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    あ ぁ か が さ ざ た だ な は ば ぱ ま や ゃ ら わ ゎ ん い ぃ き ぎ し じ ち ぢ に ひ び ぴ み り う ぅ く ぐ す ず つ づ っ ぬ ふ ぶ ぷ む ゆ ゅ る え ぇ け げ せ ぜ て で ね へ べ ぺ め れ お ぉ こ ご そ ぞ と ど の ほ ぼ ぽ も よ ょ ろ を
    ア ァ カ サ ザ タ ダ ナ ハ バ パ マ ヤ ャ ラ ワ ヮ ン イ ィ キ ギ シ ジ チ ヂ ニ ヒ ビ ピ ミ リ ウ ゥ ク グ ス ズ ツ ヅ ッ ヌ フ ブ プ ム ユ ュ ル エ ェ ケ ゲ セ ゼ テ デ ヘ ベ ペ メ レ オ ォ コ ゴ ソ ゾ ト ド ノ ホ ボ ポ モ ヨ ョ ロ ヲ ―

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    • 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
    • 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
    ㅥ ㅦ ㅧ ㅨ ㅩ ㅪ ㅫ ㅬ ㅭ ㅮ ㅯ ㅰ ㅱ ㅲ ㅳ ㅴ ㅵ ㅶ ㅷ ㅸ ㅹ ㅺ ㅻ ㅼ ㅽ ㅾ ㅿ ㆀ ㆁ ㆂ ㆃ ㆄ ㆅ ㆆ ㆇ ㆈ ㆉ ㆊ ㆋ ㆌ ㆍ ㆎ
    Α Β Γ Δ Ε Ζ Η Θ Ι Κ Λ Μ Ν Ξ Ο Π Ρ Σ Τ Υ Φ Χ Ψ Ω α β γ δ ε ζ η θ ι κ λ μ ν ξ ο π ρ σ τ υ φ χ ψ ω
    á à Á À é è É È ç Ç ê
    Ä Ö Ü ä ö ü ß
    ְ ֳ ֲ ֱ ָ ַ ֵ ֶ ִ ֹ ּ ֻ ׂ ׁ ּ פ ם ן ו ט א ר ק ף ך ל ח י ע כ ג ד ש ץ ת צ מ נ ה ב
    ‘ ’ “ ” 〔 〕 〈 〉 「 」 『 』 【 】 ＂ （ ） ［ ］ ｛ ｝
    ± × ÷ ≠ ≤ ≥ ∞ ∴ ♂ ♀ ∠ ⊥ ⌒ ∂ ∇ ≡ ≒ ≪ ≫ √ ∽ ∝ ∵ ∫ ∬ ∈ ∋ ⊆ ⊇ ⊂ ⊃ ∪ ∩ ∧ ∨ ￢ ⇒ ⇔ ∀ ∃ ∮ ∑ ∏ ＋ － ＜ ＝ ＞
    、 。 · ‥ … ¨ 〃 ― ∥ ＼ ∼ ´ ～ ˇ ˘ ˝ ˚ ˙ ¸ ˛ ¡ ¿ ː ！ ＇ ， ． ／ ： ； ？ ＾ ＿ ｀ ｜
    ½ ⅓ ⅔ ¼ ¾ ⅛ ⅜ ⅝ ⅞ ¹ ² ³ ⁴ ⁿ ₁ ₂ ₃ ₄
    Æ Ð Ħ IJ Ł Ø Œ Þ Ŧ Ŋ æ đ ð ħ ı ij ĸ ŀ ł ø œ ß þ ŧ ŋ ʼn
    А Б В Г Д Е Ё Ж З И Й К Л М Н О П Р С Т У Ф Х Ц Ч Ш Щ Ъ Ы Ь Э Ю Я а б в г д е ё ж з и й к л м н о п р с т у ф х ц ч ш щ ъ ы ь э ю я
    ′ ″ ℃ Å ￠ ￡ ￥ ¤ ℉ ‰ ＄ ％ Ｆ ￦ ㎕ ㎖ ㎗ ℓ ㎘ ㏄ ㎣ ㎤ ㎥ ㎦ ㎙ ㎚ ㎛ ㎜ ㎝ ㎞ ㎟ ㎠ ㎡ ㎢ ㏊ ㎍ ㎎ ㎏ ㏏ ㎈ ㎉ ㏈ ㎧ ㎨ ㎰ ㎱ ㎲ ㎳ ㎴ ㎵ ㎶ ㎷ ㎸ ㎹ ㎀ ㎁ ㎂ ㎃ ㎄ ㎺ ㎻ ㎽ ㎾ ㎿ ㎐ ㎑ ㎒ ㎓ ㎔ Ω ㏀ ㏁ ㎊ ㎋ ㎌ ㏖ ㏅ ㎭ ㎮ ㎯ ㏛ ㎩ ㎪ ㎫ ㎬ ㏝ ㏐ ㏓ ㏃ ㏉ ㏜ ㏆
    § ※ ☆ ★ ○ ● ◎ ◇ ◆ □ ■ △ ▽ → ← ↑ ↓ ↔ 〓 ◁ ◀ ▷ ▶ ♤ ♠ ♡ ♥ ♧ ♣ ⊙ ◈ ▣ ◐ ◑ ▒ ▤ ▥ ▨ ▧ ▦ ▩ ♨ ☏ ☎ ☜ ☞ † ‡ ↕ ↗ ↙ ↖ ↘ ♭ ♩ ♪ ♬ ㉿ ㈜ № ㏇ ™ ㏂ ㏘ ℡ ＃ ＆ ＊ ＠ ª º
    ⅰ ⅱ ⅲ ⅳ ⅴ ⅵ ⅶ ⅷ ⅸ ⅹ Ⅰ Ⅱ Ⅲ Ⅳ Ⅴ Ⅵ Ⅶ Ⅷ Ⅸ Ⅹ
    ا ب ت ث ج ح خ د ذ ر ز س ش ص ض ط ظ ع غ ف ق ک ل م ن ه و ی
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    나치시기 음악의 정치ㆍ 사회적 고찰. - 바그너 음악의 수용을 통해 본 나치독일의 음악정책

