I aim to illuminate the sexual, familial, and the political power structures in "Don Giovanni" through the use of Lauren Berlant’s theory of the intimate public sphere and Rousseau’s theory of the body politic.
More specifically, I wish to examine how through maleness, sovereignty is constructed and through femaleness, sovereignty is denied. Going beyond the contents of the libretto, I also endeavor to explore how Mozart fetishizes and desires female trauma through the music in "Don Giovanni".
Table of Contents
1. The Fetishization of Female Trauma: How Mozart Constructs Sovereignty Through Maleness and Denies Sovereignty Through Femaleness
Research Objectives and Themes
This paper explores the sexual, familial, and political power structures within the opera Don Giovanni, aiming to demonstrate how the work constructs sovereignty through maleness while systematically denying it through femaleness, ultimately arguing that Mozart fetishizes and desires female trauma within the narrative and musical composition.
- Analysis of patriarchal familial structures and gender dynamics in Don Giovanni.
- Application of Lauren Berlant’s theory of the "intimate public sphere" to the opera’s character interactions.
- Integration of Jean-Jacques Rousseau’s theory of the "body politic" to explain the construction of statehood and sovereignty.
- Examination of how sexual assault is romanticized or framed as entertainment through comedic and musical devices.
- Critique of the sovereign’s desire to spectate and surveil female suffering.
Excerpt from the Book
The Fetishization of Female Trauma: How Mozart Constructs Sovereignty Through Maleness and Denies Sovereignty Through Femaleness
Written and composed by Lorenzo Da Ponte and Wolfgang Amadeus Mozart, Don Giovanni is the story of an Italian nobleman named Don Giovanni whose conquests are women and whose morals are questionable at best. Don Giovanni is a serial seducer, rapist, murderer, and infamous libertine. The opera follows Don Giovanni from the attempted rape of noblewoman Donna Anna to his ultimate damnation to hell. Aside from the alarming exposition and denouement, there is plenty disconcerting fodder within the main story arc of Don Giovanni as well. I aim to illuminate the sexual, familial, and the political power structures in Don Giovanni through the use of Lauren Berlant’s theory of the intimate public sphere and Rousseau’s theory of the body politic. More specifically, I wish to examine how through maleness, sovereignty is constructed and through femaleness, sovereignty is denied. Going beyond the contents of the libretto, I also endeavor to explore how Mozart fetishizes and desires female trauma through the music in Don Giovanni.
Summary of Chapters
The Fetishization of Female Trauma: How Mozart Constructs Sovereignty Through Maleness and Denies Sovereignty Through Femaleness: This chapter analyzes how the opera's narrative relies on patriarchal structures where female characters are rendered subordinate and property-like, while male characters embody the sovereign power of the state. It further examines how Mozart utilizes music and comedy to frame sexual violence as a form of entertainment, thereby fetishizing the suffering of his female characters.
Keywords
Don Giovanni, Mozart, Da Ponte, Intimate Public Sphere, Lauren Berlant, Rousseau, Body Politic, Sovereignty, Patriarchy, Female Trauma, Sexual Assault, Gender Politics, Citizenship, Femininity, Masculinity.
Frequently Asked Questions
What is the core focus of this academic paper?
The paper examines the power dynamics in the opera Don Giovanni, specifically focusing on how gender, sexuality, and state theory intersect to construct male sovereignty while subordinating female agency.
What are the primary theoretical frameworks used?
The author applies Lauren Berlant’s theory of the "intimate public sphere" to understand citizenship and family dynamics, and Jean-Jacques Rousseau’s "social contract" and "body politic" to analyze the construction of sovereign power.
What is the author's central research question?
The research seeks to uncover how Don Giovanni constructs sovereignty through maleness while denying it to females, and how Mozart specifically fetishizes female trauma through the music and stage directions.
What methodology does the author employ?
The author conducts a critical textual and musical analysis of the opera's libretto and themes, filtered through sociopolitical theories of citizenship and the state.
What topics are covered in the main body?
The main body explores the interactions between characters like Donna Anna and the Commendatore, as well as Zerlina and Masetto, to illustrate how these relationships mirror state-citizen power structures and the reinforcement of patriarchal dominance.
Which keywords best describe this study?
Key terms include Don Giovanni, sovereignty, intimate public sphere, patriarchy, female trauma, and citizenship.
How does the author interpret the character of Donna Anna?
Donna Anna is interpreted as an object of property exchanged between male figures, whose "citizenship" is inextricably linked to her sexuality and whose autonomy is denied by the patriarchal structures of the opera.
In what way does the author argue Mozart "de-vulgarizes" rape?
The author argues that by framing rape scenes with comedy and associating the rapist with captivating, charismatic music while leaving the victims with only sorrowful or hysterical melodies, Mozart downplays the severity of sexual violence and turns it into a form of audience entertainment.
- Quote paper
- Lena Dassonville (Author), 2016, The Fetishization of Female Trauma. How Mozart Constructs Sovereignty Through Maleness and Denies Sovereignty Through Femaleness, Munich, GRIN Verlag, https://www.grin.com/document/346597
