Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-dk4vv Total loading time: 0 Render date: 2024-12-28T22:07:50.650Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  18 September 2020

Edited by
Mark Berry  and
Nicholas Vazsonyi
Mark Berry
Affiliation:
Royal Holloway, University of London
Nicholas Vazsonyi
Affiliation:
Clemson University, South Carolina
Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
The Cambridge Companion to Wagner's Der Ring des Nibelungen , pp. 356 - 379
Publisher: Cambridge University Press
Print publication year: 2020

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Abbate, Carolyn (1991). Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton, NJ and Oxford: Princeton University Press.CrossRefGoogle Scholar
Abbate, Carolyn and Parker, Roger, eds. (1989). Analyzing Opera: Verdi and Wagner. Berkeley and Los Angeles: University of California Press.CrossRefGoogle Scholar
Lionel, Abel (1963). Metatheatre: A New View of Dramatic Form. New York: Hill and Wang.Google Scholar
Adler, Guido (1904). Richard Wagner-Vorlesungen. Leipzig: Breitkopf and Härtel.Google Scholar
Adorno, Theodor W. (1939). “Fragmente über Wagner,” Zeitschrift für Sozialforschung 8:1–14.Google Scholar
Adorno, Theodor W. (1991). In Search of Wagner, trans. Rodney Livingston. London and New York: Verso.Google Scholar
Adorno, Theodor W. (2005). In Search of Wagner, trans. Rodney Livingston. 2nd edn. London and New York: Verso.Google Scholar
Adorno, Theodor W. (1973). Negative Dialectics. London: Routledge.Google Scholar
Adorno, Theodor W. ([1952]1981). Versuch über Wagner. Frankfurt: Suhrkamp.Google Scholar
Adorno, Theodor W. (2002). “Wagner’s Relevance for Today,” trans. Susan H. Gillespie, in Essays on Music, ed. Berkeley, Richard Leppert., Los Angeles, and London: University of California Press, 584–602.Google Scholar
Aggeler, Geoffrey (1986). Critical Essays on Anthony Burgess. Boston: Hall.Google Scholar
Albright, Daniel (2004). Music and Modernism. Chicago and London: University of Chicago Press.Google Scholar
Allen, Roger (2013). “Aesthetics,” in Cambridge Wagner Encyclopedia, ed. Vazsonyi, 6–10.Google Scholar
Allen, Roger (2006). “‘All here is music’: Houston Stewart Chamberlain and Der Ring des Nibelungen,” wagnerspectrum 1:155–77.Google Scholar
Allen, Roger (2018). Wilhelm Furtwängler: Art and the Politics of the Unpolitical. Woodbridge: Boydell Press.Google Scholar
Ambros, August Wilhelm (1860). Culturhistorische Bilder aus dem Musikleben der Gegenwart. Leipzig: Matthes.Google Scholar
Amerongen, Martin van (1984). Wagner: A Case History. New York: George Braziller.Google Scholar
Ernst, Anders (1920). “Richard Wagner als Prophet des Weltkrieges,” Bayreuther Blätter 43:71–82.Google Scholar
Appia, Adolphe (1899). Die Musik und die Inscenierung. Munich: F. Bruckmann.Google Scholar
Appia, Adolphe (1962). Music and the Art of the Theatre, ed. Hewitt, Barnard. Gables, Coral, FL: University of Miami Press.Google Scholar
Aristotle (1982). The Nicomachean Ethics, trans. Harris Rackham. Harvard and London: Loeb.Google Scholar
Arvidsson, Stefan (2006). Aryan Idols: Indo-European Mythology as Ideology and Science. Chicago: University of Chicago Press.Google Scholar
Arvidsson, Stefan (2010). “Greed and the Nature of Evil. Tolkien versus Wagner,” Journal of Religion and Popular Culture 22(2): DOI:10.3138/jrpc.22.2.007.CrossRefGoogle Scholar
Ashman, Mike (1992). “Producing Wagner,” in Wagner in Performance, ed. Millington, Barry and Spencer, Stewart. New Haven and London: Yale University Press, 29–47.Google Scholar
Ashman, Mike (2007). “Review of a DVD of Wieland’s Die Walküre at the Osaka Festival in 1967,” The Wagner Journal 1(1):78–80.Google Scholar
Augstein, Rudolf (1983). “Bruder Hitler,” Der Spiegel May 2, www.spiegel.de/spiegel/print/d-14022494.html (accessed March 16, 2020).Google Scholar
Badiou, Alain (2013). “Desaster als Triumph,” Die Zeit January 3, www.zeit.de/2013/02/Richard-Wagner-Alain-Badiou (accessed December 20, 2017).Google Scholar
Badiou, Alain (2010). Five Lessons on Wagner, trans. Susan Spitzer. London and New York: Verso.Google Scholar
Badiou, Alain (2009). Logics of Worlds: Being and Event, 2, trans. Alberto Toscano. London and New York: Continuum.Google Scholar
Badley, Linda (2010). Lars von Trier. Champaign: University of Illinois Press.Google Scholar
Bailey, Robert (1979). “The Method of Composition,” in The Wagner Companion, ed. Burbidge and Sutton, 269–338.Google Scholar
BaileyShea, Matthew (2002–3). “Wagner’s Loosely Knit Sentences and the Drama of Musical Form,” Intégral 16–17:1–34.Google Scholar
Bakunin, Mikhail (1973). Selected Writings, ed. Lehning, Arthur. London: Cape.Google Scholar
Barthes, Roland (1972). Mythologies. London: Cape.Google Scholar
Bartlett, Rosamund (1995). Wagner and Russia. Cambridge: Cambridge University Press.Google Scholar
Barzun, Jacques (1958). Darwin, Marx, Wagner. New York: Doubleday.Google Scholar
Baudelaire, Charles (1964). Baudelaire as a Literary Critic, trans. L. B. and F. E. Hyslop. University Park: Pennsylvania State University Press.Google Scholar
Baudelaire, Charles (1985). Les fleurs du mal, trans. Richard Howard. Boston: David Godine.Google Scholar
Baudrillard, Jean (1994). Simulacra and Simulation. Ann Arbor: University of Michigan Press.Google Scholar
Bauer-Lechner, Natalie (1984). Gustav Mahler in den Erinnerungen von Natalie Bauer-Lechner, rev. edn. Killian, Herbert. Annotated and commented by Knud Martner. Hamburg: Karl Dieter Wagner.Google Scholar
Beard, David (2012). Harrison Birtwistle’s Operas and Music Theatre. Cambridge: Cambridge University Press.Google Scholar
Beardsley, Aubrey (1966). Under the Hill, completed by John Glassco. London: New English Library.Google Scholar
Bekker, Paul (1931). Richard Wagner: His Life in His Work, trans. M. M. Bozman. London: J. M Dent and Sons.Google Scholar
Bekker, Paul (1931). Richard Wagner: His Life in His Work, trans. M. M. Bozman. New York: W. W. Norton.Google Scholar
Benjamin, Walter (2000). “Theses on the Philosophy of History,” trans. Harry Zohn, in German 20th Century Philosophy: The Frankfurt School, ed. Schirmacher, Wolfgang. New York: Continuum, 71–80.Google Scholar
Bermbach, Udo (2004). Der Wahn des Gesamtkunstwerks: Richard Wagners politisch-ästhetische Utopie, zweite, überarbeitete und erweiterte Auflage. Stuttgart: Metzler.Google Scholar
Bermbach, Udo (1989). “Die Destruktion der Institutionen: zum politischen Gehalt des ‘Ring,’” in In den Trümmern der eignen Welt: Richard Wagners “Der Ring des Nibelungen,” ed. Bermbach, Udo. Berlin and Hamburg: Reimer, 111–44.Google Scholar
Bermbach, Udo (2004). “‘Richard Wagner als Prophet des Weltkrieges.’ Zur Ring-Interpretation in den Bayreuther Blättern 1878–1938,” in Richard Wagners “Ring des Nibelungen,” Musikalische Dramaturgie – Kulturelle Kontextualität – Primär-Rezeption, ed.Hortschansky, Klaus. Schneverdingen: Karl Dieter Wagner, 49–84.Google Scholar
Berne, Peter (2006). Apokalypse: Weltuntergang und Welterneuerung in Richard Wagner’s Ring des Nibelungen – Eine Werkeinfürhung für das dritte Jahrtausend. Worms: Werner’sche Verlagsgesellschaft.Google Scholar
Bernstein, David W. (2002). “Nineteenth-Century Harmonic Theory: The Austro-German Legacy,” in The Cambridge History of Western Music Theory, ed. Christensen., Thomas Cambridge: Cambridge University Press, 778–811.Google Scholar
Berry, Mark (2014). “Adorno’s Essay on Wagner: Rescuing an Inverted Panegyric,” The Opera Quarterly 30:205–27.Google Scholar
Berry, Mark (2014). After Wagner: Histories of Modernist Music Drama from “Parsifal” to Nono. Woodbridge and Rochester, NY: Boydell Press.Google Scholar
Berry, Mark (in press). “‘Blow the Opera Houses into the Air!’ Wagner, Boulez, and Modernist Canons,” in Oxford Handbook to the Operatic Canon, ed. Newark, Cormac and Weber, William. Oxford: Oxford University Press.Google Scholar
Berry, Mark (2013). “Dresden Uprising (May 1849),” in The Cambridge Wagner Encyclopedia, ed. Vazsonyi, 106–7.Google Scholar
Berry, Mark (2018). “‘Es klang so alt und war doch so neu!’: Modernist Operatic Culture through the Prism of Staging Die Meistersinger von Nürnberg,” in The Routledge Research Companion to Musical Modernism, ed. Heile, Björn and Wilson, Charles. London and New York: Routledge, 454–74.Google Scholar
Berry, Mark (2013). “German History,” in The Cambridge Wagner Encyclopedia, ed. Vazsonyi, 150–4.Google Scholar
Berry, Mark (2009). “Is It Here That Time Becomes Space? Hegel, Schopenhauer, History, and Grace in Parsifal,” The Wagner Journal, 3(3):29–59.Google Scholar
Berry, Mark (2015). “Music and the Gesamtkunstwerk,” in The Fin-de-siècle World, ed. Saler, Michael. Routledge: London and New York, 625–40.Google Scholar
Berry, Mark (2019). “Nietzsche and Wagner,” in The New Cambridge Companion to Nietzsche, ed. Stern, Tom. Cambridge: Cambridge University Press, 97–120.CrossRefGoogle Scholar
Berry, Mark (2008). “The Positive Influence of Wagner upon Nietzsche,” The Wagner Journal 2(2):11–28.Google Scholar
Berry, Mark (2006). Treacherous Bonds and Laughing Fire: Politics and Religion in Wagner’s “Ring.” Aldershot and Burlington, VT: Ashgate.Google Scholar
Berry, Mark (2010). “Uninvited Guests,” The Wagner Journal 4(1):70–2.Google Scholar
Berry, Mark (2009). “Why Weimar?” The Wagner Journal 3(3):96–9.Google Scholar
Bildhauer, Bettina (2011). Filming the Middle Ages. London: Reaktion.Google Scholar
Bloch, Ernst (1985). Essays on the Philosophy of Music, trans. Peter Palmer. Cambridge: Cambridge University Press.Google Scholar
Bolen, Jean Shinoda (1992). Ring of Power: The Abandoned Child, the Authoritarian Father, and the Disempowered Feminine: A Jungian Understanding of Wagner’s Ring Cycle. New York: HarperCollins.Google Scholar
Borchmeyer, Dieter (1992). Die Götter tanzen Cancan: Richard Wagners Liebesrevolten. Heidelberg: Manutius.Google Scholar
Borchmeyer, Dieter (2003). Drama and the World of Richard Wagner, trans. Daphne Ellis. Princeton, NJ: Princeton University Press.Google Scholar
Borchmeyer, Dieter (1992). “The Question of Anti-Semitism,” trans. Stewart Spencer, in Wagner Handbook, ed. Müller and Wapnewski, 166–85.Google Scholar
Borchmeyer, Dieter (1991). Richard Wagner: Theory and Theatre, trans. Stewart Spencer. Oxford: Oxford University Press.Google Scholar
Borchmeyer, Dieter and Kohler, Stephan (1983). Wagner Parodien. Frankfurt: Insel.Google Scholar
Borchmeyer, Dieter, Maayani, Ami, and Vill, Susanne, eds. (2000). Richard Wagner und die Juden. Stuttgart: Metzler.Google Scholar
Boulez, Pierre (1986). Orientations: Collected Writings, ed. Nattiez, Jean-Jacques, trans. Cooper, Martin. London: Faber and Faber.Google Scholar
Boulez, Pierre (1996). “Boulez on Schoenberg’s Moses und Aron: An Interview with Wolfgang Schaufler,” trans. Stewart Spencer: CD booklet note to Deutsche Grammophon CD 449 174–2:13–15.Google Scholar
Boulez, Pierre, Chéreau, Patrice, Peduzzi, Richard, and Schmidt, Jacques (1980). Der “Ring”: Bayreuth 1976–1980. Berlin and Hamburg: Kristall.Google Scholar
Breig, Werner, Martin, Dürrer, and Mielke, Andreas (1999). Chronologisches Verzeichnis der Briefe von Richard Wagner. Wagner-Briefe-Verzeichnis WBV. Wiesbaden etc.: Breitkopf and Härtel.Google Scholar
Bribitzer-Stull, Matthew (2015). Understanding the Leitmotif: From Wagner to Hollywood Film Music. Cambridge: Cambridge University Press.Google Scholar
Brinkmann, Reinhold (1978). “Mythos-Geschichte-Natur: Zeitkonstellationen im ‘Ring,’” in Richard Wagner – Von der Oper zum Musikdrama, ed. Kunze, Stefan. Berne: Francke, 61–77.Google Scholar
Bronfen, Elisabeth (2014). “Hollywood’s Wagner. The Return to/of the Ordinary,” in Jenseits von Bayreuth. Richard Wagner Heute, ed. Börnchen, Stefan, Mein, Georg, and Strowick, Elisabeth. Paderborn: Fink, 239–62.Google Scholar
Brooks, Peter (1976). The Melodramatic Imagination: Balzac, Henry James, Melo-drama, and the Mode of Excess. New Haven: Yale University Press.Google Scholar
Broszat, Martin (1985). “Hitler and the Genesis of the ‘Final Solution’: An Assessment of David Irving’s Theses,” in Aspects of the Third Reich, ed. Koch, H. W.. London: Macmillan, 390–429.Google Scholar
Broszat, Martin (1981). The Hitler State, trans. John W. Hiden. London and New York: Longman.Google Scholar
Brown, Hilda Meldrum (1991). Leitmotiv and Drama: Wagner, Brecht, and the Limits of “Epic” Theatre. Oxford: Clarendon Press.Google Scholar
Buell, Lawrence (1995). The Environmental Imagination: Thoreau, Nature Writing, and the Formation of American Culture. Princeton, NJ: Princeton University Press.Google Scholar
Bull, Malcolm (2006). The Mirror of the Gods: Classical Mythology in Renaissance Art. London: Allen Lane.Google Scholar
Burbidge, Peter (1979). “Richard Wagner: Man and Artist,” in The Wagner Companion, eds. Burbridge, and Sutton, , 15–33.Google Scholar
Burbidge, Peter and Sutton, Richard, eds. (1979). The Wagner Companion. New York: Cambridge University Press.Google Scholar
Burgess, Anthony (1987). Little Wilson and Big God. London: Heinemann.Google Scholar
Burgess, Anthony (1965). Re Joyce. London: Norton.Google Scholar
Burgess, Anthony (1961). The Worm and the Ring. London: Heinemann.Google Scholar
Burk, John N. ed. (1950). Richard Wagner Briefe. Die Sammlung Burrell. Frankfurt am Main: S. Fischer.Google Scholar
Burleigh, Michael (2000). The Third Reich: A New History. London: Macmillan.Google Scholar
Butler, E. M. ([1935] 2012). The Tyranny of Greece over Germany: A Study of the Influence Exercised by Greek Art and Poetry over the Great German Writers of the Eighteenth, Nineteenth and Twentieth Centuries. Cambridge: Cambridge University Press.Google Scholar
Byock, Jesse L. trans. (1999). The Saga of the Volsungs. London: Penguin.Google Scholar
Cabaud, Judith (1990). Mathilde Wesendonck ou le rêve d’Isolde. Paris: Actes sud.Google Scholar
Calico, Joy H. (2008). Brecht at the Opera. Berkeley and Los Angeles: University of California Press.Google Scholar
Calico, Joy H. (2016). “Epic Gesamtkunstwerk,” in The Total Work of Art: Foundations, Articulations, Inspirations, eds. Imhoof, David, Menninger, Margaret Eleanor, and Steinhoff, Anthony J.. New York and Oxford: Berghahn, 81–94.Google Scholar
Carnegy, Patrick (2006). Wagner and the Art of the Theatre. New Haven: Yale University Press.Google Scholar
Carr, Jonathan (2007). The Wagner Clan. London: Faber and Faber.Google Scholar
Cassel, Paulus (1881). Der Judengott und Richard Wagner. Eine Antwort an die Bayreuther Blätter. Berlin: J. A. Wohlgemuth.Google Scholar
Chamberlain, Houston Stewart (1921). Das Drama Richard Wagners: Eine Anregung, 6th edn. Leipzig: Breitkopf and Härtel.Google Scholar
Christensen, Thomas, ed. (2002). The Cambridge History of Western Music Theory, Cambridge: Cambridge University Press.Google Scholar
Cicora, Mary (2000). Modern Myths and Wagnerian Deconstructions. Westport, CT: Greenwood Press.Google Scholar
Cicora, Mary A. (1998). Mythology as Metaphor: Romantic Irony, Critical Theory, and Wagner’s Ring. Westport, CT: Greenwood Press.Google Scholar
Cohen, Mitchell (2008). “To the Dresden Barricades: The Genesis of Wagner’s Political Ideas,” in The Cambridge Companion to Wagner, ed. Grey, , 47–64.Google Scholar
Cohn, Richard (2007). “Hexatonic Poles and the Uncanny in Parsifal,” The Opera Quarterly 22(2):230–48.Google Scholar
Coleman, Jeremy (2016). “Wagner in Paris: Translation, Identity, Modernity,” PhD thesis, Kings College, London.Google Scholar
Conrad, Peter (1991). Book Review of Wagner, Race and Revolution by Paul Lawrence Rose in The Observer June 14, 1992.Google Scholar
Conrad, Peter (2011). Verdi and/or Wagner: Two Men, Two Worlds, Two Centuries. London: Thames and Hudson.Google Scholar
Cook, Nicholas (2007). The Schenker Project: Culture, Race, and Music Theory in Fin-de-siècle Vienna. Oxford: Oxford University Press.Google Scholar
Cook, Peter (1979). A Memoir of Bayreuth 1876. Peter Cook: London.Google Scholar
Cooke, Deryck (1959). The Language of Music. Oxford: Oxford University Press.Google Scholar
Cooke, Deryck (1979). I Saw the World End: A Study of Wagner’s “Ring.” London: Oxford University Press.Google Scholar
Craig, Gordon A. (1982). The Germans. New York: Putman.Google Scholar
Curjel, Hans (1975). Experiment Krolloper 1927–1931. Munich: Prestel-Verlag.Google Scholar
Dahlhaus, Carl (1989). The Idea of Absolute Music, trans. Roger Lustig. Chicago and London: Chicago University Press.Google Scholar
Dahlhaus, Carl (1979). Richard Wagner’s Music Dramas, trans. Mary Whittall. Cambridge: Cambridge University Press.Google Scholar
Dahlhaus, Carl (1990). Wagners Konzeption des musikalischen Dramas. Munich: dtv.Google Scholar
Dahlhaus, Carl (1992). “Wagner’s Place in the History of Music,” trans. Alfred Clayton, in Wagner Handbook, eds. Müller and Wapnewski, 99–117.Google Scholar
Dannreuther, Edward (1873). Richard Wagner: His Tendencies and Theories. London: Augener.Google Scholar
Dannreuther, Edward (1879–90). “Wagner,” in A Dictionary of Music and Musicians, ed. Grove, George. 4 vols. London: Macmillan, 4:346–74.Google Scholar
Dannreuther, Edward (1904). Wagner and the Reform of Opera. London: Augener.Google Scholar
Darcy, Warren (1990). “A Wagnerian Ursatz; or, Was Wagner a Background Composer after all?” Intégral, 4:1–35.Google Scholar
Darcy, Warren (1993). Wagner’s “Das Rheingold.” Oxford: Clarendon.Google Scholar
Daub, Adrian (2009). “‘Hannah, Can You Hear Me?’ Chaplin’s Great Dictator, Schtonk and the Vicissitudes of the Voice,” Criticism 51(3):451–82.Google Scholar
Daub, Adrian (2013). “La Spezia,” in The Cambridge Wagner Encyclopedia, ed. Vazsonyi, , 241.Google Scholar
Daub, Adrian (2008). “Mother Mime: Siegfried, the Fairy Tale, and the Metaphysics of Sexual Difference,” 19th-Century Music 32(2):160–77.Google Scholar
Daub, Adrian and Bronfen, Elisabeth (2015). “Broomhilda Unchained: Tarantino’s Wagner,” The Wagner Journal 9(2):55–67.Google Scholar
Daub, Adrian and McCreless, Patrick (2013). “Siegfried,” in The Cambridge Wagner Encyclopedia, ed. Vazsonyi, , 537–42.Google Scholar
Daverio, John (1993). Nineteenth-Century Music and the German Romantic Ideology. New York: Schirmer.Google Scholar
Deathridge, John (1992). “A Brief History of Wagner Research,” in Wagner Handbook, ed. Müller and Wapnewski, 202–23.Google Scholar
