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Sonorous Bodies: Representations of Female Sexuality in fin-de-siècle Austro-German Opera, from the Wiener Moderne toward the Weimar Republic

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dc.contributor.advisor Auner, Joseph en_US
dc.contributor.advisor Minor, Ryan en_US
dc.contributor.author Hulley, Kathleen en_US
dc.contributor.other Department of Music. en_US
dc.date.accessioned 2017-09-20T16:50:39Z
dc.date.available 2017-09-20T16:50:39Z
dc.date.issued 2015-08-01
dc.identifier.uri http://hdl.handle.net/11401/76561 en_US
dc.description 491 pg. en_US
dc.description.abstract This dissertation examines shifting musical and visual representations of female sexuality in fin-de-siècle Austro-German opera, and demonstrates the ways in which these operatic representations attest to the changing conceptions of women during this era. From theatrical, visual, and literary representations, to legal and medical writings, numerous discourses proliferated regarding " normal" and " abnormal" femininity, often in relation to the health of society. Moreover, with the era's widespread belief that theater and opera fulfilled a social and often didactic role, the stage was understood as a place that could not only shape and regulate society, but also offer new social paradigms. In this dissertation, I contextualize and examine the sonic and visual representations of female sexuality in several fin-de-siècle operatic works: Wagner's Parsifal (1882); Strauss's Feuersnot (1901), Salome (1905), Elektra (1909), and Der Rosenkavalier (1911); Lehár's Die lustige Witwe (1905); Zemlinsky's Der Traumgörge (1906), Schreker's Der ferne Klang (1912); and Max von Schillings's Mona Lisa (1915). Each chapter focuses on a different musical and textual manifestation of the sexual " Woman" (from " the hysteric" and " the fallen woman," to " the muse" ), with the aim of illustrating the transformations and contradictions in relation to historical conceptions of female sexuality and femininity. For these various manifestations, specific moments in the above-mentioned operas are analyzed. Moreover, a central concern of this research is the " cultural work" that these operas performed: How did these operas actively participate in shaping attitudes about women through their musical and visual presentation of the female characters? And what response did these representations garner? As this project demonstrates, the multiple layers of these operas - from the vocal and the orchestral music, to the prescribed bodily movements in the stage directions - articulate the changing cultural norms of respectable femininity of the era. en_US
dc.description.sponsorship This work is sponsored by the Stony Brook University Graduate School in compliance with the requirements for completion of degree. en_US
dc.format Monograph en_US
dc.format.medium Electronic Resource en_US
dc.language.iso en_US en_US
dc.publisher The Graduate School, Stony Brook University: Stony Brook, NY. en_US
dc.subject.lcsh Music en_US
dc.subject.other Austria, fin-de-siècle, Germany, Opera, Representation, Women en_US
dc.title Sonorous Bodies: Representations of Female Sexuality in fin-de-siècle Austro-German Opera, from the Wiener Moderne toward the Weimar Republic en_US
dc.type Dissertation en_US
dc.mimetype Application/PDF en_US
dc.contributor.committeemember Fuller, Sarah en_US
dc.contributor.committeemember Lee, Sherry. en_US

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