Wagner Short Quotes

The bright image projections of the Sophoclean hero--in short, the Apollinian aspect of the mask--are necessary effects of a glance into the inside and terrors of nature; as it were, luminous spots to cure eyes damaged by gruesome night. Only in this sense may we believe that we properly comprehend the serious and important concept of "Greek cheerfulness." The misunderstanding of this concept as cheerfulness in a state of unendangered comfort is, of course, encountered everywhere today.

I don't want to forget my origin: I'm an eternal spirit placed in a body put on this earth for only a short time to fulfill a purpose.

What one should add here is that self-consciousness is itself unconscious: we are not aware of the point of our self-consciousness. If ever there was a critic of the fetishizing effect of fascinating and dazzling "leitmotifs", it is Adorno: in his devastating analysis of Wagner, he tries to demonstrate how Wagnerian leitmotifs serve as fetishized elements of easy recognition and thus constitute a kind of inner-structural commodification of his music. It is then a supreme irony that traces of this same fetishizing procedure can be found in Adorno's own writings. Many of his provocative one-liners do effectively capture a profound insight or at least touch on a crucial point (for example: "Nothing is more true in pscyhoanalysis than its exaggeration"); however, more often than his partisans are ready to admit, Adorno gets caught up in his own game, infatuated with his own ability to produce dazzlingly "effective" paradoxical aphorisms at the expense of theoretical substance (recall the famous line from Dialectic of Englightment on how Hollywood's ideological maniuplation of social reality realized Kant's idea of the transcendental constitution of reality). In such cases where the dazzling "effect" of the unexpected short-circuit (here between Hollywood cinema and Kantian ontology) effectively overshadows the theoretical line of argumentation, the brilliant paradox works precisely in the same manner as the Wagnerian leitmotif: instead of serving as a nodal point in the complex network of structural mediation, it generates idiotic pleasure by focusing attention on itself. This unintended self-reflexivity is something of which Adorno undoubtedly was not aware: his critique of the Wagnerian leitmotif was an allegorical critique of his own writing. Is this not an exemplary case of his unconscious reflexivity of thinking? When criticizing his opponent Wagner, Adorno effectively deploys a critical allegory of his own writing - in Hegelese, the truth of his relation to the Other is a self-relation.

For a short while she considered the idea of orchestral courtesy. Certainly one should avoid giving political offence: German orchestras, of course, used to be careful about playing Wagner abroad, at least in some countries, choosing instead German composers who were somewhat more ... apologetic.

Most lecture-based courses contribute nothing to real learning. Consequential and retained learning comes from applying knowledge to new situations or problems, research on questions and issues that students consider important, peer interaction, activities, and projects. Experiences, rather than short-term memorization, help students develop the skills and motivation that transforms lives." [p. 7-8]

Modeling the evolution of modularity became significantly easier after a kind of genetic variation was discovered by quantitative trait locus (QTL) mapping in the lab of James Cheverud at Washington University called 'relationship QTL' or r-QTL for short. An r-QTL is a genetic locus that affects the correlations between two quantitative traits (i.e. their variational relationship, and therefore, 'relationship' loci). Surprisingly, a large fraction of these so-mapped loci are also neutral with respect to the character mean. This means one can select on these 'neutral' r-QTLs without simultaneously changing the character mean in a certain way. It was easy to show that differential directional selection on a character could easily lead a decrease in genetic correlation between characters. Of course, it is not guaranteed that each and every population has the right kind of r-QTL polymorphisms, nor is it yet clear what kind of genetic architecture allows for the existence of an r-QTL. Nevertheless, these findings make it plausible that differential directional selection can enhance the genetic/variational individuality of traits and, thus, may play a role in the origin of evolutionary novelties by selecting for variational individuality. It must be added, though, that there has been relatively little research in this area and that we will need to see more to determine whether we understand what is going on here, if anything. In particular, one difficulty is the mathematical modeling of gene interaction (epistasis), because the details of an epistasis model determine the outcome of the evolution by natural selection. One result shows that natural selection increases or decreases mutational variance, depending on whether the average epistatic effects are positive or negative. This means that the genetic architecture is more determined by the genetic architecture that we start with than by the nature of the selection forces that act upon it. In other words, the evolution of a genetic architecture could be arbitrary with respect to selection.

I see over and beyond all these national wars, new "empires," and whatever else lies in the foreground. What I am concerned with — for I see it preparing itself slowly and hesitatingly — is the United Europe. It was the only real work, the one impulse in the souls, of all the broad-minded and deep-thinking men of this century — this reparation of a new synthesis, and the tentative effort to anticipate the future of "the European." Only in their weaker moments, or when they grew old, did they fall back again into the national narrowness of the "Fatherlanders" — then they were once more "patriots." I am thinking of men like Napoleon, Heinrich Heine, Goethe, Beethoven, Stendhal, Schopenhauer. Perhaps Richard Wagner likewise belongs to their number, concerning whom, as a successful type of German obscurity, nothing can be said without some such "perhaps." But to the help of such minds as feel the need of a new unity there comes a great explanatory economic fact: the small States of Europe — I refer to all our present kingdoms and "empires" — will in a short time become economically untenable, owing to the mad, uncontrolled struggle for the possession of local and international trade. Money is even now compelling European nations to amalgamate into one Power. In order, however, that Europe may enter into the battle for the mastery of the world with good prospects of victory (it is easy to perceive against whom this battle will be waged), she must probably "come to an understanding" with England. The English colonies are needed for this struggle, just as much as modern Germany, to play her new role of broker and middleman, requires the colonial possessions of Holland. For no one any longer believes that England alone is strong enough to continue to act her old part for fifty years more; the impossibility of shutting out homines novi from the government will ruin her, and her continual change of political parties is a fatal obstacle to the carrying out of any tasks which require to be spread out over a long period of time. A man must to-day be a soldier first and foremost that he may not afterwards lose his credit as a merchant. Enough; here, as in other matters, the coming century will be found following in the footsteps of Napoleon — the first man, and the man of greatest initiative and advanced views, of modern times. For the tasks of the next century, the methods of popular representation and parliaments are the most inappropriate imaginable.

In his book The Sensation of Being Somebody, Maurice Wagner wrote: Try as we might by our appearance, performance or social status to find self-verification for a sense of being somebody, we always come short of satisfaction. Whatever pinnacle of self-identity we achieve soon crumbles

When any art has once made this discovery, it has but a short space of time to live.

establishing fixed racial hierarchies, such as the German composer Richard Wagner in Judaism in Music (1850) and the French diplomat Arthur de Gobineau in Essay on the Inequality of the Human Races (1853–1855).

Writers don't have friends. Only deadlines. And cheating publishers. And meddling editors. And carping reviewers. And checks that never come when they're supposed to come, and are always short when they do come.

Life is too short not to look beyond it.