Paloma Ortiz-de-Urbina
Paloma Ortiz-de-Urbina is Professor of German Culture at University of Alcalá in Madrid. Ph.D. in Musicology from the Complutense University of Madrid and founder and Leader of the Research Group RECEPTION https://reception.web.uah.es/
She holds a BA in German and she completed a PhD (Special Honours) in Musicology at the Universidad Complutense de Madrid with a dissertation entitled “La Recepción de la obra de Richard Wagner en Madrid (1900-1915)” [The Reception of Richard Wagner’s works in Madrid (1900-1915)]. Since 1997 she has been Associate Professor at the Universidad de Alcalá, where she teaches courses in German Language and Culture, as well as German-Spanish Translation. She also lectures in the MA on Literary and Cultural Spanish Studies with a course about "Richard Wagner's Reception in the Spanish Literature" and has teached in the MA on Research on Contemporary Spanish Literature ("Reception Theory") at the Universidad de Alcalá and in the MA on Composition for Audiovisual Products ("Film Aesthetics") at the Escuela Superior de Música Katarina Gurska.
Her research mainly focuses on Spanish-German cultural reception -most specifically on the musical reception of the composers Richard Wagner, Roberto Gerhard and Arnold Schönberg- and on the reception of Germanic mythology in opera and cinema. She has authored numerous volumes, articles and research papers, both in Spain and abroad. She has edited the complete unpublished correspondence between Arnold Schoenberg and Roberto Gerhard in German (Peter Lang). Following its success, the book has been translated into English and Catalan (Generalitat Catalunya) and Spanish (Akal, 2024).
She has been invited to partake in a great number of conferences, round-tables, interviews and radio programmes, both in Spain and abroad, concerning Richard Wagner and Roberto Gerhard/Arnold Schoenberg. She is regularly invited, as an expert on the works of Wagner, to Radio Clásica (RNE).
She is the leader of the research group RECEPTION “Estudios de Recepción” [Reception Studies] at the Universidad de Alcalá and one of the head-researchers of the research project ACIS&GALATEA “Actividades de Mitocrítica Cultural” [Cultural Myth Criticism Activities] H2015/ HUM-3362. She also takes part in the research project MULICO "Correspondencias entre la música y la literatura en la Edad de Plata"[Correspondences between music and literature in the Spanish Silver Age] 1 and 2.
She holds a BA in German and she completed a PhD (Special Honours) in Musicology at the Universidad Complutense de Madrid with a dissertation entitled “La Recepción de la obra de Richard Wagner en Madrid (1900-1915)” [The Reception of Richard Wagner’s works in Madrid (1900-1915)]. Since 1997 she has been Associate Professor at the Universidad de Alcalá, where she teaches courses in German Language and Culture, as well as German-Spanish Translation. She also lectures in the MA on Literary and Cultural Spanish Studies with a course about "Richard Wagner's Reception in the Spanish Literature" and has teached in the MA on Research on Contemporary Spanish Literature ("Reception Theory") at the Universidad de Alcalá and in the MA on Composition for Audiovisual Products ("Film Aesthetics") at the Escuela Superior de Música Katarina Gurska.
Her research mainly focuses on Spanish-German cultural reception -most specifically on the musical reception of the composers Richard Wagner, Roberto Gerhard and Arnold Schönberg- and on the reception of Germanic mythology in opera and cinema. She has authored numerous volumes, articles and research papers, both in Spain and abroad. She has edited the complete unpublished correspondence between Arnold Schoenberg and Roberto Gerhard in German (Peter Lang). Following its success, the book has been translated into English and Catalan (Generalitat Catalunya) and Spanish (Akal, 2024).
She has been invited to partake in a great number of conferences, round-tables, interviews and radio programmes, both in Spain and abroad, concerning Richard Wagner and Roberto Gerhard/Arnold Schoenberg. She is regularly invited, as an expert on the works of Wagner, to Radio Clásica (RNE).
She is the leader of the research group RECEPTION “Estudios de Recepción” [Reception Studies] at the Universidad de Alcalá and one of the head-researchers of the research project ACIS&GALATEA “Actividades de Mitocrítica Cultural” [Cultural Myth Criticism Activities] H2015/ HUM-3362. She also takes part in the research project MULICO "Correspondencias entre la música y la literatura en la Edad de Plata"[Correspondences between music and literature in the Spanish Silver Age] 1 and 2.
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Partiendo de la investigación ya realizada sobre la recepción de Wagner en la cultura y en el arte español, esta colección de estudios realiza un recorrido por los pilares más importantes de su acogida en España, ofreciendo novedosos y originales avances sobre la huella wagneriana multidisciplinar que se manifiesta no solo en la literatura en lengua española, en la prensa o en la traducción, sino también en las artes plásticas, en la arquitectura, en la escenografía, en la música, en la danza o en el cine.
