The grotesque is one of art”s most puzzling figures – transgressive, comprising an unresolveable hybrid, generally focussing on the human body, full of hyperbole, and ultimately semantically deeply puzzling. In Bluebeard”s Castle (1911), The Wooden Prince (1916/17), The Miraculous Mandarin (1919/24, rev. 1931) and Cantata Profana (1930), Bart ngaged scenarios featuring either overtly grotesque bodies or closely related transformations and violations of the body. In a number of instrumental works he also overtly engaged grotesque satirical strategies, sometimes – as in Two Portraits: ”Ideal” and ”Grotesque” – indicating this in the title. In this book, Julie Brown argues that Bart concerns with stylistic hybridity (high-low, East-West, tonal-atonal-modal), the body, and the grotesque are inter-connected. While Bart eveloped each interest in highly individual ways, and did so separately to a considerable extent, the three concerns remained conceptually interlinked. All three were thoroughly implicated in cultural constructions of the Modern during the period in which Bart as composing.
المزيد من الكتب الإلكترونية من نفس المؤلف (المؤلفين) / محرر
32٬720 كتب إلكترونية في هذه الفئة
