Wolfgang Amadeus Mozart, one of the greatest musicians in the world, enchants people across eras with his fabulous music. Peter Shaffer, in Amadeus （2001）, depicts the mysterious life and death of this musician in a...Wolfgang Amadeus Mozart, one of the greatest musicians in the world, enchants people across eras with his fabulous music. Peter Shaffer, in Amadeus （2001）, depicts the mysterious life and death of this musician in a very different way. Instead of presenting an intelligent and refined artist, Shaffer, from the perspective of his rival, Antonio Salieri, gives us a ＂foul-mouthed, immature jackanapes＂ that shocks his audiences in the theatre. Lady Thatcher＇s displeased response after seeing the play tells the gap between Shaffer＇s Mozart and the Mozart image in most public＇s mind. However, the image of the vulgar Mozart, though a contrast to his music, lights up the uniqueness of his music at the age of Enlightenment. The paper, aims to analyze the difference in Mozart＇s music and the different Mozart character Shaffer presents in his play by drawing on Ren6 Girard＇s notion of collective violence and scapegoat mechanism. Also, the author intends to examine the playwright＇s intention and exegesis as he composes this mysterious musician in such a different way展开更多
This paper proposes new ways to understand the sense of universality in music through a reflection and analysis of George Crumb＇s Black Angels （Images 1）： Thirteen lmages from the Dark Land, one of the defining mu...This paper proposes new ways to understand the sense of universality in music through a reflection and analysis of George Crumb＇s Black Angels （Images 1）： Thirteen lmages from the Dark Land, one of the defining musical expressions of the Vietnam War era. It centers on an analysis of the relationship of the body/self to an ＂ecology of war＂ produced through Crumb＇s music that renders these selves indistinct within this musical geography. The selves that inhabit Black Angels could be that of anybody in particular since Crumb seeks to invoke in his music the primeval experience of terror that inhabits in all of us as the inheritors of mankind＇s violence. This sense of the universal militates against the desirable qualities of popular music that rely on the production of autonomous and singular selves that make the distinction between enemy and friend possible and distinct. We focus on Crumb＇s use of archaisms, his construction of time in this piece, and the author＇s overall purpose to invoke a time of war rather than to reflect the conditions of war, in order to delineate the contours of the universal time and space producing the undifferentiated primeval self of war. We conclude that although Crumb＇s rejection of the national self deprives the piece of a salient place in the popular cannon of the war, it has left an intellectual legacy on the times of the Vietnam War that deserves to be preserved.展开更多
文摘Wolfgang Amadeus Mozart, one of the greatest musicians in the world, enchants people across eras with his fabulous music. Peter Shaffer, in Amadeus （2001）, depicts the mysterious life and death of this musician in a very different way. Instead of presenting an intelligent and refined artist, Shaffer, from the perspective of his rival, Antonio Salieri, gives us a ＂foul-mouthed, immature jackanapes＂ that shocks his audiences in the theatre. Lady Thatcher＇s displeased response after seeing the play tells the gap between Shaffer＇s Mozart and the Mozart image in most public＇s mind. However, the image of the vulgar Mozart, though a contrast to his music, lights up the uniqueness of his music at the age of Enlightenment. The paper, aims to analyze the difference in Mozart＇s music and the different Mozart character Shaffer presents in his play by drawing on Ren6 Girard＇s notion of collective violence and scapegoat mechanism. Also, the author intends to examine the playwright＇s intention and exegesis as he composes this mysterious musician in such a different way
文摘This paper proposes new ways to understand the sense of universality in music through a reflection and analysis of George Crumb＇s Black Angels （Images 1）： Thirteen lmages from the Dark Land, one of the defining musical expressions of the Vietnam War era. It centers on an analysis of the relationship of the body/self to an ＂ecology of war＂ produced through Crumb＇s music that renders these selves indistinct within this musical geography. The selves that inhabit Black Angels could be that of anybody in particular since Crumb seeks to invoke in his music the primeval experience of terror that inhabits in all of us as the inheritors of mankind＇s violence. This sense of the universal militates against the desirable qualities of popular music that rely on the production of autonomous and singular selves that make the distinction between enemy and friend possible and distinct. We focus on Crumb＇s use of archaisms, his construction of time in this piece, and the author＇s overall purpose to invoke a time of war rather than to reflect the conditions of war, in order to delineate the contours of the universal time and space producing the undifferentiated primeval self of war. We conclude that although Crumb＇s rejection of the national self deprives the piece of a salient place in the popular cannon of the war, it has left an intellectual legacy on the times of the Vietnam War that deserves to be preserved.
