论晚期风格

• 豆友58906132

  2014-10-02
  This system ... is, as Stephen Bann has said in The Clothing of Clio, the accumulated result of many modes of representing history in nineteenth-century art, literature and philosophy. Although Bann does not speak about music at all, his book can be construed as a running commentary on the invasion of nineteenth-century opera by history and historicization; for example, the representation of characters from the ancient world in Aida relies upon Egyptological discourse and discovery in ways unthinkable a generation earlier to Rossini in Semiramide.
• 豆友58906132

  2014-10-02
  ... the use of eighteenth-century musical forms ... all of them reactions away from Wagnerian endless melody, with its sweeping, swirling formlessness and overwhelming impression of indistinctiveness and emotional turbulence. ... Britten, Stravinsky, Weill, and Strauss, in wishing to avoid some of the powerful innovations introduced by Wagner, dissociate themselves not from his harmonic language - theirs would be unintelligible without his - but rather from a general attitude towards history prevalent in the nineteenth century that his operas - especially the Ring and those that followed - embody. This view sees history as incarnating a universal narrative, of the sort so regularly spun out by Wotan, Brünnhilde, and Erda in the Ring: history as a grand system to which everyone and every sm...
• 豆友3079484

  2013-06-29
  在革命胜利后，革命的头号敌人——以及受害者们——很可能成为艺术家和知识分子。他们曾经为了爱情而支持革命，而不是因着民族的意外事件，革命成功的可能性，或者什么理论的指导原则。
• 豆友3079484

  2013-06-29
  “我的整个生活都是由琐碎的小事构成的，他们巧妙地形成了各种大胆的行动。”
• 乡下人

  2012-03-13
  晚期风格是内在的，但却奇怪地远离了现存。唯有某些极为关注自己职业的艺术家和思想家才相信，它过于老迈，必须带着衰退的感受和记忆来面对死亡。正如阿多诺就贝多芬所说的那样，晚期风格并不承认死亡的最终步调；相反，死亡以一种折射的方式显现出来，像是反讽。但是，这种反讽以《庄严弥撒》那类作品的那种丰富的、断裂的和以某种不协调的庄重，或者以阿多诺自己文章中的那种庄重，过于经常地成了作为主题和作为风格的晚期，不断地使我们想起死亡。