El volumen presta especial atención a tres pilares básicos inherentes al estudio de la obra wagneriana y su recepción: la definición del concepto de vanguardia (como expresión de radicalidad literaria y pictórica, de cosmopolitismo y propuestas ambiciosas de reestructuración en el espectáculo, la arquitectura y la obra de arte total); la noción de la materialidad ( la influencia de Wagner se entendería en parte como un reclamo de la sensorialidad y el efecto anímico o sugerente de la obra de arte) y la repercusión en las artes españolas del peculiar tratamiento del mito (fundamental para Wagner que lo consideraba único por ser “siempre verdadero”, y provisto de un contenido “inagotable” para todos los tiempos).
Se demuestra aquí no solo el fuerte impacto que causó la obra wagneriana en España en vida del autor y tras su muerte, sino también la vigencia de su huella, que sigue muy presente en la cultura el arte de hoy en día.
beginnings in the early 20th century to the present day in the 21st century and demonstrates how pictorial expressionism immediately caught up with the then nascent film industry and art. The tensions and relationships of film with other, much more established arts, such as literature and music, are shown. The prevalence of the cinematic element and its relevance today is also demonstrated. It shows how the influence of German Expressionism is not only widespread and observable in literature and music, but also how these two arts feed off each other. In addition, three myths are analysed which prove to be characteristic in the study of the reception of German Expressionism in cinema: the myth of the vampire, the myth of the artificial man/woman and the myth of
Faust. In addition, the book attempts to shed light on the differences between the concept of myth and the genres of fantasy, horror and science fiction, concerning the reception of German cinematic Expressionism in the world, from its appearance in 1920 to the present day. Finally, it is shown how German expressionist work has an impact on European or Western art, and even on Persian or Asian culture, as in the case of Japan.
El artículo analiza el empleo de la simbología mítica de la isla – refugio, paraíso idílico o escondite secreto donde ejercer la maldad – en la película Die Insel der Verschollenen (Urban Gard, 1921), producida en los albores del Expresionismo alemán y basada en la novela de H.G. Wells.
Why this growing interest in Germanic mythology in audiovisual culture? Why are so many traces of Norse myths observed specifically in popular art that fuses sound and image? When does this interest arise in representing Germanic mythology in audiovisual art? These and other questions are answered in this volume, which is organized into four thematic blocks: “Richard Wagner and his impact on the contemporary audiovisual culture”, “Germanic Myths in Cinema and Audiovisual Translation”, “Germanic Myths in Television, Videogames and Propaganda Posters” and “Ecocritical Use of Germanic Myths and Comparative Mythology”.
Partiendo de la investigación ya realizada sobre la recepción de Wagner en la cultura y en el arte español, esta colección de estudios realiza un recorrido por los pilares más importantes de su acogida en España, ofreciendo novedosos y originales avances sobre la huella wagneriana multidisciplinar que se manifiesta no solo en la literatura en lengua española, en la prensa o en la traducción, sino también en las artes plásticas, en la arquitectura, en la escenografía, en la música, en la danza o en el cine.
El volumen presta especial atención a tres pilares básicos inherentes al estudio de la obra wagneriana y su recepción: la definición del concepto de vanguardia (como expresión de radicalidad literaria y pictórica, de cosmopolitismo y propuestas ambiciosas de reestructuración en el espectáculo, la arquitectura y la obra de arte total); la noción de la materialidad ( la influencia de Wagner se entendería en parte como un reclamo de la sensorialidad y el efecto anímico o sugerente de la obra de arte) y la repercusión en las artes españolas del peculiar tratamiento del mito (fundamental para Wagner que lo consideraba único por ser “siempre verdadero”, y provisto de un contenido “inagotable” para todos los tiempos).
Se demuestra aquí no solo el fuerte impacto que causó la obra wagneriana en España en vida del autor y tras su muerte, sino también la vigencia de su huella, que sigue muy presente en la cultura el arte de hoy en día.
beginnings in the early 20th century to the present day in the 21st century and demonstrates how pictorial expressionism immediately caught up with the then nascent film industry and art. The tensions and relationships of film with other, much more established arts, such as literature and music, are shown. The prevalence of the cinematic element and its relevance today is also demonstrated. It shows how the influence of German Expressionism is not only widespread and observable in literature and music, but also how these two arts feed off each other. In addition, three myths are analysed which prove to be characteristic in the study of the reception of German Expressionism in cinema: the myth of the vampire, the myth of the artificial man/woman and the myth of
Faust. In addition, the book attempts to shed light on the differences between the concept of myth and the genres of fantasy, horror and science fiction, concerning the reception of German cinematic Expressionism in the world, from its appearance in 1920 to the present day. Finally, it is shown how German expressionist work has an impact on European or Western art, and even on Persian or Asian culture, as in the case of Japan.
