ࡱ> .0-] ~bjbjzpzp . b b~HHHHH\\\\p \RD||||||||$LH||HH|| H|H||[rY "0Rc(H4|0"||| |||R|||||||||B : Name: Dr. Yvonne Ivory Affiliation: University of South Carolina Paper Title: Beyond Salom: Oscar Wildes Afterlife in Modernist German Opera In his influential and highly tendentious 1892 study Entartung (Degeneration), the Austro-Hungarian cultural critic Max Nordau scorned Oscar Wilde as an egotistic aesthete who embodied all of the worst the principles of the fin de siclea period and mood that Nordau associated with contempt for traditional views of custom and morality. Following the Wilde scandal of 1895and despite professing some misgivings about kicking a man while hes downNordau repeated his condemnation of Wilde in a new edition of Degeneration: Wilde could not be ignored as he represented the most instructive example of the very mode of thought that Nordaus study was trying to capture. Nordaus was the very first German-language discussion of Wilde; the second was penned in 1894 by the giant of Austrian letters Hermann Bahr, who dismissed Wilde as an aesthete and a prophet of Decadence. These two readings of Wilde set the stage (if not the tone) for much of his German-language reception: Wilde was the epitome of aestheticism, individualism, and decadence; the fin de sicle incarnate. Salom, the first Wilde work to be revived in Germany following Wildes death, fit comfortably with such an assessment of Wilde, and was read, for the most part, in its light. Richard Strausss 1905 opera based on Salom fared similarly, cementing the bond between fin-de-sicle decadence and the modernist impulse in the realm of serious music. In this paper, I will return to Max Nordaus Entartung to flesh out his notion of the fin de sicle, focusing particularly on his definition of the trend as a practical emancipation from traditional discipline. I will then turn to a number of less-well-known modernist German-language operatic projects inspired by Wilde (Alexander Zemlinskys Der Zwerg and Eine florentiniche Tragdie, and Otto Julius Bierbaums Das Gespenst von Matschatsch) to explore the extent to which modernism in European opera owes a debt to the Irishmans own practical emancipation from traditional discipline. $@ANU]s ()VnZnZnZnZnZnZnZnZnZnVnhG&hG0J56CJOJQJ\]aJ hG0J5CJOJQJ\aJhanhanOJQJ^J!hG0JCJOJQJ\^JaJ-hanhG0J6CJOJQJ\]^JaJ'hanhG0JCJOJQJ\^JaJ'hanhan0JCJOJQJ\^JaJ!han0JCJOJQJ\^JaJ$han0J5CJOJQJ\^JaJ!A)z|~gdG [$\$gdanV`y~hG hG0J5CJOJQJ\aJ&hG0J56CJOJQJ\]aJ ,1h. A!"#$% s2&6FVfv2(&6FVfv&6FVfv&6FVfv&6FVfv&6FVfv&6FVfv8XV~ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@_HmH nH sH tH @`@ NormalCJ_HaJmH sH tH N@2N G Heading 3dd@&[$\$5CJ\aJDA D Default Paragraph FontRiR  Table Normal4 l4a (k (No List *W@* GStrong5\4U4 G Hyperlink >*phPK![Content_Types].xmlN0EH-J@%ǎǢ|ș$زULTB l,3;rØJB+$G]7O٭Vc:E3v@P~Ds |w< ~V~ ~ UImVImWIm$$2.@@=*urn:schemas-microsoft-com:office:smarttags PlaceType=*urn:schemas-microsoft-com:office:smarttags PlaceName9*urn:schemas-microsoft-com:office:smarttagsplace V_wNN(l{<+6Gm]w/ N(Fm]wfkm]wb?"m]w~F(N(TF6m]wZw8m]wl{<#6Qm]w fXm]wbZm]wzkmN(H$qN(m]wl{<G9wm]wG/];an AB~@~@UnknownG*Ax Times New Roman5Symbol3. *Cx ArialK@Palatino LinotypeACambria Math"qhKg'Kg'D:D: hhr4zz3qHP)?G0!xx @Beyond Salom: Oscar Wilde s Afterlife in Modernist German OperaO'Toole Linda.MoloneyOh+'0 ( @L l x DBeyond Salom: Oscar Wildes Afterlife in Modernist German OperaO'TooleNormalLinda.Moloney2Microsoft Office Word@Ik@:V@:VD:՜.+,0< hp  z BBeyond Salom: Oscar Wildes Afterlife in Modernist German Opera Title  !"#$&'()*+,/Root Entry F@^r11Table WordDocument.SummaryInformation(DocumentSummaryInformation8%CompObjr  F Microsoft Word 97-2003 Document MSWordDocWord.Document.89q