Jump to ContentJump to Main Navigation
Recognition in Mozart's Operas$
Users without a subscription are not able to see the full content.

Jessica Waldoff

Print publication date: 2006

Print ISBN-13: 9780195151978

Published to Oxford Scholarship Online: May 2008

DOI: 10.1093/acprof:oso/9780195151978.001.0001

Show Summary Details
Page of

PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 15 July 2020



(p.309) Afterword
Recognition in Mozart's Operas

Jessica Waldoff

Oxford University Press

The Afterword opens with a letter of 1791 in which Mozart relates an experience he has while attending a performance of Die Zauberflöte. He represents the episode as a recognition narrative in miniature that illuminates the opera's dependence on recognition as a vehicle for enlightenment. A final section makes two observations about the workings of recognition in the operatic context: the first concerning the almost unfailing optimism of the operas of Mozart and his contemporaries, and the second concerning the power of recognition in contexts beyond Mozart. The book concludes with the thought that critical thinking about recognition has much to tell us about operas of other types and periods.

Keywords:   Die Zauberflöte, recognition, Mozart, enlightenment, critical thinking

Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .