The wish for annihilation in 'love-death' as collapse of the need for recognition, in Wagner's Tristan und Isolde
Identifieur interne : 000053 ( PascalFrancis/Corpus ); précédent : 000052; suivant : 000054The wish for annihilation in 'love-death' as collapse of the need for recognition, in Wagner's Tristan und Isolde
Auteurs : Moshe BergsteinSource :
- International journal of psycho-analysis [ 0020-7578 ] ; 2013.
Descripteurs français
- Pascal (Inist)
English descriptors
- KwdEn :
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.
Notice en format standard (ISO 2709)
Pour connaître la documentation sur le format Inist Standard.
| pA |
|
|---|
Format Inist (serveur)
| NO : | FRANCIS 13-0336680 INIST |
|---|---|
| ET : | The wish for annihilation in 'love-death' as collapse of the need for recognition, in Wagner's Tristan und Isolde |
| AU : | BERGSTEIN (Moshe) |
| DT : | Publication en série; Niveau analytique |
| SO : | International journal of psycho-analysis; ISSN 0020-7578; Coden IJPSAA; Royaume-Uni; Da. 2013; Vol. 94; No. 4; Pp. 747-766; Bibl. 1 p.1/4 |
| LA : | Anglais |
| EA : | 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. |
| CC : | 770C03 |
| FD : | Désir; Annihilation; Amour; Mort; Effondrement; Besoin; Reconnaissance; Psychanalyse appliquée; Homme; Opéra Richard Wagner |
| FG : | Affect affectivité |
| ED : | Desire; Annihilation; Love; Death; Collapse; Need; Recognition; Applied psychoanalysis; Human |
| EG : | Affect affectivity |
| SD : | Deseo; Aniquilación; Amor; Muerte; Desmoronamiento; Necesidad; Reconocimiento; Psicoanálisis aplicado; Hombre |
| LO : | INIST-2226.354000505805060070 |
| ID : | 13-0336680 |
Links to Exploration step
Francis:13-0336680Le document en format XML
<record><TEI><teiHeader><fileDesc><titleStmt><title xml:lang="en" level="a">The wish for annihilation in 'love-death' as collapse of the need for recognition, in Wagner's Tristan und Isolde</title><author><name sortKey="Bergstein, Moshe" sort="Bergstein, Moshe" uniqKey="Bergstein M" first="Moshe" last="Bergstein">Moshe Bergstein</name><affiliation><wicri:noCountry>no AF</wicri:noCountry></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">INIST</idno><idno type="inist">13-0336680</idno><date when="2013">2013</date><idno type="stanalyst">FRANCIS 13-0336680 INIST</idno><idno type="RBID">Francis:13-0336680</idno><idno type="wicri:Area/PascalFrancis/Corpus">000053</idno></publicationStmt><sourceDesc><biblStruct><analytic><title xml:lang="en" level="a">The wish for annihilation in 'love-death' as collapse of the need for recognition, in Wagner's Tristan und Isolde</title><author><name sortKey="Bergstein, Moshe" sort="Bergstein, Moshe" uniqKey="Bergstein M" first="Moshe" last="Bergstein">Moshe Bergstein</name><affiliation><wicri:noCountry>no AF</wicri:noCountry></affiliation></author></analytic><series><title level="j" type="main">International journal of psycho-analysis</title><title level="j" type="abbreviated">Int. j. psycho-anal.</title><idno type="ISSN">0020-7578</idno><imprint><date when="2013">2013</date></imprint></series></biblStruct></sourceDesc><seriesStmt><title level="j" type="main">International journal of psycho-analysis</title><title level="j" type="abbreviated">Int. j. psycho-anal.</title><idno type="ISSN">0020-7578</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="KwdEn" xml:lang="en"><term>Annihilation</term><term>Applied psychoanalysis</term><term>Collapse</term><term>Death</term><term>Desire</term><term>Human</term><term>Love</term><term>Need</term><term>Recognition</term></keywords><keywords scheme="Pascal" xml:lang="fr"><term>Désir</term><term>Annihilation</term><term>Amour</term><term>Mort</term><term>Effondrement</term><term>Besoin</term><term>Reconnaissance</term><term>Psychanalyse appliquée</term><term>Homme</term><term>Opéra Richard Wagner</term></keywords></textClass></profileDesc></teiHeader><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></front></TEI><inist><standard h6="B"><pA><fA01 i1="01" i2="1"><s0>0020-7578</s0></fA01><fA02 i1="01"><s0>IJPSAA</s0></fA02><fA03 i2="1"><s0>Int. j. psycho-anal.