Deathridge, John (1981). “Reviews,” 19th-Century Music 5:81–9.Google Scholar
Deathridge, John (2008). Wagner Beyond Good and Evil. Berkeley: University of California Press.Google Scholar
Deathridge, John (1977). “Wagner’s Sketches for the Ring: Some Recent Studies,” in The Musical Times 118(1611):383–9.Google Scholar
Debussy, Claude (1987). Monsieur Croche et autres écrits, ed. Lesure, Francois, rev. edn. Paris: Gallimard.Google Scholar
Devrient, Eduard (1964). Aus seinen Tagebüchern, ed. Kabel, Rolf. Weimar: Böhlau.Google Scholar
DiGaetani, John Louis (1978). Richard Wagner and the Modern British Novel. New Jersey: Associated University Presses.Google Scholar
Doepler, Carl Emil (1900). 75 Jahre Leben, Schaffen, Streben: Eines Malersmannes Letzte Skizze. Berlin and Leipzig: Schuster and Loeffler.Google Scholar
Donington, Robert (1974). Wagners “Ring” and Its Symbols: The Music and the Myth, 3rd edn. London: Faber and Faber.Google Scholar
Dornbach, Márton (2011). “Renouncing Divinity: The Philadelphia Story in a Wagnerian Mirror,” Search: Journal for New Music and Culture 8, www.searchnewmusic.org/dornbach.pdf (accessed February 13, 2020).Google Scholar
Dreyfus, Laurence (1995). “Hermann Levi’s Shame and Parsifal’s Guilt: A Critique of Essentialism in Biography and Criticism,” Cambridge Opera Journal 6:125–45.Google Scholar
Dreyfus, Laurence (2010). Wagner and the Erotic Impulse. Cambridge, MA: Harvard University Press.Google Scholar
Duchen, Jessica (1996). Erich Wolfgang Korngold. London: Phaidon.Google Scholar
Dujardin, Édouard (1991). The Bays Are Sere and Interior Monologue, trans. Anthony Suter. London: Libris.Google Scholar
Dzamba Sessa, Anne (1979). Richard Wagner and the English. Rutherford: Fairleigh Dickinson University Press.Google Scholar
Eichner, Barbara (2012). History in Mighty Sounds: Musical Constructions of German National Identity 1848–1914. Woodbridge: Boydell Press.Google Scholar
Einstein, Alfred (1936). Gluck. London: Dent and Sons.Google Scholar
Eliot, T. S. (1998). Inventions of the March Hare: Poems 1909–1917, ed. Ricks, Christopher. San Diego: Harcourt.Google Scholar
Ellis, Henry Havelock (1890). The New Spirit. London: Bell.Google Scholar
Emslie, Barry (2009). “Cultural Feast – or Small Beer?,” The Wagner Journal 3(2):83–9.Google Scholar
Emslie, Barry (2007). “The End of the Tunnel,” The Wagner Journal 1(2):68–75.Google Scholar
Emslie, Barry (2010). Richard Wagner and the Centrality of Love. Woodbridge: Boydell Press.Google Scholar
Emslie, Barry (2015). Speculations on German History: Culture and the State. Rochester, NY: Camden House.Google Scholar
Emslie, Barry and Berry, Mark (2010). “Wagner and Anti-Semitism,” www.thewagnerjournal.co.uk/wagnerandanti-se.html (accessed February 12, 2020).Google Scholar
Ewans, Michael (1982). Wagner and Aeschylus: The Ring and the Oresteia. London: Faber and Faber.Google Scholar
Ewans, Michael (2014). “Wagner and the Victorians,” The Wagner Journal 8(1):63–7.Google Scholar
Fay, Stephen and Wood, Roger (1984). “The Ring”: Anatomy of an Opera. London: Secker and Warburg.Google Scholar
Fehr, Max (1953). Richard Wagners Schweizer Zeit. 2 vols. Aarau and Frankfurt am Main: Sauerländer.Google Scholar
Feldman, Burton and Richardson, Robert D., eds. (1972). The Rise of Modern Mythology 1680–1860. London and Bloomington: Indiana University Press.Google Scholar
Fellinger, Imogen (1968). Verzeichnis der Musikzeitschriften des 19. Jahrhunderts. Regensburg: Gustav Bosse.Google Scholar
Finger, Anke and Follett, Danielle, eds. (2011). The Aesthetics of the Total Artwork: On Borders and Fragments. Baltimore: Johns Hopkins University Press.Google Scholar
Foster, Daniel H. (2010). Wagner’s Ring Cycle and the Greeks. New York: Cambridge University Press.Google Scholar
Friedländer, Saul (1997). Nazi Germany and the Jews: The Years of Persecution 1933–1939. London: Weidenfeld and Nicolson.Google Scholar
Friedrich, Sven (2000). “Ambivalenz der Leidenschaft – Thomas Mann und Richard Wagner. Zum 125. Geburtstag Thomas Manns,” in Programmhefte der Bayreuther Festspiele. Bayreuth, 134–42.Google Scholar
Fulcher, Jane F. (1999). “Wagner in the Cultural Politics of the French Right and Left before World War I,” in Von Wagner zum Wagnérisme. Musik, Literatur, Kunst, Politik, ed. Fauser, Annegret and Schwartz., Manuela Leipzig: Leipziger Universitätsverlag, 137–54.Google Scholar
Furness, Raymond (1982). Wagner and Literature. Manchester: Manchester University Press.Google Scholar
Garrard, Greg (2012). Ecocriticism, 2nd edn. London: Routledge, 2012.Google Scholar
Garratt, James (2010). Music, Culture and Social Reform in the Age of Wagner. Cambridge: Cambridge University Press.Google Scholar
Garrett, Charles Hiroshi (2011). “‘Shooting the Keys’: Musical Horseplay and High Culture,” in The Oxford Handbook of the New Cultural History of Music, ed. Fulcher, Jane F.. New York: Oxford University Press.Google Scholar
Geary, Jason (2014). The Politics of Appropriation: German Romantic Music and the Ancient Greek Legacy. New York: Oxford University Press.Google Scholar
Geck, Martin (2013). Richard Wagner. A Life in Music, trans. Stewart Spencer. Chicago and London: University of Chicago Press.Google Scholar
Gentry, Francis G., ed. (2002). The Nibelungen Tradition: An Encyclopedia. New York: Routledge.Google Scholar
Gillespie, George (1983). “New Myths for Old,” in The Valkyrie / Die Walküre, ed. John, Nicholas. London: John Calder.Google Scholar
Goethe, Johann Wolfgang von (1869). Faust: Eine Tragödie, ed. Carriere, Moritz. Leipzig: Brockhaus.Google Scholar
Goldmark, Daniel Ira (2005). Tunes for ’Toons: Music and the Hollywood Cartoon. Berkeley: University of California Press.Google Scholar
Gooding, Wayne (2011). “Better on the Big Screen,” The Wagner Journal 5(1):82–7.Google Scholar
Gooding, Wayne (2009). “Video enters the Gesamtkunstwerk,” The Wagner Journal 3(3):71–5.Google Scholar
Grey, Thomas S. (1996). “Bodies of Evidence,” Cambridge Opera Journal 8:185–97.Google Scholar
Grey, Thomas S., ed. (2008). The Cambridge Companion to Wagner. Cambridge: Cambridge University Press.Google Scholar
Grey, Thomas S. (2008). “The Jewish Question,” in The Cambridge Companion to Wagner, ed. Grey, 203–18.Google Scholar
Grey, Thomas S. (1992). “Musical Background and Influences,” in The Wagner Compendium, ed. Millington, , 64–78.Google Scholar
Grey, Thomas S. (2013). “Oper und Drama,” in The Cambridge Wagner Encyclopedia, ed. Vazsonyi, 365–9.Google Scholar
Grey, Thomas S. (2013). “Poetic-Musical Period,” in The Cambridge Wagner Encyclopedia, ed. Vazsonyi, 429–30.Google Scholar
Grey, Thomas S., ed. (2009). Richard Wagner and His World. Princeton, NJ: Princeton University Press.Google Scholar
Grey, Thomas S. (1995). Wagner’s Musical Prose: Texts and Contexts. Cambridge: Cambridge University Press.Google Scholar
Grey, Thomas S. (1996). “‘ … wie ein rother Faden’: On the Origins of ‘Leitmotif’ as Critical Construct and Musical practice,” in Music Theory in the Age of Romanticism, ed. Bent, Ian. Cambridge: Cambridge University Press, 187–210.Google Scholar
Griffith, Mark (1976). The Authenticity of Prometheus Bound. New York: Cambridge University Press.Google Scholar
Großmann-Vendrey, Susanna (1977). Bayreuth in der deutschen Presse. Beiträge zur Rezeptionsgeschichte Richard Wagners und seiner Festspiele, vol. 1, Die Grundsteinlegung und die ersten Festspiele (1872–1876). Regensburg: Bosse.Google Scholar
Gutman, Robert (1968). Richard Wagner: The Man, His Mind, and His Music. London: Secker and Warburg.Google Scholar
Gutman, Robert (1990). Richard Wagner: The Man, His Mind, and His Music. New edn. New York: Harcourt, Brace, Jovanovich.Google Scholar
Hamann, Brigitte (2005). Winifred Wagner: A Life at the Heart of Hitler’s Bayreuth, trans. Alan Bance. London: Granta Books.Google Scholar
Hankins, John Erskine (1947). “Caliban the Bestial Man,” Publications of the Modern Languages Association 62:493–801.Google Scholar
Harper-Scott, J. P. E. (2009). “Medieval Romance and Musical Narrative in Wagner’s Ring,” 19th-Century Music 32(3):211–34.Google Scholar
Harringer, Andrew (2014). “Hunt, Military and Pastoral Topics,” in Oxford Handbook of Topic Theory, ed. Mirka, Danuta: Oxford: Oxford University Press, 194–213.Google Scholar
Hartford, Robert, ed. (1980). Bayreuth: The Early Years. Cambridge: Cambridge University Press.Google Scholar
Hegel, Georg Friedrich Wilhelm (1991). Elements of the Philosophy of Right, trans. H. B. Nisbet, ed. Wood, Allen W.. Cambridge: Cambridge University Press.Google Scholar
Hegel, Georg Friedrich Wilhelm (1970). Vorlesungen über die Philosophie der Geschichte. Vol. 12 of Werke, ed. Moldenhauer, Eva and Michel, Karl Markus, 20 vols. Frankfurt am Main: Suhrkamp.Google Scholar
Hegel, Georg Friedrich Wilhelm (1962). Lectures on the Philosophy of Religion, trans. E. B. Speirs and J. Burdon. 3 vols. New York: Humanities Press.Google Scholar
