From Valhalla to Kuwait: Intertextuality and the ‘Ride of the Valkyries’

Robert Dean

From Valhalla to Kuwait: Intertextuality and the ‘Ride of the Valkyries’

Robert Dean

Cyfadran y Diwydiannau Creadigol

Allbwn ymchwil: Pennod mewn Llyfr/Adroddiad/Trafodion Cynhadledd › Cyfraniad i gynhadledd › adolygiad gan gymheiriaid

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Since opening the Third act of Wagner’s opera Die Walküre in 1870 the ‘Ride of the Valkyries’ has been frequently employed as the musical accompaniment for a variety of visual texts. This has had an accumulative effect on the composition’s semantic significance as each citation serves to expand upon and re-accentuate previous connotations and associations. As such this paper will chart the development of this intertextual reference point through an analysis of the music’s role in its original operatic context and subsequent appearances in three filmic texts; Birth of a Nation (1915), Apocalypse Now (1979), and Jarhead (2005).

Iaith wreiddiol	Saesneg
Teitl	N/A
Statws	Wedi’i dderbyn/Yn y wasg - 1 Ion 1990
Digwyddiad	Cultures of translation: adaptation in film and performance - University of Glamorgan Hyd: 1 Ion 2008 → 1 Ion 2008

Cynhadledd

Cynhadledd	Cultures of translation: adaptation in film and performance
Cyfnod	1/01/08 → 1/01/08

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title = "From Valhalla to Kuwait: Intertextuality and the {\textquoteleft}Ride of the Valkyries{\textquoteright}",

abstract = "Since opening the Third act of Wagner{\textquoteright}s opera Die Walk{\"u}re in 1870 the {\textquoteleft}Ride of the Valkyries{\textquoteright} has been frequently employed as the musical accompaniment for a variety of visual texts. This has had an accumulative effect on the composition{\textquoteright}s semantic significance as each citation serves to expand upon and re-accentuate previous connotations and associations. As such this paper will chart the development of this intertextual reference point through an analysis of the music{\textquoteright}s role in its original operatic context and subsequent appearances in three filmic texts; Birth of a Nation (1915), Apocalypse Now (1979), and Jarhead (2005).",

keywords = "musical dramaturgy, intertextuality, soundtrack",

author = "Robert Dean",

year = "1990",

month = jan,

day = "1",

language = "English",

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note = " Cultures of translation: adaptation in film and performance ; Conference date: 01-01-2008 Through 01-01-2008",

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T1 - From Valhalla to Kuwait: Intertextuality and the ‘Ride of the Valkyries’

AU - Dean, Robert

PY - 1990/1/1

Y1 - 1990/1/1

N2 - Since opening the Third act of Wagner’s opera Die Walküre in 1870 the ‘Ride of the Valkyries’ has been frequently employed as the musical accompaniment for a variety of visual texts. This has had an accumulative effect on the composition’s semantic significance as each citation serves to expand upon and re-accentuate previous connotations and associations. As such this paper will chart the development of this intertextual reference point through an analysis of the music’s role in its original operatic context and subsequent appearances in three filmic texts; Birth of a Nation (1915), Apocalypse Now (1979), and Jarhead (2005).

AB - Since opening the Third act of Wagner’s opera Die Walküre in 1870 the ‘Ride of the Valkyries’ has been frequently employed as the musical accompaniment for a variety of visual texts. This has had an accumulative effect on the composition’s semantic significance as each citation serves to expand upon and re-accentuate previous connotations and associations. As such this paper will chart the development of this intertextual reference point through an analysis of the music’s role in its original operatic context and subsequent appearances in three filmic texts; Birth of a Nation (1915), Apocalypse Now (1979), and Jarhead (2005).

KW - musical dramaturgy

KW - intertextuality

KW - soundtrack

M3 - Conference contribution

BT - N/A

T2 - Cultures of translation: adaptation in film and performance

Y2 - 1 January 2008 through 1 January 2008

ER -

From Valhalla to Kuwait: Intertextuality and the ‘Ride of the Valkyries’

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