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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Verdi’s Aida (1871) offers rich grounds for an exploration of nineteenthcentury imperialism. Commissioned by Khedive Ismail Pasha and formulated by the French Egyptologist Auguste Mariette, it was, according to Edward Said, to form part of the cultural superstructure of the European imperialist presence in Egypt.
Said’s view was in turn criticized by Verdian historians such as John MacKenzie and Paul Robinson, who argue that Aida is in fact a strong anti-imperialist and Risorgimentist opera. Verdi’s repeated comments on the immorality of imperialism give weight to their argument. Indeed, some of Said’s judgments seem to be based upon misunderstanding or assumption.
Actually, Aida is so multi-layered that it could be interpreted as an imperialist/anti-imperialist work at the same time. In this opera the audience can find the greatness of ancient Egypt, that of Ismail’s modern Egypt, the struggle for independence of a defeated small country, the rivalry between two empires, or the helplessness of individuals under oppressive political and religious regime as well as various Orientalist cliches.
In the present study, special emphasis is given to Khedive Ismail’s own imperialism, to his military campaigns against neighboring countries, to the parallel between the battles in the opera and those in nineteenth-century Africa, and to the interaction between the stage and historical reality.
Said’s view was in turn criticized by Verdian historians such as John MacKenzie and Paul Robinson, who argue that Aida is in fact a strong anti-imperialist and Risorgimentist opera. Verdi’s repeated comments on the immorality of imperialism give weight to their argument. Indeed, some of Said’s judgments seem to be based upon misunderstanding or assumption.
Actually, Aida is so multi-layered that it could be interpreted as an imperialist/anti-imperialist work at the same time. In this opera the audience can find the greatness of ancient Egypt, that of Ismail’s modern Egypt, the struggle for independence of a defeated small country, the rivalry between two empires, or the helplessness of individuals under oppressive political and religious regime as well as various Orientalist cliches.
In the present study, special emphasis is given to Khedive Ismail’s own imperialism, to his military campaigns against neighboring countries, to the parallel between the battles in the opera and those in nineteenth-century Africa, and to the interaction between the stage and historical reality.
목차
Ⅰ.〈아이다〉를 만든 사람들
Ⅱ. 프렌치 커넥션
Ⅲ. 이집트의 ‘탈아입구’
Ⅳ. 제국주의적 스펙터클?
Ⅴ. 마리에트와 베르디 사이에서
Ⅵ. 관객의 몫
[참고문헌]
[Abstract]
참고문헌 (32)
참고문헌 신청
Edmond / 1869 / Le Fellah: souvenirs d'Egypte / Hachette
Arblaster, Anthony / 1992 / Viva la Libertà!: Politics in Opera / Verso
Boudot-Lamotte, Antoine / 1977 / Ahmad Sawqi: l'homme et l'oeuvre / Institut français de Damas
Budden, Julian / 1973 / The Operas of Verdi, 3 vols / Cassell
Busch, Hans / 1978 / Verdi's Aida: The History of an Opera in Letters and Documents / University of Minnesota Press
Arblaster, Anthony / 1992 / Viva la Libertà!: Politics in Opera / Verso
Boudot-Lamotte, Antoine / 1977 / Ahmad Sawqi: l'homme et l'oeuvre / Institut français de Damas
Budden, Julian / 1973 / The Operas of Verdi, 3 vols / Cassell
Busch, Hans / 1978 / Verdi's Aida: The History of an Opera in Letters and Documents / University of Minnesota Press
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UCI(KEPA) : I410-ECN-0101-2013-911-002849340