This is a pioneering attempt to rearticulate the relationship
between music and the problems of mimesis, between presentation and
re-presentaion. Four "scenes" comprise the book, all four of them
responses to Wagner: two by French poets (Baudelaire and Mallarme),
two by German philosophers (Heidegger and Adorno).
It is dificult to realize how profoundly Wagner affected the
cultural and ideological sensibilities of the nineteenth century.
Wagnerism rapidly spread throughout Europe, partly because of
Wagner's propagandizing talent and the zeal of his adherents. But
the main reason for his ascendance was the sudden appearance of
what the century had desperately tried to produce since the
beginnings of Romanticism - a work of art on the scale of great
Greek and Christian art. At last, here it was: the secret of what
Hegel called the "religion of art" rediscovered.
The first two scenes of the book present a historical sequence that
is punctuated by the Franco-Prussian War and the Paris Commune, in
which the universal unbridling of nations and classes is
prefigured. The second two register certain effects of Wagnerism
that are not just ideological but make themselves felt in a new
political configuration of the "national" and the "social."
General
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