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ANDRE, PAMELA. "Christ and Wagner: The Religion of Cosima." Journal of Religious History 14, no. 4 (December 1987): 419–31. http://dx.doi.org/10.1111/j.1467-9809.1987.tb00641.x.
ANDRE, PAMELA. "Cosima Wagner: the Building of the Bayreuth Ideology." Australian Journal of Politics & History 29, no. 3 (April 7, 2008): 473–85. http://dx.doi.org/10.1111/j.1467-8497.1983.tb00213.x.
Göbel, Anna, Carl H. Göbel, and Hartmut Göbel. "Phenotype of migraine headache and migraine aura of Richard Wagner." Cephalalgia 34, no. 12 (March 28, 2014): 1004–11. http://dx.doi.org/10.1177/0333102414527645.
Background The headache phenotype and neurological symptoms of the German composer Richard Wagner (1813–1883), whose music dramas count towards the most frequently performed operas across the world, are previously undocumented. Methods Richard Wagner’s own descriptions of his headache symptoms in his original writings and letters are investigated, as well as the complete diary records of his second wife, Cosima Wagner. Results There are manifold indications that Richard Wagner suffered from a severe headache disorder, which fulfils most likely the diagnostic criteria of migraine without aura and migraine with aura of ICHD-3 beta. Conclusions Richard Wagner’s life and opus can help to better understand the burden and suffering caused by migraine with its severe effects on the individual, familial and social life, the culture and community.
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Bridgham, Fred, and Eric Eugene. "Richard et Cosima Wagner / Arthur Gobineau: Correspondance 1880-1882." Modern Language Review 98, no. 1 (January 2003): 207. http://dx.doi.org/10.2307/3738229.
Nunes, Antonio Manoel. "Querelas da Dissonância: Nietzsche, Wagner, Tragédia e Música." Aletria: Revista de Estudos de Literatura 1 (October 31, 1993): 75–81. http://dx.doi.org/10.17851/2317-2096.1..75-81.
Tristão e Isolda como metáfora da união e desagregação entre Nietzsche e Wagner. Espírito dionisíaco e espírito apolinário: Origem da tragédia. Primeiros encontros e a construção da paixão. Um triângulo estranho: Nietzsche, Wagner e Cosima. A queda do relacionamento em Humano, demasiado humano e O caso Wagner. Bizet e o dionisismo mediterrâneo. As disputas de dissonância: o alvorecer da modernidade em suas várias vanguardas de expressão.
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Nunes, Antonio Manoel. "Querelas da Dissonância: Nietzsche, Wagner, Tragédia e Música." Aletria: Revista de Estudos de Literatura 1 (October 31, 1993): 75. http://dx.doi.org/10.17851/2317-2096.1.0.75-81.
Tristan and Isolde as a metaphor for the union and disaggregation between Nietzsche and Wagner. Dionysus spirit and apollinean spirit: The Birth of Tragedy. First encounters and the building up of passion. A strange triangle: Nietzsche, Wagner and Cosima. The fall of the relationship in Human, All-Too-Human and The Wagner Affair. Bizet and the Mediteranean dionysism. The disputes of dissonance: the dawn of modernity in its several vanguards of expression.
In order to recuperate from the rigors of the first production of The Ring at Bayreuth, Richard and Cosima Wagner took an Italian vacation. During their travels they visited the Sistine Chapel. After he had observed the interior, Richard pronounced, “This is like my theatre, one feels it is no place for jokes.” Cosima, never one to contradict her husband, reserved comment. In fact, there can be little doubt that she agreed with him, for in her Diaries she consistently invests the Festspielhaus with an aura of sanctity.
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Barone, Anthony. "Richard Wagner's Parsifal and the theory of late style." Cambridge Opera Journal 7, no. 1 (March 1995): 37–54. http://dx.doi.org/10.1017/s0954586700004407.
Theodor Adorno thought Parsifal unique, in many respects incongruous when compared with Wagner's earlier operas and music dramas. In a 1956 essay, ‘Zur Partitur des Parsifal’ (‘Concerning the Score of Parsifal’), he noted the ‘continually strange newness’ of Wagner's last work, concluding: ‘From out of the waning of his original inventive powers, Wagner's force produces the virtue of a late style; a style that, according to Goethe's dictum, withdraws from appearance’. More recently, Werner Breig paused appreciatively over Adorno's remark about the ‘continually strange newness’, but pursued a different argument. Breig claims that Parsifal was recapitulatory, stylistically homogeneous with the earlier works, and he is supported by Wagner's assertion to Cosima that he had written ‘nothing new’ since Tristan (CWD II, 26 March 1879), a conviction redolent of one the composer had earlier expressed (albeit in entirely different circumstances) in a letter to Mathilde Wesendonck of 2 May 1860: ‘I can now only repeat myself … I have no other significant characteristics to offer’. Breig summarises his position in the Wagner Handbook: ‘The musical structure of Parsifal contains no fundamentally new elements, but rather follows directly upon the achievements of the Ring and Tristan’, thus nodding to the Wagner who cheerfully confessed having ‘take[n] up the old paint pot’ of the Tristan style for Act II of Parsifal (CWD II, 5 April 1878).
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Dratwicki, Alexandre, and Malou Haine. "Ernest Van Dyck, un ténor à Bayreuth, suivi de la correspondance avec Cosima Wagner." Revue de Musicologie 92, no. 1 (January 1, 2006): 221. http://dx.doi.org/10.2307/20141657.
In addition to his renowned musical output, Richard Wagner produced a logorrhoeic prose oeuvre, including a dramatic sketch of the last weeks of the life of Jesus Christ entitled Jesus von Nazareth. Though drafted in 1848-1849, it was published only posthumously, and has therefore been somewhat neglected in the otherwise voluminous Wagnerian literature. This thesis first examines the origins of Jesus von Nazareth amidst the climate of revolution wherein it was conceived, ascertaining its place within Wagner’s own internal development and amongst the radical thinkers who influenced it. While Ludwig Feuerbach has traditionally been seen as the most prominent of these, this thesis examines Wagner’s sources more broadly. The thesis then summarizes and analyzes Jesus von Nazareth itself, particularly in terms of Wagner’s use of biblical scripture. The thesis demonstrates how his not infrequent misuse thereof constitutes one way in which Wagner transmogrifies Jesus as mutable lens through which his own ideology of social revolution is reflected. It also attempts to provide a critical assessment of the relative dramatic merits of Jesus von Nazareth and looks into Wagner’s ultimate decision not to complete the work. The thesis then briefly summarizes the changes that occurred in Wagner’s mature Christological outlook subsequent to his drafting of Jesus von Nazareth, attempting to concisely demonstrate some developments beyond Wagner’s well-known encounter with the philosophy of Arthur Schopenhauer. The thesis concludes with an evaluation of how Jesus von Nazareth informed Wagner’s general religious outlook and the extent to which this worldview is a productive one.
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Wagner, Stefanie [Verfasser], and Ulrich [Akademischer Betreuer] Katz. "Search for cosmic neutrino emission from Milagro sources with ANTARES / Stefanie Wagner. Gutachter: Ulrich Katz." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2015. http://d-nb.info/1076120229/34.
Gorischek, Thussy. Im Geiste Richard Wagners: Bayreuther Festspiele : Richard & Cosima Wagner, Siegfried & Winifred Wagner, Wieland & Wolfgang Wagner & die 'Brut'. Graz: Studio Edition, 2001.
Pohl, Richard, Arthur Seidl, Eugen Gura, Arnold Schering, Heinrich Chevalley, Mary A. Cicora, and David Breckbill. "Cosima Wagner’s Bayreuth." In Richard Wagner and His World, edited by Thomas S. Grey, 435–76. Princeton: Princeton University Press, 2009. http://dx.doi.org/10.1515/9781400831784.435.
This chapter focuses on Richard Wagner’s reception of the forty-eight preludes and fugues that comprise Bach’s Well-Tempered Clavier, primarily on the basis of the diaries of Wagner’s wife Cosima. Cosima’s diaries record how Wagner and the pianist Joseph Rubinstein surveyed these masterpieces in a series of soirees at the couple’s home in Bayreuth. Wagner considered the Well-Tempered Clavier to be the essence of Bach’s art.
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Néry, Alain. "Richard et Cosima Wagner – Arthur de Gobineau : Correspondance." In Errance et marginalité dans la littérature, 245–47. Presses universitaires de Rennes, 2007. http://dx.doi.org/10.4000/books.pur.12072.
Salaquarda, Jörg. "NOCH EINMAL ARIADNE DIE ROLLE COSIMA WAGNERS IN NIETZSCHES LITERARISCHEM ROLLENSPIEL." In 1996, 99–125. De Gruyter, 1996. http://dx.doi.org/10.1515/9783112421581-007.
Vas-Deyres, Natacha. "Jean-Claude Dunyach, Poet of the Flesh." In Lingua Cosmica, 39–51. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041754.003.0003.
Jean-Claude Dunyach, born in 1957, has published more than a hundred short stories in a career of over thirty years. He belongs to a generation of contemporary French science-fiction writers that includes figures such as Roland C. Wagner, Emmanuel Jouanne, and Jean-Marc Ligny. At a time when French science fiction was struggling to explore new ways of storytelling influenced by surrealism or the Nouveau Roman, this generation has given science fiction new life by mixing a hard-science approach with the supernatural, fantasy and the fantastic, while paying glowing tributes to authors of the Golden Age of Anglo-Saxon sf: Duntach’s influences include Samuel Delany, Ray Bradbury, and more particularly, J. G. Ballard. The specificity of Dunyach consists of making metaphysical concepts tangible for the reader by giving them a symbolic substance: time itself becomes tangible as a sea of sand, stone, ashes, sea water; love stories can be petrified as semiprecious stones and worn as trophies—even the universe itself complies as a sheet of paper or a piece of cloth that can be creased. The characters in his short stories are hurt or twisted, often with cracks in their past, but they still act as links between the individual and the collective: for Dunyach, any kind of system—in particular a political one—can be defined by the way it deals with marginality. Dunyach favors an individual point of view for a better detection of the system’s weaknesses (cities, societies, religions, or relationships with time and death). In that respect, the most accomplished characters in his work are the “AnimalCities”: these living, extraterrestrial, city-shaped animals made of flesh and cartilage travel through space from node to node on the web of the universe. Their symbiotic liaison with humanity gradually leads humans to understand the global nature of reality.
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Pourciau, Sarah M. "Wagner’s Poetry of the Spheres." In The Writing of Spirit. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823275625.003.0005.
Chapter Four moves beyond the boundaries of the comparative linguistic tradition to explore Richard Wagner’s extraordinarily influential, poetico-musical “realization” of the philological fantasy about Germanic verse origins, as described in Chapter Three. This chapter argues that Wagner’s dramatic project in the Ring cycle, which was inspired by his intense engagement with the language theories of Jacob Grimm, must be understood as an attempt to harness the rhythms of ancient alliterative verse to an all-encompassing, neo-Pythagorean model of cosmic-acoustic accord, such that the meter of his own, mid-19th century alliterations—when united with the harmonic modulations of his music—merges with the “meter” of the world spirit progressing through history.
