Wittgenstein as Mastersinger
Identifieur interne : 000332 ( Istex/Corpus ); précédent : 000331; suivant : 000333Wittgenstein as Mastersinger
Auteurs : Dinda L. GorléeSource :
- Semiotica [ 0037-1998 ] ; 2008-10.
Abstract
Ludwig Wittgenstein inverted and transposed Richard Wagner's operatic pathos. He knew Wagner's opera Die Meistersinger von Nürnberg (The Mastersinger of Nuremberg) by heart and used to whistle the melodies. Die Meistersinger is no comic historical opera, as proclaimed by Wagner, but treats the issues of genius, artistic criticism, and the growth of art — with a flavor of nationalism and politics. Wagner's opera provides many triangles within Peirce's interactive categories — patriotism, nationalism, anti-semitism; Mythology, Volk, Kultur; irrationality, factuality, rationality; emotionality, reality, objectivity; abduction, induction, deduction; extratext, intertext, metatext — and the three points of Firsts, Seconds, and Thirds may be related in and outside the configuration of Die Meistersinger. To analyze the affinities between the philosopher and his musical talents, Wittgenstein brought out the intersemiotic translation between a meaningful sentence and a musical theme, performed side by side in opera. Wittgenstein was Wagner inside out. Wittgenstein's philosophical language is an emblem of master-song reason, but did he resound the Mastersinger's operatic sound in his philosophical-narrative work, or only in his carnivalesque travesty of Wittgenstein's whistling — a wordless game transformed into a musical art?
Url:
DOI: 10.1515/SEMI.2008.091
Links to Exploration step
ISTEX:18C8D86A007319E9E26BAC9FB75646EFDD13E746Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title xml:lang="en">Wittgenstein as Mastersinger</title><author wicri:is="90%"><name sortKey="Gorlee, Dinda L" sort="Gorlee, Dinda L" uniqKey="Gorlee D" first="Dinda L." last="Gorlée">Dinda L. Gorlée</name><affiliation><mods:affiliation>〈gorlee@xs4all.nl〉</mods:affiliation></affiliation><affiliation><mods:affiliation>E-mail: gorlee@xs4all.nl</mods:affiliation></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:18C8D86A007319E9E26BAC9FB75646EFDD13E746</idno><date when="2008" year="2008">2008</date><idno type="doi">10.1515/SEMI.2008.091</idno><idno type="url">https://api.istex.fr/document/18C8D86A007319E9E26BAC9FB75646EFDD13E746/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">000332</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a" type="main" xml:lang="en">Wittgenstein as Mastersinger</title><author wicri:is="90%"><name sortKey="Gorlee, Dinda L" sort="Gorlee, Dinda L" uniqKey="Gorlee D" first="Dinda L." last="Gorlée">Dinda L. Gorlée</name><affiliation><mods:affiliation>〈gorlee@xs4all.nl〉</mods:affiliation></affiliation><affiliation><mods:affiliation>E-mail: gorlee@xs4all.nl</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j">Semiotica</title><title level="j" type="abbrev">Semiotica</title><idno type="ISSN">0037-1998</idno><idno type="eISSN">1613-3692</idno><imprint><publisher>Walter de Gruyter GmbH & Co. KG</publisher><date type="published" when="2008-10">2008-10</date><biblScope unit="volume">2008</biblScope><biblScope unit="issue">172</biblScope><biblScope unit="page" from="97">97</biblScope><biblScope unit="page" to="150">150</biblScope></imprint><idno type="ISSN">0037-1998</idno></series><idno type="istex">18C8D86A007319E9E26BAC9FB75646EFDD13E746</idno><idno type="DOI">10.1515/SEMI.2008.091</idno><idno type="ArticleID">SEMI.2008.172.97</idno><idno type="Related-article-Href">semi.2008.091.pdf</idno></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0037-1998</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">Ludwig Wittgenstein inverted and transposed Richard Wagner's operatic pathos. He knew Wagner's opera Die Meistersinger von Nürnberg (The Mastersinger of Nuremberg) by heart and used to whistle the melodies. Die Meistersinger is no comic historical opera, as proclaimed by Wagner, but treats the issues of genius, artistic criticism, and the growth of art — with a flavor of nationalism and politics. Wagner's opera provides many triangles within Peirce's interactive categories — patriotism, nationalism, anti-semitism; Mythology, Volk, Kultur; irrationality, factuality, rationality; emotionality, reality, objectivity; abduction, induction, deduction; extratext, intertext, metatext — and the three points of Firsts, Seconds, and Thirds may be related in and outside the configuration of Die Meistersinger. To analyze the affinities between the philosopher and his musical talents, Wittgenstein brought out the intersemiotic translation between a meaningful sentence and a musical theme, performed side by side in opera. Wittgenstein was Wagner inside out. Wittgenstein's philosophical language is an emblem of master-song reason, but did he resound the Mastersinger's operatic sound in his philosophical-narrative work, or only in his carnivalesque travesty of Wittgenstein's whistling — a wordless game transformed into a musical art?