Boek
References to the Gesamtkunstwerk a total work of art abound indiscussions of modern art and culture often describing a seamless melding of avariety of art forms that overwhelm the emotions impede critical thought andmold a group of individuals into a powerless mass. Famously set forth by thecomposer Richard Wagner in 1849 the term has been applied to such disparatesettings as the cinema palaces of Berlin in the 1920s and Andy Warhols Factoryscene in New York in the 1960s.In Modernism after Wagner Juliet Koss explores the history and legacy ofWagners concept laying out its genealogy and the political aesthetic andcultural context from which it emerged and tracing its development andreception through the 1930s. Beginning with Wagners initial articulation ofthe Gesamtkunstwerk in the wake of the 184849 revolution Koss addresses aseries of linked episodes in German aesthetic theory and artistic practice thatinclude the composers efforts to build a theater to house his music dramasculminating in the construction of the festival theater at Bayreuth in 1876German aesthetic theory and criticism in the visual arts theater film andradio from the 1870s to the 1920s the founding of the Darmstadt ArtistsColony in 1901 and that of the Munich Artists Theater in 1908 performancesand parties at the Bauhaus in the 1920s and 1930s and the legacy of theGesamtkunstwerk under National Socialism. Attending to Wagners absorptioninto Fascist aesthetics Koss foregrounds the revolutionary origins of theGesamtkunstwerk and its emancipatory potential.Rigorously researched and highly accessible Modernism after Wagner placesthe Gesamtkunstwerk at the heart of modern art and culture. «
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