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Wagner's
Ring, an important phenomenon of the German drama tradition, is situated and examined alongside other major works of the canon. Wagner defines tragedy as a mythological drama. The theoretical foundation of the
Ring is a complex dialectic of history and myth. By contrasting the
Ring with the dramas of Schiller, Hebbel, Hofmannsthal, and Brecht different facets of Wagner's work are uniquely highlighted beyond theoretical generalizations or broad overviews. This series of comparisons offers fresh insight into the interrelationships of the
Ring with the previous German drama tradition, and also investigates its influence on twentieth-century drama and opera.
Scholars of German literature and culture will appreciate this innovative interpretation and study of the
Ring. New ideas proposed include the suggestions that Schiller's
Wallenstein trilogy might have served as a covert source for the
Ring and that
Ariadne auf Naxos and
Mahagonny represent parodies of the
Ring. The theory underlying the
Ring will attract musicologists and interdisciplinary literary scholars interested in the interrelationship between words and music and literature and opera.
Sommario
Preface
Introduction: On Finding Mythical-Historical Parallels Between Music-Drama, Spoken Drama, and Opera
Wagner and the Eighteenth Century: History and Myth, Tasso and Tannhäuser, Wotan and Wallenstein
The Nibelung Legend in the Nineteenth Century: Wagner and Hebbel
Brünnhilde on Naxos: A Study of the Wagnerian Influence on Hofmannsthal's Dramas and the Hofmannsthal-Strauss Dramas
Wagner and Brecht, or, Show Me the Way to Nibelheim, O Don't Ask Why, O Don't Ask Why
Conclusions: History or Myth?
Literature
Info autore
MARY A. CICORA is author of
Mythology as Metaphor: Romantic Irony, Critical Theory, and Wagner's RING (Greenwood, 1998). After attending Yale, she received her doctorate degree in German Literature from Cornell.
