Slavoj Žižek, "Cake man loves cake"
Wagner's attitude towards modernity is not entirely negative, but more ambiguous: he wants to both take advantage of its fruits and avoid its degrading, corrupting, refuting effects.
Wagner says in a nutshell: Let my cake stop and I'll be full.
For this, he needs a Jew: First of all, modernity – as long as it is abstract, illegitimate – is given a human face, that is, modernity is identified with a concrete and obvious character; Then, as the second move, the Jew who embodied everything that degraded and corrupted modernity can be rejected and the fruit of modernity can be retained.
(From The Second Death of the Opera)
The difference between Wagner's two operas, Siegfried and Parsifal, is that in the first, the woman is accepted, and in the second, the woman is rejected.
But in Parsifal, the feminine dimension does not disappear because the female is rejected, that is, we do not stay within the homoerotic Bowl community consisting only of males [c.n. Holy Grail community: Grail community].
Immediately after Parsifal rejected Kundry kissing him, immediately after "your mother's last kiss and a woman's first kiss", Syberberg, who replaced the boy-Parsifal with another actor, a young cold woman, was right – didn't she stage this Freudian insight in this way?:
Identification, in the most radical sense, is to identify with the lost (or rejected) libidinal object. We become the object we are deprived of (we identify with it), and so our subjective identity becomes the reservoir where the traces of the objects we lose are added.Notes:
(From Questioning the Truth)
Turkish: Light Peace Fidaner
See "Introverted, Extroverted Other,", "Am I a cake? Come out of my stutter!" Slavoj Žižek, Parsifal performance directed by Syberberg
Entire Opera:
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