</s0></fA03><fA05><s2>94</s2></fA05><fA06><s2>4</s2></fA06><fA08 i1="01" i2="1" l="ENG"><s1>The wish for annihilation in 'love-death' as collapse of the need for recognition, in Wagner's Tristan und Isolde</s1></fA08><fA11 i1="01" i2="1"><s1>BERGSTEIN (Moshe)</s1></fA11><fA20><s1>747-766</s1></fA20><fA21><s1>2013</s1></fA21><fA23 i1="01"><s0>ENG</s0></fA23><fA43 i1="01"><s1>INIST</s1><s2>2226</s2><s5>354000505805060070</s5></fA43><fA44><s0>0000</s0><s1>© 2013 INIST-CNRS. All rights reserved.</s1></fA44><fA45><s0>1 p.1/4</s0></fA45><fA47 i1="01" i2="1"><s0>13-0336680</s0></fA47><fA60><s1>P</s1></fA60><fA61><s0>A</s0></fA61><fA64 i1="01" i2="1"><s0>International journal of psycho-analysis</s0></fA64><fA66 i1="01"><s0>GBR</s0></fA66><fC01 i1="01" l="ENG"><s0>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.</s0></fC01><fC02 i1="01" i2="X"><s0>770C03</s0><s1>III</s1></fC02><fC03 i1="01" i2="X" l="FRE"><s0>Désir</s0><s5>01</s5></fC03><fC03 i1="01" i2="X" l="ENG"><s0>Desire</s0><s5>01</s5></fC03><fC03 i1="01" i2="X" l="SPA"><s0>Deseo</s0><s5>01</s5></fC03><fC03 i1="02" i2="X" l="FRE"><s0>Annihilation</s0><s5>02</s5></fC03><fC03 i1="02" i2="X" l="ENG"><s0>Annihilation</s0><s5>02</s5></fC03><fC03 i1="02" i2="X" l="SPA"><s0>Aniquilación</s0><s5>02</s5></fC03><fC03 i1="03" i2="X" l="FRE"><s0>Amour</s0><s5>03</s5></fC03><fC03 i1="03" i2="X" l="ENG"><s0>Love</s0><s5>03</s5></fC03><fC03 i1="03" i2="X" l="SPA"><s0>Amor</s0><s5>03</s5></fC03><fC03 i1="04" i2="X" l="FRE"><s0>Mort</s0><s5>04</s5></fC03><fC03 i1="04" i2="X" l="ENG"><s0>Death</s0><s5>04</s5></fC03><fC03 i1="04" i2="X" l="SPA"><s0>Muerte</s0><s5>04</s5></fC03><fC03 i1="05" i2="X" l="FRE"><s0>Effondrement</s0><s5>05</s5></fC03><fC03 i1="05" i2="X" l="ENG"><s0>Collapse</s0><s5>05</s5></fC03><fC03 i1="05" i2="X" l="SPA"><s0>Desmoronamiento</s0><s5>05</s5></fC03><fC03 i1="06" i2="X" l="FRE"><s0>Besoin</s0><s5>06</s5></fC03><fC03 i1="06" i2="X" l="ENG"><s0>Need</s0><s5>06</s5></fC03><fC03 i1="06" i2="X" l="SPA"><s0>Necesidad</s0><s5>06</s5></fC03><fC03 i1="07" i2="X" l="FRE"><s0>Reconnaissance</s0><s5>07</s5></fC03><fC03 i1="07" i2="X" l="ENG"><s0>Recognition</s0><s5>07</s5></fC03><fC03 i1="07" i2="X" l="SPA"><s0>Reconocimiento</s0><s5>07</s5></fC03><fC03 i1="08" i2="X" l="FRE"><s0>Psychanalyse appliquée</s0><s5>08</s5></fC03><fC03 i1="08" i2="X" l="ENG"><s0>Applied psychoanalysis</s0><s5>08</s5></fC03><fC03 i1="08" i2="X" l="SPA"><s0>Psicoanálisis aplicado</s0><s5>08</s5></fC03><fC03 i1="09" i2="X" l="FRE"><s0>Homme</s0><s5>18</s5></fC03><fC03 i1="09" i2="X" l="ENG"><s0>Human</s0><s5>18</s5></fC03><fC03 i1="09" i2="X" l="SPA"><s0>Hombre</s0><s5>18</s5></fC03><fC03 i1="10" i2="X" l="FRE"><s0>Opéra Richard Wagner</s0><s4>INC</s4><s5>86</s5></fC03><fC07 i1="01" i2="X" l="FRE"><s0>Affect affectivité</s0><s5>37</s5></fC07><fC07 i1="01" i2="X" l="ENG"><s0>Affect affectivity</s0><s5>37</s5></fC07><fC07 i1="01" i2="X" l="SPA"><s0>Afecto afectividad</s0><s5>37</s5></fC07><fN21><s1>315</s1></fN21></pA></standard><server><NO>FRANCIS 13-0336680 INIST</NO><ET>The wish for annihilation in 'love-death' as collapse of the need for recognition, in Wagner's Tristan und Isolde</ET><AU>BERGSTEIN (Moshe)</AU><DT>Publication en série; Niveau analytique</DT><SO>International journal of psycho-analysis; ISSN 0020-7578; Coden IJPSAA; Royaume-Uni; Da. 2013; Vol. 94; No. 4; Pp. 747-766; Bibl. 1 p.1/4</SO><LA>Anglais</LA><EA>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.</EA><CC>770C03</CC><FD>Désir; Annihilation; Amour; Mort; Effondrement; Besoin; Reconnaissance; Psychanalyse appliquée; Homme; Opéra Richard Wagner</FD><FG>Affect affectivité</FG><ED>Desire; Annihilation; Love; Death; Collapse; Need; Recognition; Applied psychoanalysis; Human</ED><EG>Affect affectivity</EG><SD>Deseo; Aniquilación; Amor; Muerte; Desmoronamiento; Necesidad; Reconocimiento; Psicoanálisis aplicado; Hombre</SD><LO>INIST-2226.354000505805060070</LO><ID>13-0336680</ID></server></inist></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/OperaV1/Data/PascalFrancis/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000053 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/PascalFrancis/Corpus/biblio.hfd -nk 000053 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= OperaV1
|flux= PascalFrancis
|étape= Corpus
|type= RBID
|clé= Francis:13-0336680
|texte= The wish for annihilation in 'love-death' as collapse of the need for recognition, in Wagner's Tristan und Isolde
}}
| This area was generated with Dilib version V0.6.21. |  |