{"title":"佩尔·诺·拉格尔德的悲剧视野:《吉尔伽美什》(1972)与《人之夜》(1996)之比较","authors":"Barry Wiener","doi":"10.1017/s0954586723000150","DOIUrl":null,"url":null,"abstract":"Abstract The operas of Per Nørgård (b. 1932) embody a search for hidden wisdom and spiritual transcendence characteristic of artists who came to maturity during the 1960s. Gilgamesh (1972) and Nuit des hommes (1996) can be perceived as mirror images that embody visions of universal harmony and discord, and of spiritual wholeness and disintegration. This article analyses Nørgård's use of mythic paradigms and Jungian archetypes to structure the operas. It also examines Nørgård's use of dialectical polarities, including creation and death, the human and the divine, and self and others. In particular, it discusses two concepts derived from the work of Joseph Campbell, the ‘hero's journey’ and the ‘cosmogonic cycle’, linking them to Jung's theory of individuation. While Gilgamesh embodies a successful realisation of the hero's journey, the characters in Nuit des hommes become directionless wayfarers in a hostile world.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"5 6","pages":"0"},"PeriodicalIF":0.3000,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Per Nørgård's Tragic Vision: A Comparison of <i>Gilgamesh</i> (1972) and <i>Nuit des hommes</i> (1996)\",\"authors\":\"Barry Wiener\",\"doi\":\"10.1017/s0954586723000150\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract The operas of Per Nørgård (b. 1932) embody a search for hidden wisdom and spiritual transcendence characteristic of artists who came to maturity during the 1960s. Gilgamesh (1972) and Nuit des hommes (1996) can be perceived as mirror images that embody visions of universal harmony and discord, and of spiritual wholeness and disintegration. This article analyses Nørgård's use of mythic paradigms and Jungian archetypes to structure the operas. It also examines Nørgård's use of dialectical polarities, including creation and death, the human and the divine, and self and others. In particular, it discusses two concepts derived from the work of Joseph Campbell, the ‘hero's journey’ and the ‘cosmogonic cycle’, linking them to Jung's theory of individuation. While Gilgamesh embodies a successful realisation of the hero's journey, the characters in Nuit des hommes become directionless wayfarers in a hostile world.\",\"PeriodicalId\":42672,\"journal\":{\"name\":\"Cambridge Opera Journal\",\"volume\":\"5 6\",\"pages\":\"0\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2023-10-26\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Cambridge Opera Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1017/s0954586723000150\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Cambridge Opera Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1017/s0954586723000150","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
摘要
Per n ø rg德(1932年)的歌剧体现了60年代成熟艺术家对隐藏智慧和精神超越的追求。《吉尔伽美什》(1972)和《夜之人》(1996)可以被看作是镜像，体现了普遍和谐与不和谐、精神完整与解体的愿景。本文分析了诺格拉德运用神话范式和荣格原型来构建歌剧。它还考察了nø rg德对辩证两极的运用，包括创造与死亡、人与神、自我与他人。特别地，它讨论了源自约瑟夫·坎贝尔作品的两个概念，“英雄之旅”和“宇宙循环”，将它们与荣格的个性化理论联系起来。吉尔伽美什成功地实现了主人公的旅程，而《夜之家》中的人物则成为了一个充满敌意的世界中迷失方向的旅行者。
Per Nørgård's Tragic Vision: A Comparison of Gilgamesh (1972) and Nuit des hommes (1996)
Abstract The operas of Per Nørgård (b. 1932) embody a search for hidden wisdom and spiritual transcendence characteristic of artists who came to maturity during the 1960s. Gilgamesh (1972) and Nuit des hommes (1996) can be perceived as mirror images that embody visions of universal harmony and discord, and of spiritual wholeness and disintegration. This article analyses Nørgård's use of mythic paradigms and Jungian archetypes to structure the operas. It also examines Nørgård's use of dialectical polarities, including creation and death, the human and the divine, and self and others. In particular, it discusses two concepts derived from the work of Joseph Campbell, the ‘hero's journey’ and the ‘cosmogonic cycle’, linking them to Jung's theory of individuation. While Gilgamesh embodies a successful realisation of the hero's journey, the characters in Nuit des hommes become directionless wayfarers in a hostile world.
期刊介绍：
Containing lively and provocative essays, Cambridge Opera Journal has a well-established reputation for publishing first-rate scholarship on opera in all its manifestations. The Journal not only contains material on all aspects of the European canon, it has now widened its scope to publish high-quality essays on American opera and musical theatre, on non-Western music theatres, and on contemporary works. Carefully researched and often illustrated with music examples and pictures, articles adopt a wide spectrum of critical approaches. As well as major articles, each issue generally includes reviews on recent publications of importance in the field.
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