Heibach, Christiane (2011). “Avant-Garde Theater as Total Artwork? Media-Theoretical Reflections on the Historical Development of Performing Art Forms,” in The Aesthetics of the Total Artwork: On Borders and Fragments, trans. Peter Winslow and Anke Finger, ed. Follett and Finger. Baltimore: Johns Hopkins University Press, 209–26.Google Scholar
Heidegger, Martin (2002). “The Age of the World-Picture,” in Off the Beaten Track, ed. and trans. Julian Young and Kenneth Hayes. Cambridge: Cambridge University Press, 57–85.Google Scholar
Hein, Annette (1996). “Es ist viel Hitler in Wagner”: Rassismus und antisemitische Deutschtumsideologie in den “Bayreuther Blättern” (1878–1938). Tübingen: Niemayer.Google Scholar
Heine, Heinrich (1993). Selected Prose, ed. Robertson, Ritchie. London: Penguin.Google Scholar
Heinzle, Joachim, Klein, Klaus, and Obhof, Ute, eds. (2003). Die Nibelungen: Sage, Epos, Mythos. Wiesbaden: Reichert.Google Scholar
Heintz, Albert (1896). “Richard Wagner in Zürich,” Allgemeine Musikzeitung 23(7):91–4.Google Scholar
Heintz, Albert (1902). “Aus den Briefen Richard Wagners an Friedrich von Feustel,” Allgemeine Musik-Zeitung 29:137–8. Nationalarchiv der Richard-Wagner-Stiftung, Bayreuth.Google Scholar
Heldt, Guido (2004). “Die Propaganda der Tat – George Bernard Shaws The Perfect Wagnerite und der Anarchismus,” in Richard Wagners “Ring des Nibelungen.” Musikalische Dramaturgie – Kulturelle Kontextualität – Primär-Rezeption, ed. Hortschansky, Klaus. Schneverdingen: Karl Dieter Wagner, 103–23.Google Scholar
Henningsen, Bernd, Klein, Janine, Müssener, Helmut, and Söderlind, Solfrid (1998). Wahlverwandtschaft. Skandinavien und Deutschland 1800–1914. Exhibition catalogue. Berlin: Deutsches historisches Museum.Google Scholar
Herz, Joachim (1989). Theater – Kunst des erfüllten Augenblicks: Briefe, Vortäge, Notate, Gespräche, Essays. Berlin: Henschelverlag.Google Scholar
Holloway, Robin (1979). Debussy and Wagner. London: Eulenburg.Google Scholar
Hortschansky, Klaus (2004). Richard Wagners Ring des Nibelungen. Musikalische Dramaturgie – Kulturelle Kontextualität – Primär-Rezeption. Schneverdingen: Karl Dieter Wagner.Google Scholar
Huber, Herbert and Wagner, Richard (1988). Richard Wagner, Der Ring des Nibelungen: nach seinem mythologischen, theologischen und philosophischen Gehalt Vers für Vers erklärt. Weinheim: VCH, Acta humaniora.Google Scholar
Huebner, Steven (2013). “Édouard Dujardin, Wagner, and the Origins of Stream of Consciousness Writing,” 19th-Century Music 37:56–88.Google Scholar
Hunt, Graham G. (2007). “David Lewin and Valhalla Revisited: New Approaches to Motivic Corruption in Wagner’s Ring Cycle,” Music Theory Spectrum 29(2):177–96.Google Scholar
John, Nicholas, ed. (1985). The Rhinegold/Das Rheingold. London: John Calder.Google Scholar
John, Nicholas, ed. (1984). Siegfried. London: John Calder.Google Scholar
John, Nicholas, ed. (1985). Twilight of the Gods/Götterdämmerung. London: John Calder.Google Scholar
John, Nicholas (1983). The Valkyrie/Die WalkÜre. London: John Calder.Google Scholar
Kahn, Gary (2007). The Power of the “Ring.” London: Royal Opera House.Google Scholar
Kalbeck, Max (1904–14). Johannes Brahms. 4 vols. Berlin: Deutsche Brahms-Gesellschaft.Google Scholar
Kallberg, Jeffrey (2001). “Sex, Sexuality,” in New Grove Online, http://bit.ly/2vdWmMh (accessed January 30, 2018).Google Scholar
Kapsamer, Ingrid (2013). “Wieland Wagner’s Intellectual Path,” trans. Tash Siddiqui, The Wagner Journal 7(1):39–65.Google Scholar
Kapsamer, Ingrid (2010). Wieland Wagner: Wegbereiter und Weltwirkung. Vienna, Graz and Klagenfurt: Styria Verlag.Google Scholar
Jonas, Karlsson (2012). “‘In that hour it began’? Hitler, Rienzi, and the Trust-worthiness of August Kubizek’s The Young Hitler I Knew,” The Wagner Journal 6(2):33–47.Google Scholar
Katz, Jacob (1986). The Darker Side of Genius: Richard Wagner’s Anti-Semitism. Hanover, NH: Brandeis University Press.Google Scholar
Kaufman, David (2002). Ridiculous! The Theatrical Life and Times of Charles Ludlam. New York: Applause.Google Scholar
Kelly, Elaine (2014). Composing the Canon in the German Democratic Republic: Narratives of Nineteenth-Century Music. Oxford: Oxford University Press.Google Scholar
Kershaw, Ian (1998). Hitler 1889–1936: Hubris. London: Penguin.Google Scholar
Kershaw, Ian (2008). “Hitler and the Holocaust,” in Hitler, the Germans and the Final Solution. New Haven and London: Yale University Press, 237–81.Google Scholar
Kershaw, Ian (2008). “‘Working towards the Führer’: Reflections on the Nature of the Hitler Dictatorship,” in Hitler, the Germans and the Final Solution. New Haven and London: Yale University Press, 29–48.Google Scholar
Kietz, Gustav Adolph (1905). Richard Wagner in den Jahren 1842–1849 und 1873–1875: Erinnerungen von Gustave Adolph Kietz, ed. Kietz, Marie. Dresden: Reissner.Google Scholar
Kirby, F. E. (2004). Wagner’s Themes: A Study in Musical Expression. Warren, MI: Harmonie Park.Google Scholar
Kirchmeyer, Helmut, ed. (1968). Situationsgeschichte der Musikkritik und des musikalischen Pressewesens in Deutschland, part 4, Das zeitgenössische Wagner-Bild, vol. 3, Dokumente 1846–1850. Regensburg: Bosse.Google Scholar
Kittler, Friedrich (1999). Gramophone, Film, Typewriter, trans. with intro by Geoffrey Winthrop-Young and Michael Wutz. Stanford, CA: Stanford University Press.Google Scholar
Kittler, Friedrich (2013). “Signal–Rausch–Abstand,” in Die Wahrheit der technischen Welt. Frankfurt: Suhrkamp.Google Scholar
Knust, Herbert (1967). Wagner, the King, and “The Waste Land.” University Park: Pennsylvania State University.Google Scholar
Köhler, Franz-Heinz (1968). Die Struktur der Spielpläne deutschsprachiger Opernbühnen von 1896 bis 1966: eine statistische Analyse. Koblenz: Statistisches Amt.Google Scholar
Köhler, Joachim (2014). “Wagner’s Acquittal,” trans. Tash Siddiqui, The Wagner Journal 8(2):43–51.Google Scholar
Köhler, Joachim (1997). Wagner’s Hitler: The Prophet and His Disciple, trans. Ronald Taylor. Cambridge: Polity.Google Scholar
Kolland, Hubert (1984). “Wagner-Rezeption im Deutschen Faschismus,” in Bericht über den Internationalen Musikwissenschaftlichen Kongress Bayreuth 1981, ed. Mahling, Christoph-Hellmut and Wiesmann, Sigrid. Kassel: Bärenreiter, 494–503.Google Scholar
Krenek, Ernst (1966). Exploring Music: Essays by Ernst Krenek, trans. Margaret Shenfield and Geoffrey Skelton. New York: October House.Google Scholar
Kreuzer, Gundula Katharina (2018). Curtain, Gong, Steam: Wagnerian Technologies of Nineteenth-Century Opera. Berkeley: University of California Press.Google Scholar
Kropfinger, Klaus (1991). Wagner and Beethoven: Richard Wagner’s Reception of Beethoven, trans. Peter Palmer. Cambridge: Cambridge University Press.Google Scholar
Kropfinger, Klaus (1988). “Wagners ‘Entsagungs’-Motiv,” in Das musikalische Kunstwerk: Geschichte, Ästhetik, Theorie. Festschrift Carl Dahlhaus. Laaber: Laaber, 242–58.Google Scholar
Kröplin, Eckhard (2006). “Aufhaltsame Ankunft und ahnungsvoller Abschied: Der Ring in der DDR,” wagnerspectrum 2:63–100.Google Scholar
Langbehn, Julius (1890). Rembrandt als Erzieher. Von einem Deutschen. Leipzig: Hirschfeld.Google Scholar
Large, David C. and Weber, William, eds. (1984). Wagnerism in European Culture and Politics. Ithaca, NY: Cornell University Press.Google Scholar
Lawrence, D. H. (1915). The Rainbow. New York: Modern Library.Google Scholar
Lawrence, D. H. ([1912] 1976). The Trespasser. London: Heinemann.Google Scholar
Leavis, F. R. (1948). The Great Tradition. London: Chatto and Windus.Google Scholar
Lees, Heath (2007). Mallarmé and Wagner: Music and Poetic Language. Aldershot: Ashgate.Google Scholar
Hans-Thies, Lehmann (2006). Postdramatic Theatre, trans. Karen Jürs-Munby. Abingdon and New York: Routledge.Google Scholar
Lehmann, Hans-Thies (1999). Postdramatisches Theater. Frankfurt: Verlag der Autoren.Google Scholar
Leitch, Thomas (2015). “Lang Contra Wagner: Die Nibelungen as Anti-Adaptation,” in A Companion to Fritz Lang, ed. McElhaney, Joe. Malden, MA: Wiley Blackwell, 176–94.Google Scholar
Leopold, David (2007). The Young Karl Marx: German Philosophy, Modern Politics, and Human Flourishing. Cambridge: Cambridge University Press.Google Scholar
Levi, Erik (1994). Music in the Third Reich. London: Macmillan.Google Scholar
Levin, David (1998). Richard Wagner, Fritz Lang, and the Nibelungen. Princeton: Princeton University Press.Google Scholar
Lévi-Strauss, Claude (1969). The Raw and the Cooked: Introduction to a Science of Mythology. New York: Harper and Row.Google Scholar
Lévi-Strauss, Claude (1979). “The Structural Study of Myth,” in Reader in Comparative Religion: An Anthropological Approach, ed. Lessa, William A. and Vogt, Evon Z., 4th edn. New York: Harper and Row.Google Scholar
Lewin, David (1992). “Some Notes on Analyzing Wagner: The Ring and Parsifal,” 19th-Century Music 16(1):49–58.Google Scholar
Lincoln, Bruce (1989). Discourse and the Construction of Society: Comparative Studies of Myth, Ritual, and Classification. New York: Oxford University Press.Google Scholar
Lincoln, Bruce (1999). Theorizing Myth: Narrative, Ideology, and Scholarship. Chicago: University of Chicago Press.Google Scholar
Liszt, Franz (1998). Franz Liszt: Selected Letters, trans. and ed. Adrian Williams. Oxford: Clarendon.Google Scholar
