OperaV1, PascalFrancis, Checkpoint, bibRecord, 000019

The wish for annihilation in 'love-death' as collapse of the need for recognition, in Wagner's Tristan und Isolde

Identifieur interne : 000019 ( PascalFrancis/Checkpoint ); précédent : 000018; suivant : 000020

The wish for annihilation in 'love-death' as collapse of the need for recognition, in Wagner's Tristan und Isolde

Auteurs : Moshe Bergstein

Source :

International journal of psycho-analysis [ 0020-7578 ] ; 2013.

RBID : Pascal:13-0336680

Descripteurs français

Pascal (Inist)
- Désir, Annihilation, Amour, Mort, Effondrement, Besoin, Reconnaissance, Psychanalyse appliquée, Homme, Opéra Richard Wagner.
Wicri :
- topic : Mort, Homme.

English descriptors

KwdEn :
- Annihilation, Applied psychoanalysis, Collapse, Death, Desire, Human, Love, Need, Recognition.

Abstract

Wagner's Tristan und Isolde holds a central position in Western music and culture. It is shown to demonstrate consequences of interruption of developmental processes involving the need for recognition of subjectivity, resulting in the collapse of this need into the wish for annihilation of self and other through 'love- death' [Liebestod]. A close reading of the musical language of the opera reveals how this interruption is demonstrated, and the consequent location of identity outside of language, particularly suitable for expression in music. Isolde's dynamics are presented as distinct from that of Tristan, and in contrast to other interpretations of Tristan and Isolde's love as an attack on the Oedipal order, or as a regressive wish for pre-Oedipal union. Isolde's Act I narrative locates the origin of her desire in the protagonists' mutual gaze at a traumatic moment. In this moment powerful and contrasting emotions converge, evoking thwarted developmental needs, and arousing the fantasy of redemption in love-death. By removing the magical elements, Wagner enables a deeper understanding of the characters' positions in relation to each other, each with his or her own needs for recognition and traumatic experiences. These positions invite mutual identifications resulting in rising tension between affirmation of identity and annihilation, with actual death as the only possible psychic solution. The dynamics described in the opera demonstrate the function of music and opera in conveying meaning which is not verbally expressible.

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Pascal:13-0336680

Le document en format XML

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<front><div type="abstract" xml:lang="en">Wagner's Tristan und Isolde holds a central position in Western music and culture. It is shown to demonstrate consequences of interruption of developmental processes involving the need for recognition of subjectivity, resulting in the collapse of this need into the wish for annihilation of self and other through 'love- death' [Liebestod]. A close reading of the musical language of the opera reveals how this interruption is demonstrated, and the consequent location of identity outside of language, particularly suitable for expression in music. Isolde's dynamics are presented as distinct from that of Tristan, and in contrast to other interpretations of Tristan and Isolde's love as an attack on the Oedipal order, or as a regressive wish for pre-Oedipal union. Isolde's Act I narrative locates the origin of her desire in the protagonists' mutual gaze at a traumatic moment. In this moment powerful and contrasting emotions converge, evoking thwarted developmental needs, and arousing the fantasy of redemption in love-death. By removing the magical elements, Wagner enables a deeper understanding of the characters' positions in relation to each other, each with his or her own needs for recognition and traumatic experiences. These positions invite mutual identifications resulting in rising tension between affirmation of identity and annihilation, with actual death as the only possible psychic solution. The dynamics described in the opera demonstrate the function of music and opera in conveying meaning which is not verbally expressible.</div>
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The wish for annihilation in 'love-death' as collapse of the need for recognition, in Wagner's Tristan und Isolde

The wish for annihilation in 'love-death' as collapse of the need for recognition, in Wagner's Tristan und Isolde

Source :

Descripteurs français

English descriptors

Abstract

Links toward previous steps (curation, corpus...)

Links to Exploration step

Le document en format XML

Pour manipuler ce document sous Unix (Dilib)

Pour mettre un lien sur cette page dans le réseau Wicri