El artículo analiza el empleo de la simbología mítica de la isla – refugio, paraíso idílico o escondite secreto donde ejercer la maldad – en la película Die Insel der Verschollenen (Urban Gard, 1921), producida en los albores del Expresionismo alemán y basada en la novela de H.G. Wells.
Why this growing interest in Germanic mythology in audiovisual culture? Why are so many traces of Norse myths observed specifically in popular art that fuses sound and image? When does this interest arise in representing Germanic mythology in audiovisual art? These and other questions are answered in this volume, which is organized into four thematic blocks: “Richard Wagner and his impact on the contemporary audiovisual culture”, “Germanic Myths in Cinema and Audiovisual Translation”, “Germanic Myths in Television, Videogames and Propaganda Posters” and “Ecocritical Use of Germanic Myths and Comparative Mythology”.
Der vorliegende Band enthält den bisher noch nicht veröffentlichten vollständigen Briefwechsel zwischen Arnold Schönberg und seinem spanischen Schüler Roberto Gerhard dank der minuziösen Arbeit von Prof. Dr. Ortiz-de-Urbina, die nach einer langwierigen Suche, 82 Briefe zwischen Arnold Schönberg und Roberto Gerhard aus mehreren Quellen identifiziert hat, die in verschiedenen internationalen Archiven aufgefunden wurden: Akademie der Künste, Berlin (Deutschland); Cambridge University Library, Roberto Gerhard Archives, Cambridge (Großbritannien); Institut d’Estudis Vallencs, Fons Roberto Gerhard, Valls, Tarragona (Spanien); Library of Congress, Washington (USA); Österreichische Nationalbibliothek, Wien (Österreich) und Staatsbibliothek Preußischer Kulturbesitz, Berlin (Deutschland). Sowohl die Datenerfassung und Aufbereitung des Materials als auch die Entzifferung, Transkription, Katalogisierung und Klassifizierung der Briefe waren aufwendige Aufgaben, u. a. weil man einerseits mit unterschiedlichen geografischen Quellen arbeiten musste und andererseits, weil die gleichen Dokumente oft in mehreren Fassungen vorhanden waren, was nicht nur die Identifizierung des Originals erforderte, sondern auch, im Falle einer Kopie, die Erkennung des Kopietyps (Durchschlag, Fotokopie).
Eine erste Analyse der Briefe zwischen Arnold Schönberg und seinem Schüler Roberto Gerhard liefert interessante Ergebnisse bezüglich des Lebens, des Werkes und der Persönlichkeit beider Komponisten und beleuchtet relevante biografische Aspekte, wie das enge familiäre Verhältnis zwischen beiden dank der aktiven Vermittlerrolle beider Ehefrauen, die Relevanz des Aufenthalts der Schönbergs in Barcelona von Oktober 1931 bis Juni 1932 oder den verzweifelten Versuch Gerhards, mit Hilfe Pau Casals und anderer spanischer Musiker für Schönberg verbindliche Verträge in Spanien zu schließen, damit der Wiener Meister, bedrängt vom zunehmenden Antisemitismus in Deutschland ab 1932, definitiv nach Barcelona mit Frau und Kind übersiedeln könnte. Die gesammelten Dokumente beleuchten auch den Prozess der Gestaltung mancher Werke beider Komponisten.
Wenn auch Leben und Werk Arnold Schönbergs umfassend erforscht und dokumentiert wurden und immer noch Schwerpunkt der internationalen musikwissenschaftlichen Forschung sind, bleibt Roberto Gerhard trotz seiner Relevanz als Komponist und Denker innerhalb der europäischen posttonalen Musik des 20. Jahrhunderts ein unzureichend erforschter Komponist. Als Republikaner fand er während der Franco-Diktatur offiziell keine Beachtung, und erst nach seinem Tode 1970, zwei Jahre nach Erhalt der Ehrendoktorwürde der Cambridge University, wurden sowohl sein Leben und Werk als auch seine Rezeption Thema der musikwissenschaftlichen Forschungsgemeinschaft.
Der hier erstmals veröffentlichte Briefwechsel zwischen Schönberg und Gerhard stellt außerdem ein zeitgeschichtliches Dokument zum Musikleben im blutigen Europa des 20. Jahrhunderts dar. Sowohl der Erste und Zweite Weltkrieg als auch der Spanische Bürgerkrieg (im Falle Gerhards) hinterließen traumatische Spuren bei beiden Komponisten, die im Exil um eine neue Existenz kämpfen mussten. Wichtig sind auch die daraus resultierenden sozialen und kulturellen Netze zwischen den verschiedenen europäischen Ländern und den Vereinigten Staaten, die sich während der Kriege etablierten. Das Buch macht den Leser zu einem Augenzeugen des letzten Jahrhunderts und lässt uns die Geschichte Europas besser begreifen.