Three Pillars of Modern Western Culture:《現代西方文化的三大支柱》華格納對20世紀初兩部文學巨著的影響：詹姆斯‧喬伊斯的《尤利西斯》和馬塞爾‧普魯斯特的《追憶似水年華》。本書尤其展現了主導動機、無盡旋律和整體藝術的技巧和原則是如何貫穿《尤利西斯》和《追憶似水年華》的。Tristan und Isolde/Tristan and Isolde

Three Pillars of Modern Western Culture:《現代西方文化的三大支柱》華格納對20世紀初兩部文學巨著的影響：詹姆斯‧喬伊斯的《尤利西斯》和馬塞爾‧普魯斯特的《追憶似水年華》。本書尤其展現了主導動機、無盡旋律和整體藝術的技巧和原則是如何貫穿《尤利西斯》和《追憶似水年華》的。Tristan und Isolde/Tristan and Isolde

Three Pillars of Modern Western Culture: Richard Wagner's Impact on James Joyce's Ulysses and Marcel Proust's In Search of Lost Time: Leitmotifs, Endless Melody and Gesamtkunstwerk Paperback – March 2, 2022

by William H. Pastor (Author)

5.0 5.0 out of 5 stars    4 ratings

See all formats and editions

---

Richard Wagner’s music dramas created a seismic shift in Western culture and changed the artistic landscape of the late 19th and early 20th centuries. Three of Wagner’s artistic innovations, leitmotifs, endless melody, and Gesamtkunstwerk, played a major role in the development of Modern literature. This book, Three Pillars of Modern Western Culture, focuses on Wagner’s influence on two literary masterpieces of the early 20th century: James Joyce’s Ulysses and Marcel Proust’s In Search of Lost Time. In particular, this work illustrates how the techniques and principles of leitmotifs, endless melody, and Gesamtkunstwerk are incorporated throughout Ulysses and In Search of Lost Time.

代西方文化的三大支柱：理查德·瓦格納對詹姆斯·喬伊斯《尤利西斯》和馬塞爾·普魯斯特《追憶似水年華》的影響：主導動機、無盡旋律和整體藝術 平裝本 – 2022年3月2日

作者：威廉·H·帕斯特

5.0 5.0 顆星（滿分5顆星） 4個評分

查看所有格式和版本

理查德·瓦格納的音樂劇引發了西方文化的巨變，並改變了19世紀末20世紀初的藝術格局。瓦格納的三大藝術創新——主導動機、無盡旋律和整體藝術——在現代文學的發展中發揮了重要作用。本書《現代西方文化的三大支柱》聚焦在華格納對20世紀初兩部文學巨著的影響：詹姆斯‧喬伊斯的《尤利西斯》和馬塞爾‧普魯斯特的《追憶似水年華》。本書尤其展現了主導動機、無盡旋律和整體藝術的技巧和原則是如何貫穿《尤利西斯》和《追憶似水年華》的。

Leonard Bernstein 分享了 1 則貼文。

"'Tristan und Isolde' is the central work of all music history, the hub of the wheel... I have spent my life since I first read it, trying to solve it. It is incredibly prophetic."
-Leonard Bernstein, 1981

In 1981, Leonard Bernstein began conducting the Symphonieorchester des Bayerischen Rundfunks in Richard Wagner's "Tristan und Isolde" in Munich's Hercules Hall. Performed one act at a time, in January, April, and November of 1981, respectively, Bernstein's "Tristan und Isolde" was telecast live and later released as an audio recording by Philips--to some controversy.

Karl Böhm remarked, with regards to Bernstein's exaggeratedly slow tempi, "For the first time, someone dares to perform this music as Wagner wrote it." Böhm's own recording of the Prelude was four minutes faster.

Upon completion of the project, Bernstein declared, "My life is complete... I don't care what happens after this. It is the finest thing I've ever done."

It is now available for the first time on DVD and Blu-ray. Pre-order your copy through the link below.

Chapters 18 to 25 deal with the repression of cultural-historical and contemporary interpretation. The opera, as a counterpart of the Alexandrian culture, forms an aesthetics of word and sound art, which Nietzsche sees as a visionary resurrection in Wagner's tragedies and in mythical wisdom. Art is the indispensable consolation before the tragedy that Kant and Schopenhauer worked out with their achievements in the field of reason and will. Naive tone paintings of German music, as used by Bach and Beethoven in their operas, are overcome in Wagner's operas. Mythical stage myths, the visualization of symphonic violence and the protection against it bring back the Dionysian music as the "ureine" of the will (Tristan and Isolde). Music and tragic myth are equally expressions of the Dionysian empowerment of a people and inseparable from each other. In the musical dramas of Wagner this was realized and the true culture reborn, as arose from the Greek new German culture.