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5 - Women and Children

from PART III - NEW WORLD

Published online by Cambridge University Press:  04 September 2018

J. P. E. Harper-Scott
Affiliation:
Royal Holloway, University of London
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Summary

If one realizes that everything we call culture consists in the suppression of nature and any uncontrolled traces of nature, then what this culture finds most unbearable are those places where it is not quite able to control natural manifestations, where they intrude persistently into its own domain … It might be said that culture banishes stench because it itself stinks - which Brecht once formulated in the truly magnificent and inspired statement that humanity up to now had built itself an immense palace of dogshit. I believe that culture's squalid and guilty suppression of nature - a suppression that is itself a wrongly and blindly natural tendency of human beings - is the reason why people refuse to admit that dark sphere.

Theodor Adorno, Metaphysics

Modern art is virtually an identification with the aggressor, a mimesis of reification. On the other hand, because this mimesis occurs within a separate artistic sphere, artworks can heal the wound with the poisonous spear that inflicted it.

Lambert Zuidervaart, Adorno's Aesthetic Theory: The Redemption of Illusion

The Excremental Real of Bourgeois Realism

For most human beings who reflect on the matter it perhaps seems obvious, at a first guess, that pieces of music such as Britten's operas The Turn of the Screw and The Rape of Lucretia, the subjects of this chapter, are truth-filled ‘works', objects that we might come to know; and that they are culturally preserved as part of an ever-changing canon of artworks of a sufficiently high quality that it is on average, at at a given time and in a given place, taken to be of benefit for the social collective to know. But the contemporary scholarly bias in musicology, in marked contrast, is to view pieces of music as ‘texts’ to be held at a fretful, semi-disgusted arm's length, and discursively interpreted in the modes of their transmission.

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Publisher: Cambridge University Press
Print publication year: 2018

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  • Women and Children
  • J. P. E. Harper-Scott, Royal Holloway, University of London
  • Book: Ideology in Britten's Operas
  • Online publication: 04 September 2018
  • Chapter DOI: https://doi.org/10.1017/9781108236386.006
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  • Women and Children
  • J. P. E. Harper-Scott, Royal Holloway, University of London
  • Book: Ideology in Britten's Operas
  • Online publication: 04 September 2018
  • Chapter DOI: https://doi.org/10.1017/9781108236386.006
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Women and Children
  • J. P. E. Harper-Scott, Royal Holloway, University of London
  • Book: Ideology in Britten's Operas
  • Online publication: 04 September 2018
  • Chapter DOI: https://doi.org/10.1017/9781108236386.006
Available formats
×