In this article, I use an intertextual interference – the spectral presence of Norma Desmond in a performance of Donizetti’sLucia di Lammermoor– as a locus through which to explore the consequences of the ‘open’ text in theatrical spectatorship, criticism and historical study. Norma’s ghosting of Lucia reveals how spectral effects function in musical and dramatic contexts, particularly in Gothic works. These effects replace illusions of linear teleology with temporal synchronicity and destabilise the boundaries that separate the critic or spectator from the work. Though examiningLuciathrough the lens ofSunset Boulevardinverts chronological sequence, it acknowledges the temporal contradictions inherent in historical work and assigns productive meaning to nostalgic impulses that engage a reflective mode of thought.

中文翻译：

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露西亚的幽灵：索尼克、哥特式和后现代

在这篇文章中，我使用了互文干扰——诺玛·戴斯蒙德在多尼采蒂的表演中的光谱存在露西亚·迪·拉默摩尔——作为探索“开放”文本在戏剧观众、批评和历史研究中的后果的场所。诺玛对露西亚的重影揭示了光谱效应在音乐和戏剧环境中的作用，尤其是在哥特式作品中。这些效果用时间同步性取代了线性目的论的幻觉，并破坏了将评论家或观众与作品分开的界限。虽然审查露西亚通过镜头日落大道它颠倒了时间顺序，承认历史作品中固有的时间矛盾，并赋予怀旧冲动以反思性思维模式的生产意义。