</div></front></TEI><istex><corpusName>degruyter-journals</corpusName><author><json:item><name>Dinda L. Gorlée</name><affiliations><json:string>〈gorlee@xs4all.nl〉</json:string><json:string>E-mail: gorlee@xs4all.nl</json:string></affiliations></json:item></author><language><json:string>eng</json:string></language><abstract>Ludwig Wittgenstein inverted and transposed Richard Wagner's operatic pathos. He knew Wagner's opera Die Meistersinger von Nürnberg (The Mastersinger of Nuremberg) by heart and used to whistle the melodies. Die Meistersinger is no comic historical opera, as proclaimed by Wagner, but treats the issues of genius, artistic criticism, and the growth of art — with a flavor of nationalism and politics. Wagner's opera provides many triangles within Peirce's interactive categories — patriotism, nationalism, anti-semitism; Mythology, Volk, Kultur; irrationality, factuality, rationality; emotionality, reality, objectivity; abduction, induction, deduction; extratext, intertext, metatext — and the three points of Firsts, Seconds, and Thirds may be related in and outside the configuration of Die Meistersinger. To analyze the affinities between the philosopher and his musical talents, Wittgenstein brought out the intersemiotic translation between a meaningful sentence and a musical theme, performed side by side in opera. Wittgenstein was Wagner inside out. Wittgenstein's philosophical language is an emblem of master-song reason, but did he resound the Mastersinger's operatic sound in his philosophical-narrative work, or only in his carnivalesque travesty of Wittgenstein's whistling — a wordless game transformed into a musical art?</abstract><qualityIndicators><score>7.72</score><pdfVersion>1.4</pdfVersion><pdfPageSize>420 x 638 pts</pdfPageSize><refBibsNative>false</refBibsNative><keywordCount>0</keywordCount><abstractCharCount>1338</abstractCharCount><pdfWordCount>21204</pdfWordCount><pdfCharCount>128285</pdfCharCount><pdfPageCount>54</pdfPageCount><abstractWordCount>185</abstractWordCount></qualityIndicators><title>Wittgenstein as Mastersinger</title><genre><json:string>research-article</json:string></genre><host><volume>2008</volume><pages><last>150</last><first>97</first></pages><issn><json:string>0037-1998</json:string></issn><issue>172</issue><genre></genre><language><json:string>unknown</json:string></language><eissn><json:string>1613-3692</json:string></eissn><title>Semiotica</title></host><publicationDate>2008</publicationDate><copyrightDate>2008</copyrightDate><doi><json:string>10.1515/SEMI.2008.091</json:string></doi><id>18C8D86A007319E9E26BAC9FB75646EFDD13E746</id><fulltext><json:item><original>true</original><mimetype>application/pdf</mimetype><extension>pdf</extension><uri>https://api.istex.fr/document/18C8D86A007319E9E26BAC9FB75646EFDD13E746/fulltext/pdf</uri></json:item><json:item><original>false</original><mimetype>application/zip</mimetype><extension>zip</extension><uri>https://api.istex.fr/document/18C8D86A007319E9E26BAC9FB75646EFDD13E746/fulltext/zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/18C8D86A007319E9E26BAC9FB75646EFDD13E746/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">Wittgenstein as Mastersinger</title><respStmt xml:id="ISTEX-API" resp="Références bibliographiques récupérées via GROBID" name="ISTEX-API (INIST-CNRS)"></respStmt></titleStmt><publicationStmt><authority>ISTEX</authority><publisher>Walter de Gruyter GmbH & Co. KG</publisher><availability><p>De Gruyter</p></availability><date>2008-11-10</date></publicationStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">Wittgenstein as Mastersinger</title><author><persName><forename type="first">Dinda L.