Orientalism and the nineteenth-century Lied

自1978年爱德华·赛义德的《东方主义》出版以来，东方主义一直是一个激烈争论的话题，来自不同背景的学者们致力于重新定义东方主义的界限，因为它适用于未被充分探索的文化和艺术形式。尽管东方学在知识领域——尤其是音乐学领域——取得了普遍的进步，但东方学在很大程度上被忽视了。为了解决这一空白，我的项目将探讨东方是如何被想象和代表在19世纪的奥德文学。我不仅会研究浪漫主义的文本、语境和遭遇如何影响了东方主义小说的创作，特别是在它们与浪漫主义美学主题的互动中，还会研究东方主义的表演和东方主义的网络如何塑造了东方在19世纪文化中的概念和地位。正是在这个意义上，该项目旨在利用最近的学术研究，从文本到行动，来揭示东方的多媒体现象，以及利用文本和表演的东方的概念力量来反思东方主义在奥德音乐文化中的重要性。我将着眼于一系列的社会空间，包括家庭、沙龙和音乐厅，研究Lieder如何以及在多大程度上表达私人和公共东方主义之间的平等、差异和相互联系。尽管私人和公共空间之间的界限是多孔的（私人和公共之间的紧张关系被沙龙本身所紧张，其渐变的背景跨越了私人到半公共），家庭空间在很大程度上是与官僚的外部世界相对立的，并为早期浪漫主义的Bildung实践提供了一个场所，在那里音乐家与诗人和艺术家擦肩，建立了以社交理想为前提的关系。通过智力挑战进行交流和自我完善。这些背景下的讨论和联系网络如何影响了东方主义文学的轮廓和传播？相反，如果东方主义歌曲是为“公众”消费而制作的，那么作曲家和歌手是否保留了“异国情调”的音乐图式，以适应所谓的“Massengeschmack”或“浪漫化”（在诺瓦利主义的意义上）东方，以符合内在性、自我和文化翻译的观念？向外扩展，这些差异和相似之处能告诉我们19世纪音乐消费者对东方音乐材料的细微反应吗？在《利德尔》中对东方主义的质疑将需要有系统地考虑在主要文本来源和所审查时期的视觉艺术作品中发现的东方主义参考文献。关于文本，我将问东方主义音乐是否在早期浪漫主义的作品中以及音乐批评和（民族）音乐学写作的新兴实践中占有相对特权的地位。东方主义对E.T.A.霍夫曼或《柏林音乐汇报》的撰稿人起到了什么作用？这与罗伯特·舒曼的《音乐新时代》有何不同？尽管东方主义在谎言和诗歌剧目中处于中心地位，特别是通过歌德的《西方-östlicher Divan》（1819），它激发了这一时期最受欢迎的一些歌曲（包括舒伯特1821年和舒曼1840年在米尔森的著名例子），但许多原始材料——实际上，一个隐藏的剧目——仍然有待发现。正是由于这种忽视，用批判的、东方主义者的眼光重新审视原始材料，必须构成一个在19世纪文化中推进谎言东方主义理论的起点。

Orientalism has been a subject of heated debate ever since Edward Said's 1978 publication, with scholars from a multiplicity of backgrounds working to redefine the boundaries of Orientalism as it applies to underexplored cultures and artforms. Despite the advances of Orientalism in the intellectual sphere generally - and in musicology in particular - the Orientalist Lied has been largely overlooked. Addressing this lacuna, my project will explore how the Orient was imagined and represented in nineteenth-century Austro-German Lieder. I will not only investigate the ways in which Romantic texts, contexts and encounter informed the production of Orientalist Lieder, particularly in their interaction with Romantic-aesthetic topoi, but also how Orientalist Lied performance and Orientalist networks shaped the conceptions and status of the Orient in nineteenth-century culture. It is in this sense that the project aims to use recent scholarship on the multiple ontologies of the Lied - from text to act - to shine light on the multimedia phenomenon of the Orient, as well as using the conceptual power of the textual and performed Orient to reflect upon the importance of the Orientalist Lied in Austro-German musical culture. Focusing on a range of social spaces, including the home, the salon, and the concert hall, I will investigate how and to what extent Lieder express parities, disparities and interconnections between private and public Orientalisms. Although the boundaries between private and public spaces were porous (the tensions between private and public being held in tension by the salon itself, whose gradated contexts spanned the private to the semi-public), domestic spaces were largely constructed in opposition to a bureaucratic external world and offered a site for the early-Romantic practice of Bildung, where musicians rubbed shoulders with poets and artists and built relationships premised on ideals of sociability, exchange and self-improvement through intellectual challenge. How might discussions and contact networks in these settings have influenced the lineaments and dissemination of Orientalist Lieder? Conversely, if Orientalist Lieder were produced for 'public' consumption, did composers and singers retain 'exotic', musical schemata to suit the so-called 'Massengeschmack' or 'romanticise' (in the Novalisian sense) the Orient to accord with ideas of interiority, selfhood and cultural translation? Expanding outwards, what might the differences and similarities tell us about nuanced responses of nineteenth-century music consumers to Orientalist musical materials? The interrogation of Orientalism in Lieder will require a methodical consideration of Orientalist references found in primary textual sources and visual artworks from the period under review. With regard to text, I will ask whether Orientalist music held a comparably privileged position in the writings of the early Romantics and the burgeoning practice of music criticism and (ethno-)musicological writing. What role did Orientalism play for E.T.A. Hoffmann or contributors to the Berliner Allgemeine Musikalische Zeitung? And how might this have differed from Robert Schumann's Neue Zeitschrift fur Musik, for example? Despite the centrality of Orientalism in the Lied and poetic repertory, particularly through Goethe's West-östlicher Divan (1819), which inspired some of the period's most beloved Lieder (with notable examples by Schubert in 1821 and Schumann in Myrthen, 1840), much of the source material - indeed, a hidden repertory - is still to be uncovered. It is precisely because of this neglect that revisiting the primary material with critical, Orientalist eyes must constitute a starting-point for the advancement of a theory of Lied Orientalism in nineteenth-century culture.