Thoughts on Rigoletto
Identifieur interne : 000068 ( Istex/Corpus ); précédent : 000067; suivant : 000069Thoughts on Rigoletto
Auteurs : Francis GrierSource :
- The International Journal of Psychoanalysis [ 0020-7578 ] ; 2011-12.
English descriptors
- KwdEn :
Abstract
The author discusses the traditional interpretations of the principal dramatis personae in Verdi’s Rigoletto, suggesting that the opera expresses the composer’s unconscious but highly perceptive and intuitive exploration of: (i) paranoid and perverse father–daughter oedipal dynamics as enacted between Rigoletto and Gilda; (ii) a folie‐à‐deux sado‐masochistic relationship between Rigoletto and the Duke; (iii) the avoidance of conscious guilt and responsibility for Rigoletto’s part in the tragedy through the rejection of insight achieved via massive projection, an addiction to mania, and perversion. In this respect Rigoletto is compared with King Lear. Some technical aspects of Verdi’s compositional style employed to portray the contrasting characters of the protagonists are analysed. The paper also touches on Verdi’s own possible unconscious (as well as conscious) investment in this particular opera, noting similarities between Verdi’s portrait of the tragic, hunchback jester and his own self‐depiction. The author notes similarities and contrasts between his analysis of the opera and recent papers byHudson (1992),Tarnopolsky (1995)andBergstein (2003)on the same subject.
Url:
DOI: 10.1111/j.1745-8315.2010.00394.x
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ISTEX:DB1C8037E2535B6CAC0B199559E4758A572B19A9Le document en format XML
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In this respect Rigoletto is compared with King Lear. Some technical aspects of Verdi’s compositional style employed to portray the contrasting characters of the protagonists are analysed. The paper also touches on Verdi’s own possible unconscious (as well as conscious) investment in this particular opera, noting similarities between Verdi’s portrait of the tragic, hunchback jester and his own self‐depiction. 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Grier</title><title type="short">Thoughts on <i>Rigoletto</i></title></titleGroup><creators><creator creatorRole="author" xml:id="cr1" affiliationRef="#aff-1-1"><personName><givenNames>Francis</givenNames><familyName>Grier</familyName></personName></creator></creators><affiliationGroup><affiliation xml:id="aff-1-1"><unparsedAffiliation>– e‐mail: <email>grier@globalnet.co.uk</email></unparsedAffiliation></affiliation></affiliationGroup><keywordGroup xml:lang="en"><keyword xml:id="k1">perversion</keyword><keyword xml:id="k2">projective identification</keyword></keywordGroup><abstractGroup><abstract type="main" xml:lang="en"><p><i>The author discusses the traditional interpretations of the principal dramatis personae in Verdi’s</i> Rigoletto<i>, suggesting that the opera expresses the composer’s unconscious but highly perceptive and intuitive exploration of: (i) paranoid and perverse father–daughter oedipal dynamics as enacted between Rigoletto and Gilda; (ii) a folie‐à‐deux sado‐masochistic relationship between Rigoletto and the Duke; (iii) the avoidance of conscious guilt and responsibility for Rigoletto’s part in the tragedy through the rejection of insight achieved via massive projection, an addiction to mania, and perversion. In this respect Rigoletto is compared with King Lear. Some technical aspects of Verdi’s compositional style employed to portray the contrasting characters of the protagonists are analysed. The paper also touches on Verdi’s own possible unconscious (as well as conscious) investment in this particular opera, noting similarities between Verdi’s portrait of the tragic, hunchback jester and his own self‐depiction. 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In this respect Rigoletto is compared with King Lear. Some technical aspects of Verdi’s compositional style employed to portray the contrasting characters of the protagonists are analysed. The paper also touches on Verdi’s own possible unconscious (as well as conscious) investment in this particular opera, noting similarities between Verdi’s portrait of the tragic, hunchback jester and his own self‐depiction. The author notes similarities and contrasts between his analysis of the opera and recent papers byHudson (1992),Tarnopolsky (1995)andBergstein (2003)on the same subject.</abstract><subject lang="en"><genre>Keywords</genre><topic>perversion</topic><topic>projective identification</topic></subject><relatedItem type="host"><titleInfo><title>The International Journal of Psychoanalysis</title></titleInfo><genre type="Journal">journal</genre><identifier type="ISSN">0020-7578</identifier><identifier type="eISSN">1745-8315</identifier><identifier type="DOI">10.1111/(ISSN)1745-8315</identifier><identifier type="PublisherID">IJP</identifier><part><date>2011</date><detail type="volume"><caption>vol.</caption><number>92</number></detail><detail type="issue"><caption>no.</caption><number>6</number></detail><extent unit="pages"><start>1541</start><end>1559</end><total>19</total></extent></part></relatedItem><identifier type="istex">DB1C8037E2535B6CAC0B199559E4758A572B19A9</identifier><identifier type="DOI">10.1111/j.1745-8315.2010.00394.x</identifier><identifier type="ArticleID">IJP394</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © 2010 Institute of Psychoanalysis</accessCondition><recordInfo><recordContentSource>WILEY</recordContentSource><recordOrigin>Blackwell Publishing Ltd</recordOrigin></recordInfo></mods></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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