Vanja Ljubibratić
Biographic Data
| ID | 6522638 |
|---|---|
| NAME | Vanja Ljubibratić |
| GIVEN NAMES | Vanja |
| FAMILY NAME | Ljubibratić |
| SIGNATURE | LJUBIBRATIĆ V |
| AFFILIATIONS | University of the Arts |
| ORCID | 0000-0003-2145-7985 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Alban Berg’s Operas According to Roland Barthes’s Five Narrative Codes
In his book S/Z , French philosopher and literary theorist Roland Barthes applied his five narrative codes – five analytical tools for scrutinising any literary text – to analysing the intersection of various interpretive divisions and cultural discourses in Honoré de Balzac’s novella Sarrasine. Barthes’s five codes are meant to be used as an investigative methodology, and this article implements this system as a means of analysing symmetrical sy…
The concept of suffering in Wagner’s Tannhäuser and Berg’s Wozzeck via Badiou’s critique of Adorno’s negative dialectics
In his only book-length text on music, French philosopher Alain Badiou wrote a treatise on Richard Wagner that largely defends the composer against his staunchest critics. Chief antagonist among them is the philosopher and Wagner polemicist, Theodor Adorno, whose own book, Negative Dialectics, is the central text that Badiou uses to argue against Adorno’s accusation of Wagner’s dialectical Hegelianism via the example of Wagner’s opera Tannhäuser,…
Representations of Metaphysical Temporality in the Libretto of Einojuhani Rautavaara's Vincent with a Corresponding Resemblance to Alban Berg's Wozzeck
In his early serialist composition style, Einojuhani Rautavaara expressed indebtedness to the flexible usage of the twelve-tone system that was adapted by Alban Berg. The trace of Berg's influence becomes dramaturgically reminiscent when investigating the philosophical impact that Berg's opera Wozzeck had on Rautavaara's opera Vincent . This study aims to analyse the symbolic content of the Vincent libretto, with a secondary depiction of parallel…
Alban Berg’s Operas Interpreted via Pierre Bourdieu’s Social Theory
In an effort to present a new context of engagement between Berg and the culture of his time and space, Pierre Bourdieu’s social theories of habitus and field are applied to create a unique understanding of social influences that motivated Berg to compose his operas Wozzeck and Lulu. This article investigates the narrative symbolisms found in the two operas as they reflect Berg’s experiences in Vienna and the prevailing public interpretations of …
Mythological Adaptation in the Libretti of Richard Wagner’s Die Walküre and August Bournonville’s Valkyrien Settings
Correlating Symbolisms of Womanhood and Marriage in the Libretti of Schoenberg's Von heute auf morgen and Berg's Lulu
Von heute auf morgen and Lulu , the twelve-tone operas of Arnold Schoenberg and Alban Berg, respectively, can be interpreted as works that sought to uphold a traditional formalism of Germanic opera construction amidst the post-Expressionistic aesthetics that the newer Zeitoper style strove to abolish. This new style aimed to popularize opera by embracing a new simplicity of contemporary values that discouraged the perpetuation of prior operatic d…
Alban Berg’s Lulu as a Foucauldian Heterotopia
Michel Foucault described the present epoch as being one of space. Some of his notions of space are found in his theories on heterotopias—disturbing places of segregated otherness—which Foucault adapted to describe temporal paradigms within a social framework. This study analyzes the duality of opposing temporal planes that are presented as the empirical world and the metaphysical realm, as they inform the heterotopic space within Alban Berg’s op…
Dramaturgical, Theoretical, and Musical Associations between Max Brand’s Maschinist Hopkins and Alban Berg’s Operas
In the German-speaking countries during the morally uninhibited years of the Weimar Republic, the opposing cultural epochs of Expressionism and Neue Sachlichkeit dominated the aesthetic landscape. Opera was a central proponent of both movements, as implemented by the Expressionist practitioners and those who favored the subsequent topical and objectifying Zeitoper that sought to move away from representations of psychological distortion to depict…
The Danish Première of Alban Berg’s Three-Act Lulu A Contextualized Oral History of a European Capital of Culture Event in 1996
In 1996, Copenhagen was awarded the title European Capital of Culture. Amongst its most publicized events was the Danish and Scandinavian première of the complete version of Alban Berg’s opera Lulu. In this study, an oral history methodology is applied to draw conclusions regarding the significance, reception, and legacy of Lulu in Copenhagen from the perspectives of four Danish administrative leaders involved in this production, who, through int…
