DOI: 10.5593/sgemsocial2017/62/S23.012


G. Bulancea, E. T. Bulancea
Tuesday 3 October 2017 by Libadmin2017

References: 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM 2017, www.sgemsocial.org, SGEM2017 Conference Proceedings, ISBN 978-619-7408-24-9 / ISSN 2367-5659, 24 - 30 August, 2017, Book 6, Vol 2, 99-106 pp, DOI: 10.5593/sgemsocial2017/62/S23.012


By the total work of art (gesamtkunstwerk) Wagner brings the myth back into focus by illud tempus hoping that in doing so he will re-sacralise the present time and space. Within the framework of the myths he approaches, the present paper deals with the feminine characters whose role is decisive in the unfolding of the Wagnerian drama. Every female character fits a conventional typologies, the present study bringing into question more than twenty such characters. Far from proposing a rigid typology, this analysis of feminine typologies reveals the deeply ego of composer Richard Wagner, wasted in a variety of iconic figures. The unconscious personality of the creative subject becomes visible by enrolling heroines in a typological framework. Thus, similarities and differences between female characters reveals what escapes most superficial glances of the characters on the action isolated. Subsuming their cores that polarize and reorganized the lyric framework along retains a tragic balance by constantly projected a supernatural order, demiurgic, as an act of correction of the excesses or human error. Their stage appearance is accompanied by a series of auditory and visual innovations which will potentiate the aesthetic thrill, as Wagner believed that it is only by a liturgy of the senses that the work of art may reach its redeeming potential.

Keywords: feminine typologies, Richard Wagner, opera, Charles Mauron, Gilbert Durand.