This Article Full Text (PDF) References Alert me when this article is cited Alert me if a correction is posted Services Email this article to a friend Similar articles in this journal Alert me to new issues of the journal Add to Saved Citations Download to citation manager Add to My Marked Citations Citing Articles Citing Articles via Google Scholar Google Scholar Articles by Roberts, D. Search for Related Content Social Bookmarking                   What's this?

Staging the Absolute: The Total Work of Art from Wagner to Mallarmé

Monash University, david.roberts{at}arts.monash.edu.au

Heidegger places Wagner’s will to the total work of art at the centre of the long 19th century. Nietzsche’s and Mallarmé’s responses to Wagner reflect all the ambiguities of modernism’s myth of absolute creation: the dreams of a new mythology and a new community are shadowed by the knowledge that the gods are nothing more than our fictions. Nietzsche and Mallarmé continue and critically interrogate the two distinct lineages of the total work of art deriving from German romanticism and the French Revolution respectively, at the same time as they anticipate the contrary constructions of the sacred in society in Le Bon and Durkheim.

Key Words: aesthetic illusion • art • Gesamtkunstwerk • myth • religion • total work of art

CiteULike    Connotea    Del.icio.us    Digg    Reddit    Technorati    What's this?