The wish for annihilation in 'love-death' as collapse of the need for recognition, in Wagner's Tristan und Isolde.
Identifieur interne : 000212 ( PubMed/Corpus ); précédent : 000211; suivant : 000213The wish for annihilation in 'love-death' as collapse of the need for recognition, in Wagner's Tristan und Isolde.
Auteurs : Moshe BergsteinSource :
- The International journal of psycho-analysis ; 2013.
English descriptors
- KwdEn :
- MESH :
- psychology : Music.
- Death, Famous Persons, Humans, Interpersonal Relations, Language, Love, Psychoanalytic Interpretation.
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.
DOI: 10.1111/1745-8315.12056
PubMed: 23924333
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pubmed:23924333Le document en format XML
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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><pubmed><MedlineCitation Owner="NLM" Status="MEDLINE"><PMID Version="1">23924333</PMID><DateCreated><Year>2013</Year><Month>08</Month><Day>08</Day></DateCreated><DateCompleted><Year>2014</Year><Month>04</Month><Day>07</Day></DateCompleted><Article PubModel="Print-Electronic"><Journal><ISSN IssnType="Electronic">1745-8315</ISSN><JournalIssue CitedMedium="Internet"><Volume>94</Volume><Issue>4</Issue><PubDate><Year>2013</Year><Month>Aug</Month></PubDate></JournalIssue><Title>The International journal of psycho-analysis</Title><ISOAbbreviation>Int J Psychoanal</ISOAbbreviation></Journal><ArticleTitle>The wish for annihilation in 'love-death' as collapse of the need for recognition, in Wagner's Tristan und Isolde.</ArticleTitle><Pagination><MedlinePgn>747-66</MedlinePgn></Pagination><ELocationID EIdType="doi" ValidYN="Y">10.1111/1745-8315.12056</ELocationID><Abstract><AbstractText>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.</AbstractText><CopyrightInformation>Copyright © 2013 Institute of Psychoanalysis.</CopyrightInformation></Abstract><AuthorList CompleteYN="Y"><Author ValidYN="Y"><LastName>Bergstein</LastName><ForeName>Moshe</ForeName><Initials>M</Initials><AffiliationInfo><Affiliation>4 Hakotzer St., Ramat-Hasharon, 47411, Israel. moshebergstein@gmail.com</Affiliation></AffiliationInfo></Author></AuthorList><Language>eng</Language><PublicationTypeList><PublicationType UI="D016428">Journal Article</PublicationType></PublicationTypeList><ArticleDate DateType="Electronic"><Year>2013</Year><Month>03</Month><Day>21</Day></ArticleDate></Article><MedlineJournalInfo><Country>England</Country><MedlineTA>Int J Psychoanal</MedlineTA><NlmUniqueID>2985179R</NlmUniqueID><ISSNLinking>0020-7578</ISSNLinking></MedlineJournalInfo><CitationSubset>IM</CitationSubset><MeshHeadingList><MeshHeading><DescriptorName MajorTopicYN="N" UI="D003643">Death</DescriptorName></MeshHeading><MeshHeading><DescriptorName MajorTopicYN="Y" UI="D005197">Famous Persons</DescriptorName></MeshHeading><MeshHeading><DescriptorName MajorTopicYN="N" UI="D006801">Humans</DescriptorName></MeshHeading><MeshHeading><DescriptorName MajorTopicYN="Y" UI="D007398">Interpersonal Relations</DescriptorName></MeshHeading><MeshHeading><DescriptorName MajorTopicYN="Y" UI="D007802">Language</DescriptorName></MeshHeading><MeshHeading><DescriptorName MajorTopicYN="N" UI="D008149">Love</DescriptorName></MeshHeading><MeshHeading><DescriptorName MajorTopicYN="N" UI="D009146">Music</DescriptorName><QualifierName MajorTopicYN="Y" UI="Q000523">psychology</QualifierName></MeshHeading><MeshHeading><DescriptorName MajorTopicYN="Y" UI="D011573">Psychoanalytic Interpretation</DescriptorName></MeshHeading></MeshHeadingList><KeywordList Owner="NOTNLM"><Keyword MajorTopicYN="N">Isolde</Keyword><Keyword MajorTopicYN="N">Liebestod</Keyword><Keyword MajorTopicYN="N">Tristan</Keyword><Keyword MajorTopicYN="N">Wagner</Keyword><Keyword MajorTopicYN="N">opera</Keyword><Keyword MajorTopicYN="N">recognition</Keyword></KeywordList></MedlineCitation><PubmedData><History><PubMedPubDate PubStatus="accepted"><Year>2012</Year><Month>11</Month><Day>27</Day></PubMedPubDate><PubMedPubDate PubStatus="aheadofprint"><Year>2013</Year><Month>3</Month><Day>21</Day></PubMedPubDate><PubMedPubDate PubStatus="entrez"><Year>2013</Year><Month>8</Month><Day>9</Day><Hour>6</Hour><Minute>0</Minute></PubMedPubDate><PubMedPubDate PubStatus="pubmed"><Year>2013</Year><Month>8</Month><Day>9</Day><Hour>6</Hour><Minute>0</Minute></PubMedPubDate><PubMedPubDate PubStatus="medline"><Year>2014</Year><Month>4</Month><Day>8</Day><Hour>6</Hour><Minute>0</Minute></PubMedPubDate></History><PublicationStatus>ppublish</PublicationStatus><ArticleIdList><ArticleId IdType="doi">10.1111/1745-8315.12056</ArticleId><ArticleId IdType="pubmed">23924333</ArticleId></ArticleIdList></PubmedData></pubmed></record>Pour manipuler ce document sous Unix (Dilib)
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