Cranford Thesis Final.pdf

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piano sonata (Op. 57), doesn’t carry the connotations of uncontrollable destruction and insanity of the
Korean word “gwangyom.”

Literally: “Three Thousand Ri,” where ri (里) is usually used in Chinese written language to express a

generic unit of long distance, similar to the “mile” in English.

Just as Serenus Zeitblom’s humanist perspective can be seen to represent Mann’s own, the music critic

K’s belief that great art absolves the artist of the crimes that were committed in order to create it implies
Kim Tong-in’s own stance on the subject.

One could say that the ascetic ideal does not exist, but is always in the process of becoming. Hence it is

nothing (at any given present moment), and all is nothing in relation to it.

Nietzsche’s critical essay “Nietzsche Contra Wagner” spells out in great detail the disappointing artistic

and life choices made by Richard Wagner over the course of his career—decisions made on the part of the
composer that led Nietzsche to completely shift his once glowing impression of Wagner’s music and
artistic philosophy.

Nietzsche’s words concerning Wagner’s final opera and its overt glorification of the ascetic life were

harsh to say the least: “For it seems at any rate that [Wagner] eventually wished to change his teaching on
[the subject of sensuality] . . . and not only is that the case with the Parsifal trumpets on the stage: in the
melancholy, cramped, and embarrassed lucubrations of his later years, there are a hundred places in which
there are manifestations of a secret wish and will, a despondent, uncertain, unavowed will to preach actual
retrogression, conversion, Christianity, medievalism, and to say to his disciples, ‘All is vanity! Seek
salvation elsewhere!’ Even the ‘blood of the Redeemer’ is once invoked.” (Nietzsche, GM 721)