tag:blogger.com,1999:blog-8705935382346558648.post8716982698685642274..comments2023-10-31T22:40:09.763+11:00Comments on Acheron LV-426: After the Downfall: A German Reading of "Lord of the Rings"Anselmo Quemothttp://www.blogger.com/profile/09409052325497882321noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-8705935382346558648.post-79030460400883710422007-09-06T22:26:00.000+10:002007-09-06T22:26:00.000+10:00You might be interested to read a blog that appear...You might be interested to read a blog that appeared today http://robertphilen.blogspot.com/2007/09/mann-and-wagner-art-and-culture.html<BR/><BR/>I felt discomfort with your juxtaposition of Tolkien vis-a-vis pre 45 german discourse even though you do not claim 'intent' on Tolkien's part. But since you do use Tolkien's current popularity as a means to illuminate which 'components of the Third Reich have survived the collapse and are still present today', I think your analysis requires a referencing of some of the points Philen makes - eg. "For Germans in the 1930s and 1940s, Wagner may well have been inextricably tied to a whole slew of associations now viewed as unpalatable by most (and viewed so by at least some Germans like Mann at the time), but as something with its own objective qualities that can be experienced in any number of sociohistorical contexts (and so independently of any specific context), art is not determined forever by a specific context of its creation (the mid-to-late19th century for Wagner) and/or use (the Nazi use of Wagner)." This is highly relevant to Tolkien's popularity - and not just in Germany, with or without its repressed memories. JosephTimpinenhttps://www.blogger.com/profile/17914125962383635643noreply@blogger.com