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José Luis Téllez

A Man of the Present URL: http://www.march.es/conferencias/anteriores/voz.aspx?p1=22914&l=2
When Wagner was born in Leipzig, Germany as such did not exist: it was a set of more than 250 independent principalities. In this context, the circulation of the aesthetic ideas had an almost political role, in the sense that the unitarian aspirations were represented in the cultural realm. The republican ideals of Junge Deutschland that Wagner got to know through Heinrich Laube  (and which were inspired in Mazzini's Giovine Italia) and the Revolution of 1848 (in which he actively participated together with Bakunin) merged in his works with the romantic symbols that combined the supernatural universe with the material reality: for Wagner, building his work was also aspiring to the completing of a German mythology in which Das Nibelungen Lied and Des Kabes Wunderhorn would share the spot with Proudhon's utopian socialism, Nietzsche's Dionysian sense, and Schopenhauer's pessimism, all in the impossible dream of a sort of national and artistic religion: only the beauty of the music would allow for the illusionary materialization of such mirage. 
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