Liszt, Franz (1989). Sämtliche Schriften, vol. 4, ed. Keinertz, Reiner. Wiesbaden: Breitkopf and Härtel.Google Scholar
Liszt, Franz (2009). “Wagner’s Tannhäuser,” trans. John Sullivan Dwight, ed. David Trippett, in Richard Wagner and His World, ed. Grey, Thomas. Princeton: Princeton University Press, 251–68.Google Scholar
Lloyd-Jones, Hugh (1982). Blood for the Ghosts: Classical Influences in the Nineteenth and Twentieth Centuries. London: Duckworth.Google Scholar
Lloyd-Jones, Hugh (1992). “Wagner and the Greeks,” in The Wagner Compendium. ed. Millington, , 158–61.Google Scholar
Lorenz, Alfred (1924). Der musikalische Aufbau des Bühnenfestspieles “Der Ring des Nibelungen.” Berlin: Hesse.Google Scholar
Lorenz, Alfred (1966). Der musikalische Aufbau des Bühnenfestspieles “Der Ring des Nibelungen.” 2nd edn. Berlin: Hesse.Google Scholar
Ludlam, Charles (1989). The Complete Plays of Charles Ludlam. New York: Harper Row.Google Scholar
MacGregor, Neil (2014). Germany: Memories of a Nation. London: Allen Lane.Google Scholar
MacLachlan, Christopher (2012).Tolkien and Wagner: The Ring and Der Ring. Zurich: Walking Tree Publications.Google Scholar
Magee, Elizabeth (1991). Wagner and the Nibelungs. Oxford: Oxford University Press.Google Scholar
Mallarmé, Stéphane (1994). “Hommage,” in Collected Poems: A Bilingual Edition. Berkeley and Los Angeles: University of California Press, 74.Google Scholar
Mallarmé, Stéphane (1945). Œuvres complètes, ed. Jean-Aubrey, G. and Mondor, Henri. Paris: Gallimard.Google Scholar
Mann, Golo (1958). Deutsche Geschichte des 19. und 20. Jahrhunderts. Stuttgart: Fischer.Google Scholar
Mann, Thomas (1911). “Auseinandersetzung mit Wagner,” Der Merker 2:797–9.Google Scholar
Mann, Thomas (1918). Betrachtungen eines Unpolitischen. Berlin: Fischer.Google Scholar
Mann, Thomas (1961–5). Briefe, ed. Mann, Erika. 3 vols. Frankfurt: Fischer.Google Scholar
Mann, Thomas (1960). “Bruder Hitler,” in Gesammelte Werke. Frankfurt: Fischer, 12:845–52.Google Scholar
Mann, Thomas (1999). Doctor Faustus, trans. Martin Secker. Reading: Vintage.Google Scholar
Mann, Thomas (1947). Doktor Faustus. Stockholm: Bermann-Fischer Verlag.Google Scholar
Mann, Thomas (1976). Essays of Three Decades, trans. Helen Lowe-Porter. New York: Knopf.Google Scholar
Mann, Thomas (1933). “Leiden und Grösse Richard Wagners,” in Die Neue Rundschau, 44:450–501.Google Scholar
Mann, Thomas (1996). On Myself and Other Princeton Lectures: An Annotated Edition Based on Mann’s Lecture Typescripts, ed. Bade, James N.. New York: Peter Lang.Google Scholar
Mann, Thomas (1985). Pro and Contra Wagner, trans. A. Blunden, with an introduction by Erich Heller. London and Boston: Faber and Faber.Google Scholar
Mann, Thomas (1960). Reden und Aufsätze. Frankfurt am Main: Fischer.Google Scholar
Mann, Thomas (1983). Reflections of a Nonpolitical Man, trans. Walter D. Morris. New York: F. Ungar.Google Scholar
Mann, Thomas (1951). “Richard Wagner’s Letters,” Saturday Review of Literature, January 20.Google Scholar
Martin, Stoddard (1982). Wagner to “The Waste Land.” New Jersey: Barnes and Noble.Google Scholar
Martin, Timothy (1991). Joyce and Wagner: A Study of Influence. Cambridge: Cambridge University Press.Google Scholar
Marx, Karl (1971). Die Frühschriften, ed. Landshut, Siegfried. Stuttgart: Droner.Google Scholar
Marx, Karl and Engels, Friedrich (1972–). Marx-Engels Gesamtausgabe, ed. various, . Berlin: Dietz.Google Scholar
Mattenklott, Gert (1991). “Unwiederstehliche Mimik: Valéry über Wagner,” in Die Symbolisten und Richard Wagner, ed. Storch, Wolfgang. Berlin: Hentrich.Google Scholar
Matthews, Roland (2010). “A Tale Full of Sound and Fura,” The Wagner Journal 4(2):82–7.Google Scholar
Matoré, Georges and Mecz, Irène (1972). Musique et structure Romanesque dans la Recherche du temps perdu. Paris: Klincksieck.Google Scholar
McClatchie, Stephen (2013). “Alfred Lorenz,” in The Cambridge Wagner Encyclopedia, ed. Vazsonyi, 273–4.Google Scholar
McClatchie, Stephen (1998). Analyzing Wagner’s Operas. Alfred Lorenz and German Nationalist Ideology. Rochester, NY: University of Rochester Press.Google Scholar
McClatchie, Stephen (2013). “Bayreuther Blätter,” in The Cambridge Wagner Encyclopedia, ed. Vazsonyi, 43–5.Google Scholar
McClatchie, Stephen (1995). “Review” (of Spotts, Bayreuth), Cambridge Opera Journal 7:277–84.Google Scholar
McCreless, Patrick (1989). “Schenker and the Norns,” in Analyzing Opera: Verdi and Wagner, ed. Abbate, Carolyn and Parker, Roger. Berkeley and Los Angeles: University of California Press, 276–97.Google Scholar
McCreless, Patrick (1982). Wagner’s “Siegfried”: Its Drama, History, and Music. Ann Arbor, MI: UMI Research Press.Google Scholar
McGrath, William J. (1974). Dionysian Art and Populist Politics in Austria. New Haven: Yale University Press.Google Scholar
McManus, Laurie (2014). “Feminist Revolutionary Music Criticism and Wagner Reception. The Case of Louise Otto,” 19th-Century Music 37(3):161–87.Google Scholar
Menninger, Margaret and Steinhoff, Anthony, eds. (2016). Gesamtkunstwerk: Foundations, Articulations, and Inspirations. New York: Berghahn.Google Scholar
Millington, Barry (2008). “Der Ring des Nibelungen: Conception and Interpretation,” in The Cambridge Companion to Wagner, ed. Grey, 74–84.Google Scholar
Millington, Barry (2015). “In the Spotlight,” The Wagner Journal 9(3):57–64.Google Scholar
Millington, Barry (1991). “Nuremberg Trial: Is there Anti-Semitism in Die Meistersinger?,” Cambridge Opera Journal 3:247–60.Google Scholar
Millington, Barry (2012). Richard Wagner: The Sorcerer of Bayreuth. London: Thames and Hudson.Google Scholar
Millington, Barry (1987). “The Ring according to Berghaus,” Musical Times 128:491–2.Google Scholar
Millington, Barry (2007). “The Ring in Cardiff,” The Wagner Journal 1(1):92–6.Google Scholar
Millington, Barry (2007). “The Ring in Toronto,” The Wagner Journal 1(1):82–6.Google Scholar
Millington, Barry ed. (1992). The Wagner Compendium: A Guide to Wagner’s Life and Music. London: Thames and Hudson.Google Scholar
Millington, Barry (1984). Wagner. London: Dent.Google Scholar
Millington, Barry (1992). Wagner, rev. edn. Princeton: Princeton University Press.Google Scholar
Momigliano, Arnaldo (1992). The Classical Foundations of Modern Historiography. Berkeley, Los Angeles and Oxford: University of California Press.Google Scholar
Mommsen, Hans (1991). “The Realization of the Unthinkable,” in From Weimar to Auschwitz, trans. Philip O’Connor. Princeton: Princeton University Press, 224–53.Google Scholar
Monelle, Raymond (2006). The Musical Topic: Hunt, Military, and Pastoral. Bloomington: Indiana University Press.Google Scholar
Müller, Ulrich and Wapnewski, Peter (1986). Richard-Wagner-Handbuch. Stuttgart: Alfred Kröner Verlag.Google Scholar
Müller, Ulrich and Wapnewski, Peter, eds. (1992). Wagner Handbook, trans. ed. Deathridge, John. Cambridge, MA: Harvard University Press.Google Scholar
Müller, Ulrich (1986). “Richard Wagner und die Antike,” in Richard-Wagner-Handbuch, ed. Müller and Wapnewski 7–18.Google Scholar
Müller, Ulrich (1992). “Wagner and Antiquity,” in Wagner Handbook, ed. Müller and Wapnewski, 227–35.Google Scholar
“Mythology and Ideology: [Ex]Change of Views on the Staging of the Tetralogy in 1976 between Carlo Schmid, Pierre Boulez and Patrice Chéreau,” in Die Programmhefte der Bayreuther Festspiele 1977, 4:48–84.Google Scholar
Nattiez, Jean-Jacques (1993). “‘Fidelity’ to Wagner: Reflections on the Centenary Ring,” in Wagner in Performance, ed. Millington, Barry and Spencer, Stewart. New Haven and London: Yale University Press, 75–98.Google Scholar
Nattiez, Jean-Jacques (1989). Proust as Musician, trans. Derrick Puffett. Cambridge: Cambridge University Press.Google Scholar
Nattiez, Jean-Jacques (1993). Wagner Androgyne: A Study in Interpretation, trans. Stewart Spencer. Princeton: Princeton University Press.Google Scholar
Neumann, Angelo (1907). Erinnergungen an Wagner, 3rd edn. Leipzig: Staackmann.Google Scholar
Newcomb, Anthony (1981). “The Birth of Music Out of the Spirit of Drama: An Essay in Wagnerian Formal Analysis,” 19th-Century Music 5(1):38–66.Google Scholar
Newman, Ernest (1976). The Life of Richard Wagner. 4 vols. Cambridge: Cambridge University Press.Google Scholar
Nietzsche, Friedrich (2000). Basic Writings of Friedrich Nietzsche, trans. Walter Kaufmann. New York: The Modern Library.Google Scholar
Nietzsche, Friedrich (1967). The Birth of Tragedy and the Case of Wagner, trans. Walter Kaufmann. New York: Vintage.Google Scholar
Nietzsche, Friedrich (1980). Briefwechsel, Kritische Gesamtausgabe, part 2, vol. 5, Briefe von Nietzsche: 1875–1879. Berlin: de Gruyter.Google Scholar
Nietzsche, Friedrich (1997). “Richard Wagner in Bayreuth,” in Untimely Meditations, trans. R. J. Hollingdale. Cambridge: Cambridge University Press, 195–254.Google Scholar
Nietzsche, Friedrich (1995). Unfashionable Observations, trans. R. T. Gray. Stanford: Stanford University Press.Google Scholar
Nietzsche, Friedrich (1969). Werke: Kritische Gesamtausgabe, ed. Giorgio Colli and Mazziono Montinari, vol 3. Berlin: de Gruyter.Google Scholar
