Romantic moods3/19/2023 Barrios Mangoré: Confesión (Confissao de Amor).Andersson: Like an angel passing through my room.Rossini, Gioacchino Antonio (1792-1868).Puccini, Giacomo Antonio Domenico Michele Secondo Maria (1858-1924).Massenet, Jules Emile Frederic (1842–1912).Metropolitan Opera Orchestra, London Symphony Orchestra, Prague Philharmonia, Berliner Philharmoniker, Orchestra of the Royal Opera House, Covent Garden, Bavarian State Orchestra, English Northern Philharmonia, Orchestra del Teatro alla Scala di Milano, M, James Levine, Barry Wordsworth, Michel Swierczewski, Herbert von Karajan, Sir Colin Davis, Carlos Kleiber, Paul Daniel, Riccardo Muti, Karl-Heinz Loges, Claudio Abbado, Tullio Serafin, André Previn, Giuseppe Sinopoli, Neeme Järvi, Ross Pople, Semyon Bychk Luciano Pavarotti (Tenor), Bryn Terfel (Bass-Baritone), Neil Martin (Pipe), Magdalena Kozená (Mezzo-Soprano), José Carreras (Tenor), Montserrat Caballé (Soprano), Ileana Cotrubas (Soprano), Plácido Domingo (Tenor), Anne Sofie von Otter (Mezzo-Soprano), Benny Andersson (Accordion), Örjan Högberg (Viola), Jonas Lindgren (Violin), Mattias Helldén (Cello), José Cura (Tenor), Teresa Berganza (Mezzo-Soprano), Ben Heppner (Tenor), Bengt Forsberg (Piano), Carlo Bergonzi (Tenor), Barbara Bonney (Soprano), Moray Welsh (Cello), Gil Shaham (Violin), Lakatos, Yundi Li (Piano), Narciso Yepes (Guitar), Daniel Barenboim (Piano), Martha Argerich (Piano), Mischa Maisky (Cello), Pavel Gililov (Piano), Alexander-Sergei Ramirez (Guitar), Friedrich Gulda (Piano), Göran Söllscher (Guitar), Patrick Gallois (Flute), Fabrice Pierre (Harp), Emil Gilels (Piano) In establishing this relationship between mood and voice, Pfau moves away from the conventional understanding of emotion as something "owned" or exclusively attributable to the individual and toward a theory of mood as fundamentally intersubjective and deserving of broader consideration in the study of Romanticism. Pfau's ambitious study traces the evolution of Romantic interiority by exploring the deep-seated reverberations of historical change as they become legible in new discursive and conceptual strategies and in the evolving formal-aesthetic construction and reception of Romantic literature. Romantic Moods positions emotion as a "climate of history" to be interpretively recovered from the discursive and imaginative writing in which it is objectively embodied. Along the trajectory of Romantic thought paranoia characterizes the disintegration of traditional models of causation and representation during the French Revolution trauma, the radical political, cultural, and economic restructuring of Central Europe in the Napoleonic era and melancholy, the dominant post-traumatic condition of stalled, post-Napoleonic history both in England and on the continent. Pfau focuses on three specific paradigms of emotive experience: paranoia, trauma, and melancholy. Drawing on a multifaceted philosophical tradition ranging from Kant to Hegel to Heidegger-incorporating as well the psychosocial analyses of Freud, Benjamin, and Adorno-Pfau develops a new understanding of the Romantic writer's voice as the formal encryption of a complex cultural condition. Thomas Pfau reinterprets the evolution of British and German Romanticism as a progress through three successive dominant moods, each manifested in the "voice" of an historical moment.
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