Glowing or dim eyes, a resonant or howling voice, the bodily aromas of young love or the malodor of garlic and sulfur, the muscle-bound hero or the lopsided glossy-furred personate of a degenerate goat-like creature whose skin is deathlike ill. These are only some of the images of the body Richard Wagner metaphorically expressed in his theories of the failings of nineteenth-century Europe, and his vision of a superior future Germany. For Wagner the ken of the corporeal is where the ideological becomes visible and is used as a vehicle for communicating his ideological social concepts. Wagner’s ideas of the body in his samples and music dramas are novel and iconoclastic, but these images which he expressed were not his invention but part of a widespread vocabulary with specific connotations in his age and culture. The total of Wagner’s works from 1850, the year Wagner published the infamous essay Das Judentum in der Musik, onward, incorporates his revolutionary theories concerning social issues and reveals him to be standardized to his contemporary audience, a member of his culture steeped in beliefs that modify him as antisemitic. By using the body, Wagner was able to evoke original associations linked to the corporeal in his culture, which gave his ideas a degree of virtue to his contemporary audience.

It is only with the cultural context of Wagner’s time, that anti-Semitic implications of the music make sense. The associations connected to Wagner’s music, is not needs those of today. Specific key (tonality) are associated with specific dramatic configurations, moods or meanings. In the Affektenlehre, B-flat minor, carries connotations of ‘evil’ and ‘darkness’ in its musical functions in nineteenth-century Europe, where as today it may not. It is important to view Wagner’s artwork in consideration of the cultural imagination and not in a cultural vacuum that will pull up stakes for permutations to be apart of our...If you want to get a rise essay, order it on our website:
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