Nilges, Yvonne (2013). “Wagner in Literature,” in The Cambridge Wagner Encyclopedia, ed. Vazsonyi, 650–4.Google Scholar
Noll, Richard (1994). The Jung Cult: Origins of a Charismatic Movement. Princeton: Princeton University Press.Google Scholar
Nordau, Max (1893). Entartung, 2nd edn. Berlin: Carl Duncker.Google Scholar
Novick, Peter (2000). The Holocaust and Collective Memory. London: Bloomsbury.Google Scholar
Olivier, Philippe (2007). “Der Ring des Nibelungen” in Bayreuth von den Anfängen bis Heute. Mainz: Schott.Google Scholar
Orchard, Andy, trans. (2011). The Elder Edda. London: Penguin.Google Scholar
Park, Yoon (2004). “Crossing Religious and Human Boundaries in Wagner’s Ring.” Published at University of Glasgow, www.gla.ac.uk/research/az/esharp/issues/3/park/ (accessed April 2, 2016).Google Scholar
Parly, Nila (2008). “The Cry of the Valkyrie: Feminism and Corporality in the Copenhagen Ring,” The Wagner Journal 2(3):100–10.Google Scholar
Parly, Nila (2007). “Visions of the Ring,” The Wagner Journal 1(3):57–63.Google Scholar
Pater, Walter ([1873]2010). Studies in the History of the Renaissance, ed. Beaumont, Matthew. Oxford: Oxford University Press.Google Scholar
Pederson, Sanna (2013). “Eduard Hanslick,” in The Cambridge Wagner Encyclopedia, ed. Vazsonyi, , 183–5.Google Scholar
Petsch, Robert (1909). “Der Ring des Nibelungen in seinen Beziehungen zur griechischen Tragödie,” Richard Wagner-Jahrbuch, 2:284–330.Google Scholar
Picard, Timothée, ed. (2010). Dictionnaire Encyclopédique Wagner. Arles: Actes Sud.Google Scholar
X, Pius (1907). Pascendi Dominici Gregis, https://bit.ly/2QzNuZ4 (accessed February 4, 2016).Google Scholar
Pniower, Paul [pseud.] (1877). Der Ring der nie gelungen: Cricrilogie. Berlin: Wedekind and Schwieger.Google Scholar
Porges, Heinrich (1863). “Richard Wagners Ring des Nibelungen. I,” Neue Zeitschrift für Musik, 58(23).Google Scholar
Porges, Heinrich (1983). Wagner Rehearsing the Ring: An Eye-Witness Account of the First Bayreuth Festival, trans. Robert L. Jacobs. Cambridge: Cambridge University Press.Google Scholar
Preetorius, Emil (1942). Wagner: Bild und Vision. Berlin: Verlag Helmut Küpper.Google Scholar
Proudhon, Pierre-Joseph (1994). What Is Property? trans. and ed. Kelley, Donald R. and Smith, Bonnie G.. Cambridge: Cambridge University Press.Google Scholar
Proust, Marcel (1983). Remembrance of Things Past, trans. C. K. Scott Moncrieff. 3 vols. Harmondsworth: Penguin.Google Scholar
Pyta, Wolfram (2015). Hitler: Der Künstler als Politiker und Feldherr – Eine Herrschaftsanalyse. Munich: Siedler Verlag.Google Scholar
Raff, Joachim (1854). Die Wagnerfrage: kritisch beleuchtet. Brunswick: F. Viewig.Google Scholar
Rather, L. J. (1979). The Dream of Self-Destruction: Wagner’s Ring and the Modern World. Baton Rouge: Louisiana State University Press.Google Scholar
Rattner, Josef (1986). “Wagner im Lichte der Tiefenpsychologie,” in Richard Wagner Handbuch, ed. Müller and Wapnewski, 777–91.Google Scholar
Raupp, Wilhelm (1935). Max von Schillings: Der Kampf eines deutschen Künstlers. Hamburg: Hanseatische Verlagsanstalt.Google Scholar
Reichwein, Leopold (1938). “Richard Wagner und der deutsche Dirigent der Gegenwart,” in Bayreuther Festspielführer 1938, ed. Strobel, Otto. Bayreuth: Verlag der Hofbuchhandlung Georg Niehrenheim, 31–4.Google Scholar
Reidegeld, Eckhart (1996). Staatliche Sozialpolitik in Deutschland: historische Entwicklung und theoretische Analyse von Ursprüngen bis 1918. Opladen: Westdeutscher Verlag.Google Scholar
Rieger, Eva (2011). Richard Wagner’s Women, trans. Chris Walton. Woodbridge and Rochester, NY: Boydell Press.Google Scholar
Roberts, David (2011). The Total Work of Art in European Modernism. Ithaca: Cornell University Press.Google Scholar
Rockwell, John (n.d.). “The Prussian Ministry of Culture and the Berlin State Opera, 1918–1931,” dissertation, University of California, Berkeley.Google Scholar
Rose, Paul Lawrence (1990). Revolutionary Antisemitism in Germany. Princeton: Princeton University Press.Google Scholar
Rose, Paul Lawrence (1992). Wagner: Race and Revolution. London: Faber and Faber.Google Scholar
Rosenberg, Alfred (1934). Der Mythus des 20. Jahrhunderts. 37–38th edn. Munich: Hoheneichen Verlag.Google Scholar
Rosenthal, Bernice Glatzer (2002). New Myth, New World: From Nietzsche to Stalinism. University Park: Pennsylvania State University Press.Google Scholar
Rosenthal, Bernice Glatzer (1984). “Wagner and Wagnerian Ideas in Russia,” in Wagnerism in European Culture and Politics, ed. Large and Weber, 198–245.Google Scholar
Ross, Alex (2012). “Diminuendo: A Downturn for Opera in New York City,” The New Yorker March 12, 2012.Google Scholar
Ross, Alex (2017). “Wagner, Incest, and Game of Thrones,” The New Yorker August 29, 2017.Google Scholar
Ross, Alex (in press). Wagnerism: Art in the Shadow of Music. New York: Farrar, Straus and Giroux.Google Scholar
Rowe, Jeremy (2015). “Triumphant Ring in Dessau,” Wagner News, 219:26–7.Google Scholar
Russell, Anna (1985). I’m Not Making This Up, You Know. London: Continuum.Google Scholar
Rye, Matthew (2012). “In the Image of Mann,” The Wagner Journal 6(2):72–6.Google Scholar
Rye, Matthew (2014). “Left in the Dark,” The Wagner Journal 8(2):74–9.Google Scholar
Schadewaldt, Wolfgang (1970). “Richard Wagner und die Griechen,” in Hellas und Hesperien: Gesammelte Schriften zur Antike und zur neueren Literatur in zwei Bänden. Zurich: Artemis, 2:341–405.Google Scholar
Schiller, Friedrich von (2001). Schillers Werke, ed. Oellers, Norbert, et al. Bd, Nationalausgabe. 20(1), Weimar: Böhlaus Nachfolger, 87–100.Google Scholar
Schneider, Andrea (1996). Die Parodierten Musikdramen Richard Wagners. Anif/Salzburg: Müller-Speiser.Google Scholar
Schoenberg, Arnold (1967). Fundamentals of Musical Composition, ed. Strang, Gerald and Stein, Leonard. London: Faber and Faber.Google Scholar
Schopenhauer, Arthur (2004). On the Suffering of the World. London: Penguin.Google Scholar
Schopenhauer, Arthur (2014). The World and Will and Representation, ed. and trans. Norman, Judith and Welchman, Alistair. Cambridge: Cambridge University Press.Google Scholar
Schroeder, Leopold von (1911). Die Vollendung des arischen Mysteriums in Bayreuth. Munich: J. E. Lehmann.Google Scholar
Schüler, Winfried (1971). Der Bayreuther Kreis von seiner Entstehung bis zum Ausgang der Wilhelminischen Ära: Wagnerkult und Kulturreform im Geiste völkischer Weltanschauung. Münster: Aschendorff.Google Scholar
Scruton, Roger (2006). “An Unhappy Birthday to Sigmund the Fraud,” The Spectator May 18, 2006.Google Scholar
Scruton, Roger (2004). Death-Devoted Heart: Sex and the Sacred in Wagner’s “Tristan and Isolde.” Oxford: Oxford University Press.Google Scholar
Scruton, Roger (2016). The Ring of Truth: The Wisdom of Wagner’s “Ring of the Nibelung.” London: Allen Lane.Google Scholar
Shaw, George Bernard (1923). The Perfect Wagnerite: A Commentary on the Niblung’s Ring, 4th edn. London: Constable.Google Scholar
Shaw, George Bernard (1932). Major Critical Essays. London: Constable.Google Scholar
Shaw, George Bernard (1986). Major Critical Essays. London: Penguin.Google Scholar
Shaw, George Bernard ([1898]1911). The Perfect Wagnerite. New York: Bretano’s.Google Scholar
Shaw, George Bernard (1967). The Perfect Wagnerite: A Commentary on the Niblung’s Ring. New York: Dover.Google Scholar
Shaw, George Bernard (1981). Shaw’s Music, vol. 2, ed. Lawrence, Dan H.. Reinhardt: The Bodley Head.Google Scholar
Siddiqui, Tash (2012). “Body Building the Ring,” The Wagner Journal 6(3):67–72.Google Scholar
Smith, Matthew (2007). The Total Work of Art: From Bayreuth to Cyberspace. New York: Routledge.Google Scholar
Snelson, John (2006). “The Ring”: An Illustrated History of Wagner’s “Ring” at the Royal Opera House. London: Oberon Books.Google Scholar
Solerti, Angelo (1984). Le origini del melodrama, trans. Pietro Weiss, in Music in the Western World: A History in Documents, ed. Weiss, and Taruskin, Richard. New York: Schirmer.Google Scholar
Sontag, Susan (1972). Under the Sign of Saturn. New York: Picador.Google Scholar
Spencer, Stewart (2008). “The Romantic Operas and the Turn to Myth,” in The Cambridge Companion to Wagner, ed. Grey, 65–73.Google Scholar
Spencer, Stewart and Millington, Barry, eds. (1993). Wagner’s “Ring of the Nibelung”: A Companion. London and New York: Thames and Hudson.Google Scholar
Spengler, Oswald (1923). Der Untergang des Abendlandes. Umrisse einer Morphologie der Weltgeschichte. Berlin: Deutsche Buch-Gemeinschaft.Google Scholar
Spitzer, Michael (2004). Metaphor and Musical Thought. Chicago: University of Chicago Press.Google Scholar
Spotts, Frederic (1994). Bayreuth: A History of the Wagner Festival. New Haven and London: Yale University Press.Google Scholar
Spotts, Frederic (2002). Hitler and the Power of Aesthetics. London: Hutchinson.Google Scholar
Stern, Fritz (1974). The Politics of Cultural Despair: A Study in the Rise of the Germanic Ideology. Berkeley: University of California Press.Google Scholar
Stinson, John J. (1991). Anthony Burgess Revisited. Boston: Twayne.Google Scholar
