Opera's Second Death by Slavoj Zizek, Mladen Dolar

By Slavoj Zizek, Mladen Dolar

Opera's moment dying is a passionate exploration of opera - the style, its masterpieces, and the character of demise. utilizing a stunning array of instruments, Slavoj Zizek and coauthor Mladen Dolar discover the unusual compulsions that overpower characters in Mozart and Wagner, in addition to our personal wants to die and to visit the opera.

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Opera's Second Death

Opera's moment demise is a passionate exploration of opera - the style, its masterpieces, and the character of loss of life. utilizing a blinding array of instruments, Slavoj Zizek and coauthor Mladen Dolar discover the unusual compulsions that overpower characters in Mozart and Wagner, in addition to our personal wants to die and to visit the opera.

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This, perhaps, is what Nietzsche had in mind with his notion of the Last Man - it is only today that we can really discern the contours of the Last Man, in the guise of the hedonistic ascetism of yuppies. Nietzsche thus does not simply urge life-assertion against ascetism: he is well aware how a certain ascetism is the obverse of the decadent excessive sensuality therein resides his criticism of Wagner's Parsifal, and, more generally, of the late Romantic decadence oscillating between damp sensuality and obscure spiritualism.

When a pregnant woman loses all brain function, should doctors use new procedures to keep her body living until the baby can be born? NO. Can a doctor ethically help terminally ill patients to kill themselves? YES. One cannot dismiss Singer as a monstrous exaggeration - what Adorno said about psychoanalysis (that its truth resides in its very exaggerations) fully holds for Singer: he is so traumatic and intolerable because his scandalous "exaggerations" directly renders visible the truth of the so-called postmodern ethics.

In contrast to German Idealists whose political vision involved the hope of a reconciliation between the assertion of an authentic intersubjective bond of love and the demands of the objective social order of contracts and laws, Wagner is no longer prone to accept this solution. His apprehension articulates itself in the opposition between Wotan and Alberich, between contractual symbolic authority and spectral invisible Master: Wotan is a figure of symbolic authority, he is the "God of contracts", his will is bound by the Word, by the symbolic pact (the giant Fasolt tells him: "What you are, / you are through contracts only"(Wagner 1977, p.

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