지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
The controversy surrounding the first performances of Hernani (1830), known as "bataille d'Hernani", conferred a lasting notoriety upon Victor Hugo's play. The action of Hernani revolves around the rivalry of the bandit (Hernani), the king of Spain (Don Carlos), and the patriarchal Ruy Gomez de Silva for the hand of Dona Sol. At the same time, there is a political plot which turns on the candidacy and election of the king to the position of Holy Roman Emperor. It is this political affair that captures the historian's interest. Particularly crucial to an understanding of the play's political undertones is the opposition between king and emperor which is repeated with almost obsessive frequency. Throughout the genesis of the play, Don Carlos is at the very forefront of Hugo's inspiration. The metamorphosis of Don Carlos into Karl V represents Hugo's political evolution at the end of the Restoration, from a loyal royalist to a ferventㆍbonapartist.
Giuseppe Verdi recognized Hernani's operatic quality. What really inspired Verdi's lyrical muse is, however, the historical significance of the play. Verdi, who had become the greatest artist of the Risorgimento after his success with Nabucco (1842), saw in Ernani (1844) an opportunity to express his and his compatriots' anti-Austrian sentiment. We find therefore an opposition between Don Carlo the king-emperor and Ernani the bandit. The famous monologue of Don Carlos in Hugo's play is reduced to almost nothing in Verdi's opera. Instead, what the Venetian public got is the conspiracy scene with a captivating male chorus, full of incendiary phrases, where it was so easy for the spectators to substitute mentally the word "Italia" for the word "Iberia", "Venezia" for "Castiglia". The chorus has little to do with the actual story of Ernani, but it stole the show and functioned as a disguised Risorgimento ode. When Hugo's Hernani was transplanted across the Alps to become Verdi's Ernani, Don Carlos became Don Carlo and the emperor lost his grandeur, while the conspirators acquired an explosive force that Hugo could never have imagined.
Sixteenth-Century Spain was nothing but a theatre where Hugo and Verdi could stage immediate actuality of their time. It was seen and interpreted from their particular political or national viewpoint. Whereas the French playwright found in the person of Karl V an elected emperor supported by the people of Europe, for the Italian composer the Habsburg emperor was an oppressor of Spanish (or Italian) people. Hernani and Ernani may tell the same story, but they write completely different histories.
Giuseppe Verdi recognized Hernani's operatic quality. What really inspired Verdi's lyrical muse is, however, the historical significance of the play. Verdi, who had become the greatest artist of the Risorgimento after his success with Nabucco (1842), saw in Ernani (1844) an opportunity to express his and his compatriots' anti-Austrian sentiment. We find therefore an opposition between Don Carlo the king-emperor and Ernani the bandit. The famous monologue of Don Carlos in Hugo's play is reduced to almost nothing in Verdi's opera. Instead, what the Venetian public got is the conspiracy scene with a captivating male chorus, full of incendiary phrases, where it was so easy for the spectators to substitute mentally the word "Italia" for the word "Iberia", "Venezia" for "Castiglia". The chorus has little to do with the actual story of Ernani, but it stole the show and functioned as a disguised Risorgimento ode. When Hugo's Hernani was transplanted across the Alps to become Verdi's Ernani, Don Carlos became Don Carlo and the emperor lost his grandeur, while the conspirators acquired an explosive force that Hugo could never have imagined.
Sixteenth-Century Spain was nothing but a theatre where Hugo and Verdi could stage immediate actuality of their time. It was seen and interpreted from their particular political or national viewpoint. Whereas the French playwright found in the person of Karl V an elected emperor supported by the people of Europe, for the Italian composer the Habsburg emperor was an oppressor of Spanish (or Italian) people. Hernani and Ernani may tell the same story, but they write completely different histories.
목차
Ⅰ. 머리말
Ⅱ. 위고와 19세기 프랑스
Ⅲ. 에르나니 전투
Ⅳ. 에르나니와 동 카를로스, 알프스 산맥을 넘다
Ⅴ. 맺음말
〈Abstract〉
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
빅토르 위고의 유럽합중국
역사학보
2006 .12
-
베르디의 〈돈 카를로〉, 남자들의 정치 드라마
역사비평
2009 .02
-
빅토르 위고의 세계주의
외국학연구
2013 .01
-
베르디의 『맥베스』 변형과 다시쓰기
Shakespeare Review
2019 .09
-
베르디 오페라 『오텔로』의 연극적 변용과 그 의미
고전 르네상스 영문학
2008 .01
-
셰익스피어 극의 각색: 베르디의 『맥베스』
영어영문학연구
2002 .01
-
정신적 인간의 재탄생을 위한 입문적 구조 : Hugo와 Balzac의 소설을 중심으로
성곡논총
2002 .08
-
베르디 오페라 『맥베스』의 연극적 변용의 의미
Shakespeare Review
2008 .03
-
빅토르 위고의 『왕은 즐긴다』에 나타난 고전적 극작술의 수용 양상
프랑스학연구
2018 .01
-
獨逸語史 時代區分에 對한 考察 : Hugo Moser의 獨語史를 中心으로
장신논단
1986 .12
-
일제강점기 초등교과서에 표상된 明治天皇 : 조선총독부 편찬 ‘역사교과서’를 중심으로
일어일문학
2017 .05
-
로마 제국과 일제의 통치자 숭배 비교 연구 : 기독교와 관련하여
한국기독교신학논총
2013 .04
-
망명자 빅토르 위고 - 격동의 19세기, 망명의 정치적 이용 -
프랑스사 연구
2020 .02
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2010-911-002860130