Strassburg, Gottfried von (1875). Tristan und Isolde, trans. Karl Simrock. Leipzig: Brockhaus.Google Scholar
Stravinsky, Igor (1970). Poetics of Music in the Form of Six Lessons. Cambridge, MA: Harvard University Press.Google Scholar
Sutcliffe, Tom (1996). Believing in Opera. London: Faber and Faber.Google Scholar
Sutton, Emma (2002). Aubrey Beardsley and British Wagnerism in the 1890s. Oxford: Oxford University Press.Google Scholar
Syer, Katherine R. (2009). “Anti-Romantic Ring Bears Fruit in Orange County,” The Wagner Journal 3(2):62–4.Google Scholar
Syer, Katherine R. (2007). “Michael Levine and the COC Ring,” The Wagner Journal 1(1):86–91.Google Scholar
Syer, Katherine R. (2010). “New Perspectives on the Ring,” The Wagner Journal 4(3):67–70.Google Scholar
Syer, Katherine R. (2008). “The Ring Nordic Style,” The Wagner Journal 2(2):68–80.Google Scholar
Tanner, Michael (1979). “The Total Work of Art,” in The Wagner Companion, ed. Burbidge, and Sutton, , 140–224.Google Scholar
Tanner, Michael (1996). Wagner. London: Harper Collins.Google Scholar
Taruskin, Richard (1995). Text and Act: Essays on Music and Performance. Oxford: Oxford University Press.Google Scholar
Taylor, A. J. P. (1961). The Course of German History: A Survey of the Development of German History since 1815. London: Methuen.Google Scholar
Thorau, Christian (2009). “Guides for Wagnerites: Leitmotifs and Wagnerian Listening,” in Richard Wagner and His World, ed. Grey., Thomas S. Princeton: Princeton University Press, 2009, 133–50.Google Scholar
Thorau, Christian (2009). “Leitmotiv guides,” in The Cambridge Wagner Encyclopedia, ed. Vazsonyi, 249–51.Google Scholar
Thorau, Christian (2003). Semantisierte Sinnlichkeit. Studien zu Rezeption und Zeichenstruktur der Leitmotivtechnik Richard Wagners. Stuttgart: Franz Steiner.Google Scholar
Thorau, Christian (2017). “Wagner’s Form, Chéreau’s Scene, Large’s Cuts: Analytical Dialogues between Music, Theater and Video,” in Music Theater as Global Culture, ed. Mungen, Anno, et al. Würzburg: Königshausen and Neumann, 419–43.Google Scholar
Tolkien, J. R. R. (2002). The Hobbit. New York: Houghton Mifflin.Google Scholar
Tolkien, J. R. R. (1987). The Fellowship of the Ring. New York: Houghton Mifflin.Google Scholar
Tolstoy, Leo (1995). What Is Art?, trans. R. Pevear and L. Volokhonsky. London: Penguin.Google Scholar
Treadwell, James (2008). “The Urge to Communicate: The Prose Writings as Theory and Practice,” in The Cambridge Companion to Wagner, ed. Grey, 177–91.Google Scholar
Treitler, Leo ed. (1998). Strunk’s Source Readings in Music History. New York and London: Norton.Google Scholar
Trippett, David (2012). “‘Bayreuth in Miniature’: Wagner and the Melodrama Voice,” Musical Quarterly 95(1):71–138.Google Scholar
Trippett, David (2013). Wagner’s Melodies: Aesthetics and Materialism in German Musical Identity. Cambridge: Cambridge University Press.Google Scholar
Tröbes, Otto (1983). “Mit Richard Wagner ins Dritte Deutsche Reich,” in Bayreuth im Dritten Reich, ed. Wessling, Berndt W.. Weinheim: Beltz, 230–40.Google Scholar
Turbow, Gerald D. (1984). “Wagnerism in France,” in Wagnerism in European Culture and Politics, ed. Large, David C. and Weber, William. Ithaca: Cornell University Press, 134–66.Google Scholar
Vaget, Hans Rudolf (2013). “Anti-Semitism,” in The Cambridge Wagner Encyclopedia, ed. Vazsonyi, 16–20.Google Scholar
Vaget, Hans Rudolf (2003). “‘Du warst mein Feind von je’: The Beckmesser Controversy Revisited,” in Wagner’s Meistersinger: Performance, History, Representation, ed. Vazsonyi, Nicholas. Rochester, NY: University of Rochester Press, 190–208.Google Scholar
Vaget, Hans Rudolf (1999). Im Schatten Wagners: Thomas Mann über Richard Wagner: Texte und Zeugnisse 1895–1955. Frankfurt am Main: Fischer.Google Scholar
Vaget, Hans Rudolf (2015). “Nazi Cinema and Wagner,” The Wagner Journal 9(2):35–54.Google Scholar
Vaget, Hans Rudolf (2011). “Operation Walküre: The Movie and the History,” The Wagner Journal 5(1):4–16.Google Scholar
Vaget, Hans Rudolf (1993). “Wagner, Anti-Semitism and Mr. Rose: Merkwürd’ger Fall!,” German Quarterly 66:222–36.Google Scholar
Vaget, Hans Rudolf (2017). “Wehvolles Erbe”: Richard Wagner in Deutschland. Hitler, Knappertsbusch, Mann. Frankfurt: Fischer.Google Scholar
Valéry, Paul (1924). “Situation de Baudelaire,” in Variété I. Gallimard: Paris, 250.Google Scholar
Vazsonyi, Nicholas (2017). “Bayreuth: Capital and Anti-Capital,” in Other Capitals of the Nineteenth Century: An Alternative Mapping of Literary and Cultural Space, ed. Hibbitt, Richard. New York: Palgrave Macmillan, 205–22.Google Scholar
Vazsonyi, Nicholas ed. (2013). The Cambridge Wagner Encyclopedia. Cambridge: Cambridge University Press.Google Scholar
Vazsonyi, Nicholas (2014). “Reading Right from Left: Hans Mayer and Postwar Wagner Reception,” The Opera Quarterly 30(2–3):228–45.Google Scholar
Vazsonyi, Nicholas (2010). Richard Wagner: Self-Promotion and the Making of a Brand. Cambridge: Cambridge University Press.Google Scholar
Vetter, Isolde (1992). “Wagner in the History of Psychology,” trans. Stewart Spencer, in Wagner Handbook, ed. Müller, and Wapnewski, , 118–55.Google Scholar
Viereck, Peter (1941). Metapolitics: From the Romantics to Hitler. New York: Alfred A. Knopf.Google Scholar
Vink, Renée (2012). Wagner and Tolkien: Mythmakers. Zurich: Walking Tree Publications.Google Scholar
Vischer, Friedrich Theodor (1844). Kritische Gänge. Tübingen: Fues.Google Scholar
Vries, Jan de (1961). Forschungsgeschichte der Mythologie. Freiburg: Alber.Google Scholar
Vulliamy, Ed (2007). “Karlheinz Stockhausen,” The Observer, December 9, 2007, http://bit.ly/33dYuAq (accessed March 12, 2020).Google Scholar
Wagner, Cosima (1978). Cosima Wagner Diaries, trans. Geoffrey Skelton. London: Collins.Google Scholar
Wagner, Cosima (1976). Die Tagebücher, ed. Gregor-Dellin, Martin and Dietrich, Mack. 2 vols. München and Zürich: Piper.Google Scholar
Wagner, Richard [1870]. “Über Schauspieler und Sänger,” in Sämtliche Schriften und Dichtungen, 9:202.Google Scholar
Wagner, Richard [1881]. “Ausführungen zu ‘Religion und Kunst’: ‘Erkenne dich selbst,’” in Sämtliche Schriften und Dichtungen, 10:264–74.Google Scholar
Wagner, Richard (1912). Richard Wagner: Bayreuther Briefe. Leipzig: Breitkopf and Härtel.Google Scholar
Wagner, Richard [1851]. “Beethovens Heroische Symphonie,” in Sämtliche Schriften und Dichtungen, 5:169–72.Google Scholar
Wagner, Richard.[1872] “Bericht an den Deutschen Wagner-Verein über die Umstände und Schicksale, welche die Ausführung des Bühnenfestspieles ‘Der Ring des Nibelungen’ begleiteten,” in Sämtliche Schriften und Dichtungen, 6:257–72.Google Scholar
Wagner, Richard (1973). Correspondence of Wagner and Liszt, trans. Francis Hueffer. 2 vols. New York: Vienna House.Google Scholar
Wagner, Richard [1868]. “Deutsche Kunst und deutsche Politik,” in Sämtliche Schriften und Dichtungen, 8:30–124.Google Scholar
Wagner, Richard [1849]. “Entwurf zur Organisation eines Deutschen National Theaters für das Königreich Sachsen,” in Sämtliche Schriften und Dichtungen, 2:237.Google Scholar
Wagner, Richard [1850]. “Das Judentum in der Musik,” in Sämtliche Schriften und Dichtungen, 5:66–85.Google Scholar
Wagner, Richard [1849]. “Das Künstlertum der Zukunft,” in Sämtliche Schriften und Dichtungen, 12:252–63.Google Scholar
Wagner, Richard [1849]. “Das Kunstwerk der Zukunft,” in Sämtliche Schriften und Dichtungen, 3:42–177.Google Scholar
Wagner, Richard [1849]. “Die Kunst und die Revolution,” in Sämtliche Schriften und Dichtungen, 3:8–41.Google Scholar
Wagner, Richard [1848]. “Der Nibelungen-Mythus: Als Entwurf zu einem Drama,” in Sämtliche Schriften und Dichtungen, 2:156–66.Google Scholar
Wagner, Richard [1849]. “Die Not.” in Sämtliche Schriften und Dichtungen, 12:358–62.Google Scholar
Wagner, Richard [1849]. “Die Wibelungen: Weltgeschichte aus der Sage,” in Sämtliche Schriften und Dichtungen, 2:115–55.Google Scholar
Wagner, Richard [1852]. “Eine Mittheilung an meine Freunde,” in Sämtliche Schriften und Dichtungen, 4:230–344.Google Scholar
Wagner, Richard [1871]. “Epilogischer Bericht über die Umstände und Schicksale, welche die Ausführung des Bühnenfestspieles ‘Der Ring des Nibelungen’ bis zur Veröffentlichung der Dichtung desselben begleiteten,” Sämtliche Schriften und Dichtungen 6:257–72.Google Scholar
Wagner, Richard [1834]. “Die Deutsche Oper,” in Sämtliche Schriften und Dichtungen, 12:1–4.Google Scholar
Wagner, Richard [1850]. “Kunst und Klima,” Sämtliche Schriften und Dichtungen, 3:207–21.Google Scholar
Wagner, Richard (1977). Mein Leben, ed. Gregor-Dellin, Martin. Munich: List.Google Scholar
Wagner, Richard (1983). My Life, trans. Gray, Andrew, ed. Whittall, Mary. Cambridge: Cambridge University Press.Google Scholar
Wagner, Richard (1994). Oper und Drama, ed. Kropfinger, Klaus. Stuttgart: Reclam.Google Scholar
Wagner, Richard [1851]. “Oper und Drama,” in Sämtliche Schriften und Dichtungen, 3.Google Scholar
Wagner, Richard [1880]. “Religion und Kunst,” in Sämtliche Schriften und Dichtungen, 10:211–85.Google Scholar
Wagner, Richard (1912). Richard Wagner an Emil Heckel, Zur Entstehungsgeschichte der Bühnenfestspiele in Bayreuth, ed. Heckel, Karl. Leipzig: Breitkopf and Härtel.Google Scholar
