özel askeri şirketlerle beraber son dönemde çeşitli boyutlarıyla ön plana çıkması, bu kavramların anlaşılabilirliğinin önemini arttırmıştır. Bu noktada doğabilecek kavram kargaşasını gidermek, ulusal ve uluslararası hukukta nerede konumlandırılabileceğini tartışmak amacıyla bu çalışma yapılmıştır. Ayrıca özel askeri şirketler, yeni güvenlik anlayışı içerisinde devlet ve özel sektör tarafından kullanılan özel bir güç olarak karşımıza çıkmaktadır. Bu gücün ortaya çıkış sebepleri, sınıflandırılması, gelişimini etkileyen faktörleri ve küresel ölçekte faaliyetlerini ele alan çalışmada, özel askeri şirketlerin kullanımında devletlerin sorumluluklarının yanı sıra, ulusal ve uluslararası hukuk alanındaki düzenlemeleri de incelenmiştir.

Called the "Colored Wagner" throughout his life, African American opera composer Harry Lawrence Freeman wrote dozens of operas during the Harlem Renaissance. In 2015, the Morningside Opera Company, Harlem Opera Theater, and the Harlem Chamber Players performed one of his grand operas, Voodoo. This article analyzes their performance, contextualizing it with archival documents located in Columbia University's archives.

"Nel raccoglierci qui presso la tomba di quest'uomo che ci ha lasciati, noi siamo, per così dire, i rappresentanti di un'intera nazione, del popolo tedesco riunito, in lutto per la scomparsa di un suo celebratissimo figlio, di quanto era rimasto del declinante splendore della nostra arte nativa, della fioritura spirituale della patria. In realtà ancora vive-e possa vivere a lungo!-l'eroe del canto in lingua tedesca, ma l'ultimo grande Maestro, lo splendido portavoce dell'arte dei suoni, colui che ereditò e dilatò la fama immortale di Händel e di Bach, di Mozart e di Haydn, ha concluso la sua esistenza, e noi, piangendo, siamo qui accanto alle corde spezzate dello strumento che ora tace" . È l'inizio dell'orazione funebre per la morte di Ludwig van Beethoven, scritta dal poeta e drammaturgo austriaco Franz Grillparzer e declamata da un attore durante la cerimonia funebre del 29 marzo 1827, davanti a una folla impressionante di viennesi (oltre 20.000 secondo le cronache dell'epoca), accorsi a tributare l'estremo saluto al compositore. Nessun musicista, prima di Beethoven, era mai stato pianto pubblicamente da un così grande numero di persone. Per nessun musicista era mai stato scritto e declamato un necrologio così intenso e partecipato come quello dedicato a Beethoven. L'inizio di questa orazione, opera di uno dei massimi scrittori austriaci dell'ottocento, è quasi una dichiarazione programmatica dei capisaldi ideologici del romanticismo tedesco e delle sue implicazioni in ambito musicale: si parla di "nazione", di "popolo tedesco" (due concetti fondamentali del romanticismo, che affonda le basi nell' idea di individualità nazionale); si celebra l'"arte nativa" (l'arte popolare, delle origini, ingenua) e si associa Beethoven a questa arte ormai "declinante"; si mette in relazione Beethoven con il sommo poeta Goethe, definito "eroe del canto in lingua tedesca"; si conferma la convinzione, già chiara ormai da tempo a critici ed estimatori, che il genio di Beethoven discenda da quello dei grandi Maestri del passato austro-tedesco, almeno due dei quali (Haydn e Mozart), già inseriti, da E.T.A. Hoffmann, nell'empireo dei compositori romantici (pur non appartenendo cronologicamente a questa corrente), e di cui uno (Bach), in fase di riscoperta proprio in quegli anni (la celebre esecuzione pubblica della bachiana Passione secondo Matteo, curata da Mendelssohn, avverrà solo due anni dopo la morte di Beethoven, nel 1829, e decreterà il simbolico inizio della Bach-Reinassance). Era chiaro a tutti, insomma, che era appena scomparso il "primo dei musicisti" ("Der General der Musiker" lo chiamò, secondo la tradizione, una fruttivendola viennese nel giorno del funerale), e che, per dirla con le parole di Grillparzer, "chi verrà dopo di lui non continuerà, dovrà ricominciare, perché questo precursore ha condotto l'opera sua fino agli estremi confini dell'arte". Il nome di Beethoven era pronto per entrare nel mito, un mito che lo avrebbe accompagnato per tutto l'ottocento e che, sebbene per certi aspetti mitigato e ridimensionato, sarebbe andato avanti anche nel secolo successivo, per arrivare fino a noi. Riveste quindi un certo interesse investigare in che modo la figura di Beethoven sia divenuta il simbolo del compositore romantico per eccellenza, pur essendo stata ormai chiarita da più parti la sua pressoché quasi totale estraneità al clima e agli ideali del romanticismo, e nonostante la sua musica abbia suscitato, in vita, le reazioni più eterogenee e opposte, sia da parte della critica ufficiale, sia da parte di colleghi e amici.

