Philosophers Slavoj Žižek and Mladen Dolar in their Opera’s Second Death of 2002 announce the second death of opera which, as event, lies at the heart of their critique. Appearing, as it were, in the wake of a series of illustrious deaths – including God’s (Nietzsche) and the author’s (Barthes) – the death of opera seems inevitable if we were to follow Joseph Kerman’s 1956 projection that the future of opera lies in giving more weight to its dramatic structures. Drama in opera was and remains ‘vital’ for Kerman who argues that ‘our age is more likely to develop its concepts of drama by investigating the tradition, musical or non-musical’. This leads Kerman to conclude that

中文翻译：

---

歌剧的第二人生：凯蒂·米切尔对当代歌剧创作的贡献

哲学家斯拉沃伊·齐泽克 (Slavoj Žižek) 和姆拉登·多拉尔 (Mladen Dolar) 在 2002 年歌剧的第二次死亡中宣布歌剧的第二次死亡，作为事件，这是他们批评的核心。仿佛在一系列杰出的死亡之后出现——包括上帝（尼采）和作者（巴特）——如果我们遵循约瑟夫·克尔曼 1956 年的预测，歌剧的死亡似乎是不可避免的，歌剧的未来在于赋予其戏剧性的结构更多的权重。歌剧中的戏剧对于克尔曼来说一直是“至关重要的”，他认为“我们的时代更有可能通过研究传统、音乐或非音乐来发展其戏剧概念”。这导致克尔曼得出结论，