Wagner, Richard (1912). Richard Wagner an seine Künstler, ed. Kloss, Erich, 3rd edn. Leipzig: Breitkopf and Härtel.Google Scholar
Wagner, Richard (1909). Richard Wagner: Briefe an Freunde und Zeitgenossen, ed. Kloss, Erich. Leipzig: Schuster und Loeffler.Google Scholar
Wagner, Richard (1890). Richard Wagner’s Letters to His Dresden Friends, trans. J. S. Shedlock. London: H. Grevel.Google Scholar
Wagner, Richard (1892–9). Richard Wagner’s Prose Works, trans. William Ashton Ellis. 8 vols. London: Kegan Paul, Trench, Trübner. Pbk reprint, Lincoln: University of Nebraska Press, 1995.Google Scholar
Wagner, Richard (1979–). Sämtliche Briefe, ed. Strobel, Gertrud and Wolf, Werner. 35 vols. to date. Deutscher Verlag für Musik. Leipzig.Google Scholar
Wagner, Richard (1912–14). Sämtliche Schriften und Dichtungen, 16 vols, ed. Sternfeld, Richard and von Wolzogen, Hans. Leipzig: Breitkopf and Härtel.Google Scholar
Wagner, Richard [1876]. “Schlußbericht über die Umstände und Schicksale, welche die Ausführung des Buhnenfestpieles ‘der Ring des Nibelungen’ bis zur Gründung von Wagner-Vereinen begleiteten,” in Sämtliche Schriften und Dichtungen, 9:311–22.Google Scholar
Wagner, Richard (1987). Selected Letters of Richard Wagner, ed. Spencer, Stewart and Millington, Barry. London: J. M. Dent.Google Scholar
Wagner, Richard (1930). Skizzen und Entwürfe zur “Ring”-Dichtung. Mit der Dichtung “Der junge Siegfried,” ed. Strobel, Otto. München: Bruckmann.Google Scholar
Wagner, Richard (1991). Stories and Essays, ed. Osborne, Charles. La Salle, IL: Open Court.Google Scholar
Wagner, Richard [1879]. “Über die Anwendung der Musik auf das Drama,” in Sämtliche Schriften und Dichtungen, 10:176–93.Google Scholar
Wagner, Richard [1872]. “Über die Benennung, ‘Musikdrama,’” in Sämtliche Schriften und Dichtungen, 9:302–8.Google Scholar
Wagner, Richard [1857]. “Über Franz Liszts Symphonische Dichtungen. (Brief an M.W.),” in Sämtliche Schriften und Dichtungen, 5:182–98.Google Scholar
Wagner, Richard [1862]. “Vorwort zur Herausgabe der Dichtung des Bühnenfestspieles Der Ring des Nibelungen,” in Sämtliche Schriften und Dichtungen, 6:272–81.Google Scholar
Wagner, Richard [1848]. “Wie verhalten sich republikanische Bestrebungen dem Königthume gegenüber?,” in Sämtliche Schriften und Dichtungen, 12:220–9.Google Scholar
Wagner, Richard [1860]. “Zukunftsmusik,” in Sämtliche Schriften und Dichtungen, 7:87–137.Google Scholar
Wald, Melanie and Fuhrmann, Wolfgang (2013). Ahnung und Erinnerung: die Dramaturgie der Leitmotive bei Richard Wagner. Kassel: Bärenreiter.Google Scholar
Walton, Chris (2007). Richard Wagner’s Zurich: The Muse of Place. Rochester: Camden House.Google Scholar
Wapnewski, Peter (1978). Der traurige Gott: Richard Wagner in seinen Helden. Munich: Ludwig Beck.Google Scholar
Emma, Warner (2013). The Artwork of the Future. A Special Issue of The Wagner Journal 13–86.Google Scholar
Warner, Keith (2007). “‘A Theatre of Generosity’: Keith Warner Talks about His Production of the Ring for Covent Garden,” The Wagner Journal 1(3):64–73.Google Scholar
Wason, Robert W. (1985). Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg. Ann Arbor: University of Michigan Press.Google Scholar
Watson, Derek (1979). Richard Wagner: A Biography. London: Dent.Google Scholar
Watt, Paul (2017). Ernest Newman: A Critical Biography. Woodbridge: Boydell Press.Google Scholar
Weber, Max (2009). “The Sociology of Charismatic Authority,” in From Max Weber: Essays in Sociology, trans. and ed. with introduction by Gerth, H. H. and Wright Mills, C.. Abingdon: Routledge, 245–52.Google Scholar
Weber, William (1994). “Wagner, Wagnerism, and Musical Idealism,” in Wagnerism in European Culture and Politics, ed. Large, David and Weber, William. Ithaca, New York: Cornell University Press, 28–71.Google Scholar
Weiner, Marc A. (1995). Richard Wagner and the Anti-Semitic Imagination. Lincoln, NE: University of Nebraska Press.Google Scholar
Weiner, Marc A. (1997). Richard Wagner and the Anti-Semitic Imagination, 2nd edn. Lincoln, NE: University of Nebraska Press.Google Scholar
Weiss, Pietro and Taruskin, Richard, eds. (1984). Music in the Western World: A History in Documents. New York: Schirmer.Google Scholar
Westernhagen, Curt von (1980). “Wagner, Richard,” in The New Grove Dictionary of Music and Musicians, ed. Sadie., Stanley London: Macmillan, 20:103–14.Google Scholar
Westernhagen, Curt von (1981). Wagner: A Biography, trans. Mary Whittall. Cambridge: Cambridge University Press.Google Scholar
Westernhagen, Curt von (1979). “Wagner as a Writer,” in The Wagner Companion, ed. Burbidge and Sutton, 344–64.Google Scholar
Whittall, Arnold (1992). “Analytic Voices: The Musical Narratives of Carolyn Abbate,” Music Analysis 11(1):95–107.Google Scholar
Whittall, Arnold (2008). “Criticism and Analysis: Current Perspectives,” in The Cambridge Companion to Wagner, ed. Grey, 276–89.Google Scholar
Whittall, Arnold (2013). “Modern Music,” in The Cambridge Wagner Encyclopedia, ed. Vazsonyi, 307–10.Google Scholar
Whittall, Arnold (2015). The Wagner Style: Close Readings and Critical Perspective. London: Plumbago.Google Scholar
Whittall, Arnold (1983). “Wagner’s Great Transition? From Lohengrin to Das Rheingold,” Music Analysis 2(3):269–80.Google Scholar
Willaschek, Wolfgang (2006). “‘Against Interpretation.’ Zwischen Wohnzimmer, Schrotthalde und Niemandsland: David Aldens Münchner Ring,” in OperMachtTheaterBilder, ed. Schläder, Jürgen. [Leipzig]: Henschel, 219–49.Google Scholar
Williams, Simon (2011). “Bleak Expectations,” The Wagner Journal 5(3):60–3.Google Scholar
Wilson Smith, Matthew (2007). The Total Work of Art. From Bayreuth to Cyberspace. New York: Routledge.Google Scholar
Wirth, Moritz (1883). Bismarck, Wagner, Rodbertus, drei deutsche Meister. Betrachtungen über ihr Wirken und die Zukunft ihrer Werke. Leipzig: Oswald Mutze.Google Scholar
Wittgenstein, Ludwig (1958). Philosophical Investigations, trans. G. E. M. Anscombe. Macmillan: New York.Google Scholar
Wittgenstein, Ludwig (1980). Wittgenstein’s Lectures: Cambridge 1930–32, ed. Lee, Desmond. Chicago: Chicago University Press.Google Scholar
Wolzogen, Hans von (1876). Thematischer Leitfaden durch die Musik zu Richard Wagners Festspiel “Der Ring des Nibelungen.” Leipzig: Schloemp.Google Scholar
Wrassiwanopulos-Braschowanoff, George (1905). Richard Wagner und die Antike: ein Beitrag zur kunstphilosophischen Weltanschauung Richard Wagners. Bayreuth: Lorenz Ellwanger.Google Scholar
Wysling, Hans (1963). “Aus dem Briefwechsel Thomas Mann–Emil Preetorius,” Blätter der Thomas Mann Gesellschaft Zürich 4:8.Google Scholar
Young, Julian (2013). “Schopenhauer,” in Cambridge Wagner Encyclopedia, ed. Vazsonyi, 519–24.Google Scholar
Zelinsky, Hartmut (1978). “Die ‘Feuerkur’ des Richard Wagner oder die ‘neue Religion’ der ‘Erlösung’ durch ‘Vernichtung,’” in Richard Wagner: Wie antisemitisch darf ein Künstler sein?, ed. Metzger, Heinz-Klaus and Riehn, Rainer. Munich: Edition Text + Kritik, 79–112.Google Scholar
Zelinsky, Hartmut (1976). Richard Wagner: Ein deutsches Thema – Eine Dokumentation zur Wirkungsgeschichte Richard Wagners 1876–1976. Frankfurt: Zweitausendeins.Google Scholar
Zipes, Jack (2003). Preface, “Once there were two brothers named Grimm,” to Wilhelm, Grimm, Jacob, Grimm and Zipes, Jack, The Complete Fairy Tales of the Brothers Grimm. New York: Bantam Books, xxiii–xxxviii.Google Scholar
Žižek, Slavoj (2008). “Brünnhilde’s Act,” Opera Quarterly 23:199–216.Google Scholar
Žižek, Slavoj (2020). “Was weiß Brünnhilde,” Die Zeit May 16, 2013; www.zeit.de/2013/21/richard-wagner-oper-liebe (accessed February 18, 2020).Google Scholar
Žižek, Slavoj (2004). “Why Is Wagner Worth Saving?,” in Adorno, In Search of Wagner, London: Verso, viii–xxvii.Google Scholar
Media:Google Scholar
http://www.richard-wagner-werkstatt.com/ (accessed March 2, 2019).Google Scholar
Wagner’s Ring Cycle (App), Naxos AudioBooks (UK, 2013).Google Scholar
Wagner. Das Rheingold. Bayreuther Festspiele. Barenboim (Unitel/Teldec, 1993), CD-Booklet.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Edited by Mark Berry, Royal Holloway, University of London, Nicholas Vazsonyi, Clemson University, South Carolina
  • Book: The Cambridge Companion to Wagner's Der Ring des Nibelungen
  • Online publication: 18 September 2020
  • Chapter DOI: https://doi.org/10.1017/9781316258033.018
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Edited by Mark Berry, Royal Holloway, University of London, Nicholas Vazsonyi, Clemson University, South Carolina
  • Book: The Cambridge Companion to Wagner's Der Ring des Nibelungen
  • Online publication: 18 September 2020
  • Chapter DOI: https://doi.org/10.1017/9781316258033.018
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Edited by Mark Berry, Royal Holloway, University of London, Nicholas Vazsonyi, Clemson University, South Carolina
  • Book: The Cambridge Companion to Wagner's Der Ring des Nibelungen
  • Online publication: 18 September 2020
  • Chapter DOI: https://doi.org/10.1017/9781316258033.018
Available formats
×