
Contents
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I. I.
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1. 1.
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2. 2.
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3. The Unpredictability of the Angel of Death 3. The Unpredictability of the Angel of Death
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4. 4.
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5. Radio Broadcast from Afar; Air Raid 5. Radio Broadcast from Afar; Air Raid
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6. Practical Uses of a Love Token 6. Practical Uses of a Love Token
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II. Here I am, true to you till death!Senta in Richard Wagner, The Flying Dutchman, act 3 II. Here I am, true to you till death!Senta in Richard Wagner, The Flying Dutchman, act 3
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1. 1.
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2. A Putsch of Emotions 2. A Putsch of Emotions
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3. Older Versions: Sacrifice and Self-Realization; the Dutchman as Vampire 3. Older Versions: Sacrifice and Self-Realization; the Dutchman as Vampire
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4. Senta’s Attempt to Escape Her Father 4. Senta’s Attempt to Escape Her Father
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5. Two Different Versions of a Curse 5. Two Different Versions of a Curse
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6. This Collides with My Mother’s Sense of Practicality 6. This Collides with My Mother’s Sense of Practicality
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III. The Unfulfilled Program of the Bourgeois Tragic Drama III. The Unfulfilled Program of the Bourgeois Tragic Drama
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1. Misunderstandings from the Opera Guide 1. Misunderstandings from the Opera Guide
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2. Keyword: “Higher Artistic Truth” 2. Keyword: “Higher Artistic Truth”
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3. “A Summit Achievement of Italian Opera” 3. “A Summit Achievement of Italian Opera”
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4. “Nobility of Musical Language”—“The Bourgeoisie of Musical Language” 4. “Nobility of Musical Language”—“The Bourgeoisie of Musical Language”
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5. “Egyptian Local Color” 5. “Egyptian Local Color”
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6. “Le vaisseau fantôme” 6. “Le vaisseau fantôme”
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7. The Approach to Symbolic Sequences 7. The Approach to Symbolic Sequences
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8. The Wanderings and Attempted Landings of Ulysses 8. The Wanderings and Attempted Landings of Ulysses
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9. Kundry, Ahasver, Lucifer, Nora Leaves the Doll’s House … 9. Kundry, Ahasver, Lucifer, Nora Leaves the Doll’s House …
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10. 10.
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11. Terra, Solum 11. Terra, Solum
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12. Turning Drama Inside Out 12. Turning Drama Inside Out
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Notes Notes
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14 An Answer to Two Opera Quotations
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Published:September 2019
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Abstract
This chapter highlights Alexander Kluge's engagement with opera. In this essay, Kluge addresses two quotations from opera. The first is from Guiseppe Verdi's Aida (1871): “Do you see? The angel of death…” This line is spoken by the main character Aida. Kluge investigates the concept of the angel of death. He then explains that the mission of the twentieth century is to tell counter-stories to the collected stories of the nineteenth century. The second quote is from Richard Wagner's The Flying Dutchman (1843): “Here I am, true to you till death!” This line is spoken by the character Senta. Feelings take time to develop. It therefore seems unlikely that love at first sight is mutual. Thus, the suddenness of the Dutchman's and Senta's fatal and mutual falling in love has something of an act of force. One could call it a putsch in the domain of emotion. Kluge then discusses the unfulfilled program of the bourgeois tragic drama.
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