This paper analyzes a decisive moment in the German aesthetics of the nineteenth century, that is, the passage from a view that considered poetry (i.e. literature) the most perfect art within the system of the individual arts to one in which music is the art par excellence. On the one hand, we find the philosophical perspectives of the first half of the nineteenth century (Hegel, Solger, Schelling). On the other hand are the views that, beginning with Schopenhauer, dominate the second half of the century with Nietzsche and Wagner. The aim of this paper is to show the meaning of this historical-philosophical moment in order to produce an interpretation that concerns both the theoretical consideration of art and the general philosophical approach of these authors. I intend to read this transition as one of the initial moments of the upheavals that affected art in the twentieth century, which some recent interpreters have read, in Hegelian terms, as the "end of art".

اسلاوی ژیژک ( متولد 21 مارس 1949 ) ، فیلسوف و نظریه پرداز اسلووینایی ، امروز یکی از سرشناس ترین متفکران، خاصه در دنیای انگلیسی زبان است که به سبب نظرات بدیع و حوزه وسیع آثارش مورد توجه بسیار قرار گرفته است. تلاش نظری ژیژک برای احیای سوژه و انتقاد رادیکال و همه جانبه‌اش از جریان غالب اندیشه در غرب، سبب شده تا نظرات او بسیار جدی گرفته بشود.  اسلاوی ژیژک، مهم‌ترین متفکر و نظریه‌پرداز مطالعات میان رشته‌ای در دهه گذشته است. ژیژک در سال ۱۹۸۹ و با چاپ کتاب " ابژه متعالی ایدئولوژی" در غرب به شهرت رسید. تفکر او حاصل تلفیق سنت فلسفه هگلی، نظریه سیاسی مارکسیستی و روانکاوی لاکانی در ادبیات است. ژیژک علاوه بر ادبیات توجه خاصی نیز به سینما نشان داده و مقالات و کتابهای بسیاری در باره آن نوشته است .  ژیژک با سنتی ارتباط دارد که می‌توان آن را مکتب روانکاوي ليوبليانا که به مکتب لاکاني ليوبليانا نیز مشهور است ، نامید ؛ که مکتب فکري پساساختارگرايي و لاکاني است که در ليوبليانياي اسلووني شکل گرفت . اين مکتب در دهه 1970 توسط تعدادي از پیروان ژاک لاکان شکل گرفت. اسلاوُي ژيژک به همراه دالر و موچينک مؤسسان اين مکتب بودند. هدف اصلي آنها کنار هم قرار دادن فلسفهي ايدهآليسم آلمان با مارکسيسم و نظريههاي روانکاوي به عنوان ابزاري براي تحليل پديدههاي اجتماعي، فرهنگي و سياسي روز بود. اين مکتب در دههي 1990 در فضاي آکادميک به شهرتي جهاني رسيد. مکتب ليوبليانا قصد داشت با تأکيد به شيوهي ايدهآليسم آلمان بر ريشههاي تفکرات کارل مارکس، تفسيري نو از مارکسيسم ارائه دهد. آن‌ها طرفدار دريافتي غيرتاريخي از فلسفهي هگل بودند و بر ديالکتيک و معرفتشناسي فلسفه او تأکيد داشتند.
اغلب اعضاي مکتب ليوبليانا مديون بوژيدار دبانجک، مارکسيست اهل اسلووني بودند. ويژگي اصلي مکتب ليوبليانا متصل کردن سنّتِ مارکسيستي و هگلي با روانکاوي لاکاني و ساختارگرايي بود. خوانش ترکيبي لاکان، ايدهآليسم آلمان (بهويژه هگل)، مارکس، مکتب فرانکفورت و نويسندگان سنّت ساختارگرايي (به ويژه کلود لوياشتراوس) شاخصهي اصلي مکتب ليوبليانا است. روانکاوي مکتب ليوبيانا در این زمينهها متمرکز است: خوانش فلسفهي مُدرن و کلاسيک از منظر نظريههاي ژاک لاکان، گسترش نظريات لاکان در بابِ ايدئولوژي و قدرت و تحليل لاکاني فرهنگ و هنر با تأکيد بر سينما. مقاله ی حاضر با عنوان : مسیح ، هگل ، واگنر، در نخستین شماره ی نشریه بین المللی "مطالعات ژیژک" که با هدف تبیین آرای این فیلسوف معاصر اسلوونیایی منتشر می‌شود ، به انتشار رسید .