</forename><surname>Gorlée</surname></persName><email>gorlee@xs4all.nl</email><affiliation>〈gorlee@xs4all.nl〉</affiliation></author></analytic><monogr><title level="j">Semiotica</title><title level="j" type="abbrev">Semiotica</title><idno type="pISSN">0037-1998</idno><idno type="eISSN">1613-3692</idno><imprint><publisher>Walter de Gruyter GmbH & Co. KG</publisher><date type="published" when="2008-10"></date><biblScope unit="volume">2008</biblScope><biblScope unit="issue">172</biblScope><biblScope unit="page" from="97">97</biblScope><biblScope unit="page" to="150">150</biblScope></imprint></monogr><idno type="istex">18C8D86A007319E9E26BAC9FB75646EFDD13E746</idno><idno type="DOI">10.1515/SEMI.2008.091</idno><idno type="ArticleID">SEMI.2008.172.97</idno><idno type="Related-article-Href">semi.2008.091.pdf</idno></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>2008-11-10</date></creation><langUsage><language ident="en">en</language></langUsage><abstract xml:lang="en"><p>Ludwig Wittgenstein inverted and transposed Richard Wagner's operatic pathos. He knew Wagner's opera Die Meistersinger von Nürnberg (The Mastersinger of Nuremberg) by heart and used to whistle the melodies. Die Meistersinger is no comic historical opera, as proclaimed by Wagner, but treats the issues of genius, artistic criticism, and the growth of art — with a flavor of nationalism and politics. Wagner's opera provides many triangles within Peirce's interactive categories — patriotism, nationalism, anti-semitism; Mythology, Volk, Kultur; irrationality, factuality, rationality; emotionality, reality, objectivity; abduction, induction, deduction; extratext, intertext, metatext — and the three points of Firsts, Seconds, and Thirds may be related in and outside the configuration of Die Meistersinger. To analyze the affinities between the philosopher and his musical talents, Wittgenstein brought out the intersemiotic translation between a meaningful sentence and a musical theme, performed side by side in opera. Wittgenstein was Wagner inside out. Wittgenstein's philosophical language is an emblem of master-song reason, but did he resound the Mastersinger's operatic sound in his philosophical-narrative work, or only in his carnivalesque travesty of Wittgenstein's whistling — a wordless game transformed into a musical art?</p></abstract></profileDesc><revisionDesc><change when="2008-11-10">Created</change><change when="2008-10">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2016-3-13">References added</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><original>false</original><mimetype>text/plain</mimetype><extension>txt</extension><uri>https://api.istex.fr/document/18C8D86A007319E9E26BAC9FB75646EFDD13E746/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus degruyter-journals" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//Atypon//DTD Atypon Systems Archival NLM DTD Suite v2.2.0 20090301//EN" URI="nlm-dtd/archivearticle.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" xml:lang="en"><front><journal-meta><journal-id journal-id-type="publisher-id">SEMI</journal-id><abbrev-journal-title abbrev-type="full">Semiotica</abbrev-journal-title><issn pub-type="ppub">0037-1998</issn><issn pub-type="epub">1613-3692</issn><publisher><publisher-name>Walter de Gruyter GmbH & Co. KG</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="publisher-id">SEMI.2008.172.97</article-id><article-id pub-id-type="doi">10.1515/SEMI.2008.091</article-id><title-group><article-title>Wittgenstein as Mastersinger</article-title></title-group><contrib-group><contrib contrib-type="author"><name name-style="western"><given-names>Dinda L.</given-names><x> </x><surname>Gorlée</surname></name><xref ref-type="aff" rid="aff1"><sup>1</sup></xref></contrib><aff id="aff1"><sup>1</sup>〈<email xlink:href="mailto:gorlee@xs4all.nl">gorlee@xs4all.nl</email>〉</aff></contrib-group><pub-date pub-type="ppub"><month>October</month><year>2008</year></pub-date><pub-date pub-type="epub"><day>10</day><month>11</month><year>2008</year></pub-date><volume>2008</volume><issue>172</issue><fpage>97</fpage><lpage>150</lpage><copyright-statement>© 2008 by Walter de Gruyter GmbH & Co. KG, D-10785 Berlin</copyright-statement><copyright-year>2008</copyright-year><related-article related-article-type="pdf" xlink:href="semi.2008.091.pdf"></related-article><abstract><title>Abstract</title><p>Ludwig Wittgenstein inverted and transposed Richard Wagner's operatic pathos. He knew Wagner's opera <italic>Die Meistersinger von Nürnberg (The Mastersinger of Nuremberg)</italic> by heart and used to whistle the melodies. Die Meistersinger is no comic historical opera, as proclaimed by Wagner, but treats the issues of genius, artistic criticism, and the growth of art — with a flavor of nationalism and politics. Wagner's opera provides many triangles within Peirce's interactive categories — patriotism, nationalism, anti-semitism; Mythology, Volk, Kultur; irrationality, factuality, rationality; emotionality, reality, objectivity; abduction, induction, deduction; extratext, intertext, metatext — and the three points of Firsts, Seconds, and Thirds may be related in and outside the configuration of <italic>Die Meistersinger</italic>. To analyze the affinities between the philosopher and his musical talents, Wittgenstein brought out the intersemiotic translation between a meaningful sentence and a musical theme, performed side by side in opera. Wittgenstein was Wagner inside out. Wittgenstein's philosophical language is an emblem of master-song reason, but did he resound the Mastersinger's operatic sound in his philosophical-narrative work, or only in his carnivalesque travesty of Wittgenstein's whistling — a wordless game transformed into a musical art?</p></abstract></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Wittgenstein as Mastersinger</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Wittgenstein as Mastersinger</title></titleInfo><name type="personal"><namePart type="given">Dinda L.</namePart><namePart type="family">Gorlée</namePart><affiliation>〈gorlee@xs4all.nl〉</affiliation><affiliation>E-mail: gorlee@xs4all.nl</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article"></genre><originInfo><publisher>Walter de Gruyter GmbH & Co. KG</publisher><dateIssued encoding="w3cdtf">2008-10</dateIssued><dateCreated encoding="w3cdtf">2008-11-10</dateCreated><copyrightDate encoding="w3cdtf">2008</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><physicalDescription><internetMediaType>text/html</internetMediaType></physicalDescription><abstract lang="en">Ludwig Wittgenstein inverted and transposed Richard Wagner's operatic pathos. He knew Wagner's opera Die Meistersinger von Nürnberg (The Mastersinger of Nuremberg) by heart and used to whistle the melodies. Die Meistersinger is no comic historical opera, as proclaimed by Wagner, but treats the issues of genius, artistic criticism, and the growth of art — with a flavor of nationalism and politics. Wagner's opera provides many triangles within Peirce's interactive categories — patriotism, nationalism, anti-semitism; Mythology, Volk, Kultur; irrationality, factuality, rationality; emotionality, reality, objectivity; abduction, induction, deduction; extratext, intertext, metatext — and the three points of Firsts, Seconds, and Thirds may be related in and outside the configuration of Die Meistersinger. To analyze the affinities between the philosopher and his musical talents, Wittgenstein brought out the intersemiotic translation between a meaningful sentence and a musical theme, performed side by side in opera. Wittgenstein was Wagner inside out. Wittgenstein's philosophical language is an emblem of master-song reason, but did he resound the Mastersinger's operatic sound in his philosophical-narrative work, or only in his carnivalesque travesty of Wittgenstein's whistling — a wordless game transformed into a musical art?</abstract><relatedItem type="host"><titleInfo><title>Semiotica</title></titleInfo><titleInfo type="abbreviated"><title>Semiotica</title></titleInfo><genre type="Journal">journal</genre><identifier type="ISSN">0037-1998</identifier><identifier type="eISSN">1613-3692</identifier><identifier type="PublisherID">SEMI</identifier><part><date>2008</date><detail type="volume"><caption>vol.</caption><number>2008</number></detail><detail type="issue"><caption>no.</caption><number>172</number></detail><extent unit="pages"><start>97</start><end>150</end></extent></part></relatedItem><relatedItem type="reviewOf"><genre>pdf</genre><identifier type="pdf">semi.2008.091.pdf</identifier></relatedItem><identifier type="istex">18C8D86A007319E9E26BAC9FB75646EFDD13E746</identifier><identifier type="DOI">10.1515/SEMI.2008.091</identifier><identifier type="ArticleID">SEMI.2008.172.97</identifier><identifier type="Related-article-Href">semi.2008.091.pdf</identifier><accessCondition type="use and reproduction" contentType="copyright">© 2008 by Walter de Gruyter GmbH & Co. KG, D-10785 Berlin</accessCondition><recordInfo><recordContentSource>De Gruyter</recordContentSource></recordInfo></mods></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/OperaV1/Data/Istex/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000332 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Istex/Corpus/biblio.hfd -nk 000332 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= OperaV1
|flux= Istex
|étape= Corpus
|type= RBID
|clé= ISTEX:18C8D86A007319E9E26BAC9FB75646EFDD13E746
|texte= Wittgenstein as Mastersinger
}}
| This area was generated with Dilib version V0.6.21. |  |