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The Danish Première of Alban Berg’s Three-Act Lulu A Contextualized Oral History of a European Capital of Culture Event in 1996
In 1996, Copenhagen was awarded the title European Capital of Culture. Amongst its most publicized events was the Danish and Scandinavian première of the complete version of Alban Berg’s opera Lulu. In this study, an oral history methodology is applied to draw conclusions regarding the significance, reception, and legacy of Lulu in Copenhagen from the perspectives of four Danish administrative leaders involved in this production, who, through int…
Dramaturgical, Theoretical, and Musical Associations between Max Brand’s Maschinist Hopkins and Alban Berg’s Operas
In the German-speaking countries during the morally uninhibited years of the Weimar Republic, the opposing cultural epochs of Expressionism and Neue Sachlichkeit dominated the aesthetic landscape. Opera was a central proponent of both movements, as implemented by the Expressionist practitioners and those who favored the subsequent topical and objectifying Zeitoper that sought to move away from representations of psychological distortion to depict…
Alban Berg’s Lulu as a Foucauldian Heterotopia
Michel Foucault described the present epoch as being one of space. Some of his notions of space are found in his theories on heterotopias—disturbing places of segregated otherness—which Foucault adapted to describe temporal paradigms within a social framework. This study analyzes the duality of opposing temporal planes that are presented as the empirical world and the metaphysical realm, as they inform the heterotopic space within Alban Berg’s op…
Correlating Symbolisms of Womanhood and Marriage in the Libretti of Schoenberg's Von heute auf morgen and Berg's Lulu
Von heute auf morgen and Lulu , the twelve-tone operas of Arnold Schoenberg and Alban Berg, respectively, can be interpreted as works that sought to uphold a traditional formalism of Germanic opera construction amidst the post-Expressionistic aesthetics that the newer Zeitoper style strove to abolish. This new style aimed to popularize opera by embracing a new simplicity of contemporary values that discouraged the perpetuation of prior operatic d…
Representations of Metaphysical Temporality in the Libretto of Einojuhani Rautavaara's Vincent with a Corresponding Resemblance to Alban Berg's Wozzeck
In his early serialist composition style, Einojuhani Rautavaara expressed indebtedness to the flexible usage of the twelve-tone system that was adapted by Alban Berg. The trace of Berg's influence becomes dramaturgically reminiscent when investigating the philosophical impact that Berg's opera Wozzeck had on Rautavaara's opera Vincent . This study aims to analyse the symbolic content of the Vincent libretto, with a secondary depiction of parallel…
Alban Berg’s Operas Interpreted via Pierre Bourdieu’s Social Theory
In an effort to present a new context of engagement between Berg and the culture of his time and space, Pierre Bourdieu’s social theories of habitus and field are applied to create a unique understanding of social influences that motivated Berg to compose his operas Wozzeck and Lulu. This article investigates the narrative symbolisms found in the two operas as they reflect Berg’s experiences in Vienna and the prevailing public interpretations of …
Mythological Adaptation in the Libretti of Richard Wagner’s Die Walküre and August Bournonville’s Valkyrien Settings
Alban Berg’s Operas According to Roland Barthes’s Five Narrative Codes
In his book S/Z , French philosopher and literary theorist Roland Barthes applied his five narrative codes – five analytical tools for scrutinising any literary text – to analysing the intersection of various interpretive divisions and cultural discourses in Honoré de Balzac’s novella Sarrasine. Barthes’s five codes are meant to be used as an investigative methodology, and this article implements this system as a means of analysing symmetrical sy…
The concept of suffering in Wagner’s Tannhäuser and Berg’s Wozzeck via Badiou’s critique of Adorno’s negative dialectics
In his only book-length text on music, French philosopher Alain Badiou wrote a treatise on Richard Wagner that largely defends the composer against his staunchest critics. Chief antagonist among them is the philosopher and Wagner polemicist, Theodor Adorno, whose own book, Negative Dialectics, is the central text that Badiou uses to argue against Adorno’s accusation of Wagner’s dialectical Hegelianism via the example of Wagner’s opera Tannhäuser,…
Musicology and Musical Analysis (8 works) · Art (6 works) · Opera (5 works) · Aesthetics (4 works) · Art history (4 works) · Arts, Culture, and Music Studies (4 works) · Epistemology (4 works) · History (4 works) · Literature (4 works) · Philosophy (4 works)