By Slavoj Zizek, Mladen Dolar
Opera's moment demise is a passionate exploration of opera - the style, its masterpieces, and the character of demise. utilizing a blinding array of instruments, Slavoj Zizek and coauthor Mladen Dolar discover the unusual compulsions that overpower characters in Mozart and Wagner, in addition to our personal wants to die and to visit the opera.
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143) Like Kant, Singer - usually designated as a "social Darwinist with a collectivist socialist face" - is also ready to tolerate infanticide in certain specific situation, although his argumentation is the very opposite of that of Kant. Singer starts innocently enough, arguing that people will be happier if they lead lives committed to ethics: a life spent trying to help others and reduce suffering is really the most moral and fulfilling one. He radicalizes and actualizes Jeremy Bentham, the father of utilitarianism: the ultimate ethical criterion is not the dignity (rationality, soul) of man, but the ability to SUFFER, to experience pain, which man shares with animals.
Is Klingsor not a kind of false father who offers Kundry to men not to redeem them, but to destroy them? e. Mark-Hans), and then to the younger Parsifal (Tristan-Walter). Klingsor, who wins the first time, is vanquished when no exchange takes place, since Kundry's advances are rejected by Parsifal. This, then, is how we are to interpret Wagner: the "meaning" of Tristan becomes visible when we establish the connection between it and the two other music dramas (in short, when we apply to it the structural interpretation of myths elaborated by Claude Levi-Strauss, himself a great Wagnerian).
The dying Tristan is not fascinated directly by the vision of Isolde, but by the gaze which perceives this vision: the proper object of fantasy is the fantasized gaze, not the fantasmatic scene itself. More precisely, Isolde's Liebestod is clearly divided into two parts: the first one, the more calm narrative in which the tension is just building up, is addressing the Other ("See you not? "), while the second one begins when Isolde assumes her solitude, conceding that she alone sees Tristan alive and smiling: "Feel and see you not?