RUcore Resource Object
RUcore Resource Object
PDF-1(4.42 MB)
TitleRevenge is a dish best served on a broken plate
NameGabrielsen, Dag (author), Chrisman, Richard (chair), Fussell, Charles (internal member), Chenoweth, Gerald (internal member), Burke, Richard (outside member), Rutgers University, Graduate School - New Brunswick,
Degree Date2012-05
Date Created2012
SubjectMusic,
Identity politics,
Stravinsky, Igor,--1882-1971.--Vesna svi͡ashchennai͡a,
Schoenberg, Arnold,--1874-1951--Criticism and interpretation,
Stravinsky, Igor,--1882-1971--Criticism and interpretation,
Bourdieu, Pierre,--1930-2002--Criticism and interpretation
DescriptionDoes an artist create in a vacuum or is there more at stake in a work’s
production than art for art’s sake? A great deal has been written about The Rite
of Spring by Igor Stravinsky and the atonal works of Arnold Schoenberg, much of
which has depicted their works as autonomous objects – objects that embodied
an inevitable step in a natural evolution of Western art music. This essay
reconsiders these works not as the product of Hegelian evolution, but as social
acts of symbolic violence against cultural establishments in Saint Petersburg and
Vienna by two remarkably similar personalities. Following an overview of their
social and professional development, this essay considers primary sources on
Stravinsky and Schoenberg in light of recent psychological research on identity.
The system of sign and myth outlined by semiologist Roland Barthes is then
brought to bear on Stravinsky’s Rite and Schoenberg’s Erwartung to further
analyze conservative versus radical reception of these works. The essay concludes with a discussion of the concepts of cultural capital, symbolic violence and collective misrecognition proposed by the sociologist Pierre Bourdieu as they relate to theoretical and historical writing on Stravinsky and Schoenberg later in the twentieth-century.
production than art for art’s sake? A great deal has been written about The Rite
of Spring by Igor Stravinsky and the atonal works of Arnold Schoenberg, much of
which has depicted their works as autonomous objects – objects that embodied
an inevitable step in a natural evolution of Western art music. This essay
reconsiders these works not as the product of Hegelian evolution, but as social
acts of symbolic violence against cultural establishments in Saint Petersburg and
Vienna by two remarkably similar personalities. Following an overview of their
social and professional development, this essay considers primary sources on
Stravinsky and Schoenberg in light of recent psychological research on identity.
The system of sign and myth outlined by semiologist Roland Barthes is then
brought to bear on Stravinsky’s Rite and Schoenberg’s Erwartung to further
analyze conservative versus radical reception of these works. The essay concludes with a discussion of the concepts of cultural capital, symbolic violence and collective misrecognition proposed by the sociologist Pierre Bourdieu as they relate to theoretical and historical writing on Stravinsky and Schoenberg later in the twentieth-century.
NotePh. D.
NoteIncludes bibliographical references
Noteby Dag Gabrielsen
Genretheses
Persistent URLhttp://hdl.rutgers.edu/1782.1/rucore10001600001.ETD.000065140
Languageeng
CollectionGraduate School - New Brunswick Electronic Theses and Dissertations
Organization NameRutgers, The State University of New Jersey
RightsThe author owns the copyright to this work.