Philosophy of romantic opera, women problem and European nation formation in the XIX century

  • Konstantin S. Sharov Lomonosov Moscow State University, 27 Lomonosovsky Avenue, 4 building, Moscow 119991, Russia http://orcid.org/0000-0003-4784-0333

Abstract

Romantic opera is an operatic genre whose emergence and development coincided with the active processes of building a national picture of Europe. The connection between the work of operatic composers and activities of national political elites in the emerging European nations, primarily German and Italian, is known. The purpose of this paper is to find out the role of the Romantic opera tradition in the formation of gender national narratives of the XIX century, specific for the creation of Italian and German nations. In this article, for the first time, the gender mechanisms of socio-political influence of Romantic opera on the European society of the XIX century, is examined. It is showed that the incredible success of Romantic opera as a mechanism of national building can be explained mainly by the fact that music and narrations of Romantic operas, unlike previous genres, significantly utilised the gender theme. For this reason, they were successfully accepted by women. This fact enabled national theoreticians and political elites in Italy and Germany to incorporate the gender dimension into their national programmes using the romantic Opera as a tool for the creation of emerging national communities. The support of the female part of their societies was secured on an equal basis with the male part by the direct influence of Romantic opera on the Italian and German cultures.

Author Biography

Konstantin S. Sharov, Lomonosov Moscow State University, 27 Lomonosovsky Avenue, 4 building, Moscow 119991, Russia

PhD (philosophy); senior lecturer at the faculty of philosophy

References

  1. Sharov KS. [Simulation-game of distinct national features in music]. Voprosy filosofii. 2006;7:45–56. Russian.
  2. Slatin S. Opera and Revolution: la Muette de Portici and the Belgian Revolution of 1830 Revisited. Journal of Musicologi cal Research. 1979;3:45–62. DOI: 10.1080/01411897908574506.
  3. Dechant H. Dirigieren: Zur Theorie und Praxis der Musikinterpretation. Wien: Herder; 1985. 448 S. German.
  4. Adorno ThW. On the Problem of musical analysis. Music Analysis. 1982;1(2):32–45. DOI: 10.2307/854127.
  5. Adorno ThW. Itroduction to the sociology of music. San Francisco: Continuum; 1997. 192 p.
  6. Herder J. G. On World History. London: M. E. Sharpe; 1997. 318 p.
  7. Acton J, baron. [The Principle of national self-identification]. In: Acton J, Bauer O, Hroch M, Gellner E, Broyi J, Smith A, et al. Natsii i natsionalizm [Nations and Nationalism]. Pereyaslavtseva LE, Panin MS, Gredovskii MB, translators. Moscow: Praksis; 2002. p. 26–51. Russian.
  8. Bauer O. [National problem and social democracy] In: Acton J, Bauer O, Hroch M, Gellner E, Broyi J, Smith A, et al. Natsii i natsionalizm [Nations and Nationalism]. Pereyaslavtseva LE, Panin MS, Gredovskii MB, translators. Moscow: Praksis; 2002. p. 52–120. Russian.
  9. Benhabib S. The Claims of Culture: Equality and Diversity in the Global Era. Princeton: Princeton university press; 2002. 216 p.
  10. Smith AD. Natsionalizm I modernism [Nationalism and Modernity]. Smirnov A, translator. Moscow: Praksis; 2004. 466 p. Russian.
  11. de Beauvoir S. Le Deuxième Sexe. Paris: Editions Gallimard; 1949. 395 p. French.
  12. Smith AD. National Identity. Harmondsworth: Penguin; 1991. 226 p.
  13. Lévi-Strauss C. Elementary Structures of Kinship. New York: Beacon Press; 1969. 541 p.
  14. Stumpfl R. Kultspiele der Germanen als Ursprung des Mittelalterlichen Dramas. Berlin: Junker und Dünnhaupt; 1936. 448 S.
  15. Boorstin DJ. The Americans: the national experience. New York: Random House; 1966. 517 p.
  16. Sharov KS. [The invention of national traditions by classic composers of the XIX century]. Vestnik Moskovskogo universiteta. Seriya 7. Filosofia. 2005;4:58–75. Russian.
  17. Magee B. Aspects of Wagner. Oxford: Oxford university press; 1988. 102 p.
  18. Yuval-Davis N. Gender and Nation. London: Sage; 1997. 157 p.
  19. Stamatov P. Interpretive activism and the political uses of Verdi’s operas in the 1840s. American Sociological Review. 2002;67(3):345–366.
  20. Simon HW. Sto velikikh oper [Hundred Great Operas]. Moscow: Kron-Press; 1998. 864 p. Russian.
  21. Sluga G. Identity, gender and the history of European nations and nationalisms. In: Nations and Nationalism. 1998;4(1): 87–111. DOI: 10.1111/j.1354-5078.1998.00087.x.
  22. Stasov VV. Stat’i po muzyke. Moscow: Muzykal’naya literatura; 1974. 435 p. Russian.
  23. Landes J. Women and the Public Sphere in the Age of the French Revolution. Ithaca: Cornell university press; 1988. 296 p.
  24. Warrack J. Carl Maria von Weber. London: Hamish Hamilton; 1968. 377 p.
  25. Wagner R. Art and Politics. Lincoln: University of Nebraska Press; 1996. 376 p.
  26. Lacan J. Four Fundamental Concepts of Psychoanalysis. New York: Norton; 1998. 304 p.
  27. Wagner R. Opera and Drama. Lincoln: University of Nebraska Press; 1995. 288 p.
Published
2019-02-18
Keywords: philosophy of music, nation, nationalism, gender problem, symbolism
How to Cite
Sharov, K. S. (2019). Philosophy of romantic opera, women problem and European nation formation in the XIX century. Journal of the Belarusian State University. Philosophy and Psychology, 1, 64-73. Retrieved from https://journals.bsu.by/index.php/philosophy/article/view/2016