Wagner: Race and Revolution

by Paul Lawrence Rose

Book Overview

It has long been acknowledged that Richard Wagner was a virulent antisemite, yet the composer has also been characterized as an idealistic revolutionary, and historians have puzzled over the paradox... This description may be from another edition of this product.

• Format: Hardcover
• Language: English
• ISBN: 0300051824
• ISBN13: 9780300051827
• Release Date: September 1992
• Publisher: Yale University Press
• Length: 246 Pages
• Weight: 1.00 lbs.
• Dimensions: 1.0" x 5.5" x 8.7"

Customer Reviews

a very insightful work

I think this is an excellent book, contrary to the other reviews listed. It helped me understand several new concepts related to anti-semitism, particularly how Jews were thought of as being responsible for commercializing the German art world and bringing the bourgeois capitalist element to European culture. The book sheds much light on the development of anti-semitism relative to the increasing nationalist and revolutionary spirit in Germany during the first part of the 20th century. Wagner's general psychology and racist attitudes are conveyed very effectively, and his influence on future national socialist ideology is more than apparent. This book added a great deal to my understanding of the roots of European anti-semitism, and I thank the author for this.

Ultimately usefull,more questions than answers for Wagner

Rose uncovers things we've always known about Richard Wagner, his virulent antisemiticism. He situates Wagner usefully in the philosophic mileau of the 19th Century and revolutionary thinking.However writers like Proudhon,Bauer,The Young Hegelians,and Fichte were relatively insignificant compared to Marx and the impact his thinking had of the ideologies of the 19th Century. Rose should have compared Wagner to Marx to define consummately what the term "revolution" really means. Also all these thinkers save Marx,were reactionary, which is why they appealed to Wagner. Rose's discussion of anarchist Bakunin, Wagner's Dresden Rebellion Days friend is even more problematic since Bakunin was ultimately a political opportunist, who would sell-out to save himself as he did countless times.Wagner was first and foremost a composer of music dramas,operas and his creative philosophic thinking remained energized toward that pursuit,which is why his fascination with 19th Century philosophic thought changed over his life. It actually became more conservative. Despite his early Dresden Days, Wagner was a political imbecile. He couldn't distinguish parties,nor collective wills. Given Wagner's unquestionable dominance in the world of Opera today, the crux of Rose's argument, Wagner's antisemiticism, is indeed a profoundly important one. But I doubt if this discussion will lead toward the banning of his music. The problem of racism in art is perhaps the most important issue facing all those who involve themselves in art. For art deals with communication, one human being speaking to another. One emotion projected outward to humanity. And if this expression emanates from a diseased mind, a racist one, well how can art reflect the highest thought man/woman is capable. Rose's discussion of Wagner's "Ring" was not thorough enough,for Wagner contradicts himself. Wotan is ever bit as self-serving as Alberich, the dwarf who Wagner had earmarked as the representational Jew. Brunhilde as well for all her humanity in saving Siegmund and Sieglinde,plots with the evil Hagen to kill Siegfried, her beloved. No character in the "Ring" is beyond redemption ,all are self-serving opportunists. Rose seems to focus on Alberich as Other, as representative of the lower class, the "lumpen" in contrast to the gods and immortals, when such reference is not important. Instead a discussion of how Wagner projects characterization, or doesn't. That his inhumanity prevented him from projecting a convincing character would have served Rose's argument.