There's no lack of critical works about musical aspects of The Waste Land; still, few of these engage directly the signifier of the poem, as they discuss the content and meaning of references rather than typesetting, metrics and pronunciation. In specular fashion, those works that do tackle signifiers don't investigate them in musical terms 1. This research focuses on musical analysis of The Waste Land, as it graphically looks on the page and as it sounds recorded on phonograph, claiming it can assist interpretation. First, I examine how Eliot systematically uses typographic space as a rigorous musical tool (a 3/4 time direction), resulting in a shift in reading performance from qualitative to quantitative metre (this not being a " natural " consequence, but the result of a very conscious work). The extent to which Pound influenced Eliot in some of these realizations leads us to look for complex musical values, so-called metric modulations, in free verse, empirically testing limit speed ratios of reading performance, in the attempt of establishing accurate subdivisions of the text. Then, Eliot's essay The Three Voices of Poetry is put in connection with the changes in pulse in the recordings that I associated with properties of free verse theorized by Pound, asserting these are instrumental in representing and diversifying inner thought, rhetorical argument and dramatic speech (by means of their respectively different relationships with their addressees and contexts). It is argued how metric modulation, alongside a more general semantic modulation–a change in context flagged by the shifting of grammar operators, like personal pronouns and correlatives–works as a means employed to create variety inside a continuum. I therefore derive some logical conclusions about the nature of the transformations of the speaker in The Waste Land, highlighting the dichotomy between the mimeses that drive the swift turnovers of the poem (often leading the reader to infer multiple voices) and the slower metamorphosis that keeps it together, ensuring its horizontal development from such abrupt vertical leaps.

This article focuses on a meeting of generations that takes the form of an interview film : Hans Jürgen Syberberg’s Winifred Wagner oder die Geschichte des Hauses Wahnfried (1975). The only ‘ac¬tress’ of the five-hour film is Winifred Wagner, Richard Wagner’s daughter-in-law, who was the head of the Bayreuth Festival in 1933-1945. A historical narrative, Syberberg’s film is simultane¬ously also a document and an oral history based on an individual’s memory. Although the film is extraordinary in many ways, it gives the spectators an opportunity to reflect on the ways of nar¬rating history that are common in audiovisual historical narration. Syberberg presents us with a witness who has experienced the past, but simultaneously also comments on the problem of remembering. Despite its controversies and ambivalence, Hans Jürgen Syberberg’s memory-historical film comes very close to the post-positivist thoughts that researchers like Luisa Pas¬serini and Alessandro Portelli were sketching while pondering the possibilities of oral history.

Der Aufsatz ist als Versuch angelegt, anhand des Walkürenritts einzelne Aspekte der populärkulturellen Rezeption Wagners miteinander in Beziehung zu setzen. Dazu werden in einem ersten Teil bestimmte Formen und Grundlagen der populärkulturellen Wagner-Rezeption angedeutet. In einem zweiten Schritt werden einige Beispiele der Aneignung von Wagner näher vorgestellt, um zum Schluss die Beobachtungen zusammenführen zu können.

The essay is designed as an attempt to relate individual aspects of Wagner's popular cultural reception to one another on the basis of the Ride of the Valkyries. To this end, the first part of the study outlines certain forms and foundations of Wagner's popular cultural reception. In a second step, some examples of the appropriation of Wagner are presented in more detail, in order to be able to bring together the observations at the end.

En la provincia de Santiago del Estero (Argentina) se han recuperado, a lo largo de las
investigaciones arqueológicas, una cantidad relativamente grande de objetos metálicos que ponen en juego una interesante problemática no abordada hasta ahora. Casi en su totalidad fueron recuperados durante la primera mitad del siglo pasado, y no se cuenta con datos sobre contextos ni asociaciones para darles a partir de ellos un marco de referencia cronológico o funcional. La problemática que abre su presencia en la región se basa fundamentalmente en que, en su gran mayoría, exhiben indudables características valliserranas tardías 1 e incaicas y proceden de un área de apenas 15 km de diámetro ubicada en el sector medio del Río Salado, en plena llanura santiagueña, lejos de los valles del Noroeste Argentino (NOA), y en una zona tradicionalmente considerada fuera del ámbito de expansión de las sociedades tardías valliserranas del NOA y del incario.