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Operatic Representations of Habsburg Ideology: Ottoman Themes and Viennese Variations
Austrian History Yearbook ( IF 0.400 ) Pub Date : 2019-04-01 , DOI: 10.1017/s006723781900002x
Larry Wolff

F orty years ago R. J. W. Evans, in his now classic study of The Making of the Habsburg Monarchy , observed that, in the absence of a coherent early modern central government, the Habsburg enterprise rested crucially upon the baroque court and Habsburg patronage of the arts. Evans especially noted that “two great synthetic achievements, alike commissioned by court, magnates, and Church, alike immortally associated with the age of baroque in the Habsburg lands: the dramatic extravagance of opera; and its physical counterpart, the monumental architecture of the years around 1700.” Evans argued further that baroque art, including opera, contributed to the ideological legitimacy of the court, and therefore the state. This became particularly important during the reign of Emperor Leopold I, who was himself a composer of some distinction and who sponsored one of the supremely monumental operatic productions of the seventeenth century, Antonio Cesti's Il pomo d'oro , on Paris and the prize of the golden apple, staged with twenty-four sets over the course of two days, in honor of the birthday of Leopold's teenage empress, the Spanish Infanta Margarita, in 1668. As a child, she had appeared as the artistic focus of the Spanish court in the painting Las Meninas by Diego Velazquez.

中文翻译:

哈布斯堡意识形态的歌剧表现:奥斯曼主题和维也纳变奏

四十年前,RJW 埃文斯在他现在对哈布斯堡君主制的形成的经典研究中观察到,在缺乏连贯的早期现代中央政府的情况下,哈布斯堡王朝的事业主要依赖于巴洛克式的宫廷和哈布斯堡王朝的艺术赞助。埃文斯特别指出,“由宫廷、权贵和教会委托的两项伟大的综合成就,同样与哈布斯堡王朝的巴洛克时代有着不朽的联系:歌剧的戏剧性奢华;和它的物理对应物,1700 年左右的纪念性建筑。” 埃文斯进一步争辩说,巴洛克艺术,包括歌剧,为宫廷乃至国家的意识形态合法性做出了贡献。这在利奥波德一世皇帝统治期间变得尤为重要,
更新日期:2019-04-01
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