Der Individuationsprozess bei Carl Maria von Weber (1786-1826)
Identifieur interne : 002151 ( Main/Exploration ); précédent : 002150; suivant : 002152Der Individuationsprozess bei Carl Maria von Weber (1786-1826)
Auteurs : Johannes Fabricius [Danemark]Source :
- The International journal of prenatal and perinatal psychology and medicine [ 0943-5417 ] ; 2002.
Descripteurs français
- Pascal (Inist)
- Wicri :
- topic : Musique, Traumatisme, Homme.
English descriptors
- KwdEn :
Abstract
The paper interprets Weber's opera Der Freischütz (1817-1821) as a symbolic reflection of the unconscious patterns of the birth trauma with its dramatic sequence of death and rebirth. The young hero's descent into the Wolf's Glen in order to win the hand in marriage of his beloved reflects the archetypal theme of the hero's descent into the jaws of the dragon or into the bowels of the earth in order to win the hand of a royal or precious woman - a gift obtained after he has conquered the dragon or endured the horrors of the night-sea-journey. Weber's next opera Euryanthe (1821-1823) describes a world of love and innocence invaded by the dark powers of jealousy, falsehood and vindictiveness. The two worlds are represented by a "bright" couple, Adolar and Euryanthe, and by a "dark" couple, Lysiart and Eglantine. The blackening of the psychological landscape of the opera reflects the onset of the composer's Lebenswende or midlife crisis, which follows upon the zenith of Weber's life and art as expressed by his composition of the Freischütz. The transition between the two operas reflects a regular pattern of the individuation process as it moves from the peak of adulthood to the valley of middle age with its midlife crisis. A similar transition may be observed in the works of all creative artists.
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Le document en format XML
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The young hero's descent into the Wolf's Glen in order to win the hand in marriage of his beloved reflects the archetypal theme of the hero's descent into the jaws of the dragon or into the bowels of the earth in order to win the hand of a royal or precious woman - a gift obtained after he has conquered the dragon or endured the horrors of the night-sea-journey. Weber's next opera Euryanthe (1821-1823) describes a world of love and innocence invaded by the dark powers of jealousy, falsehood and vindictiveness. The two worlds are represented by a "bright" couple, Adolar and Euryanthe, and by a "dark" couple, Lysiart and Eglantine. The blackening of the psychological landscape of the opera reflects the onset of the composer's Lebenswende or midlife crisis, which follows upon the zenith of Weber's life and art as expressed by his composition of the Freischütz. The transition between the two operas reflects a regular pattern of the individuation process as it moves from the peak of adulthood to the valley of middle age with its midlife crisis. A similar transition may be observed in the works of all creative artists.</div></front></TEI><affiliations><list><country><li>Danemark</li></country></list><tree><country name="Danemark"><noRegion><name sortKey="Fabricius, Johannes" sort="Fabricius, Johannes" uniqKey="Fabricius J" first="Johannes" last="Fabricius">Johannes Fabricius</name></noRegion></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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