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    https://www.riss.kr/link?id=G3775739

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    다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

    영어
    한국어
    Although in the Third Reich Richard Wagner was celebrated as the best German, and his music in the Bayreuth Festival contributed to demonstrate the high cultural level of the Nazi-regime not only to the Germans but also to the foreign audience, there were critical voices against Wagner and his music. Some of the leaders of the Hitlerjugend regarded folksongs as the suitable music for young people. Philosophers who were adherents of Friedrich Nietzsche criticized persistently
    Wagner's music as decadent, as well as Alfred Rosenberg who was one of the rivals for Joseph Goebbels in the field of culture politics. However, because of Hitler's love for Wagner their dissatisfactions could not be open shaped.
    In this essay I have attempted to analyze the music politics of Hitler's
    Germany in regard to three points; Firstly, as E. K. Bramsted asserted,
    the music politics of the Nazis about Wagner-cult aimed also at "total
    Validity"; secondly, the Nazis didn't invent their own art music tradition
    for the purpose of Propaganda, but used and interspersed with the German
    artful music of the past; Thirdly, the conflicts and dissensions among
    the leaders of the Nazis' culture politic might not be understood as the
    failure of their Propaganda. On the contrary, it could support the vitality
    of the Nazis culture-movement.
    번역하기

    Although in the Third Reich Richard Wagner was celebrated as the best German, and his music in the Bayreuth Festival contributed to demonstrate the high cultural level of the Nazi-regime not only to the Germans but also to the foreign audience, there ...

    Although in the Third Reich Richard Wagner was celebrated as the best German, and his music in the Bayreuth Festival contributed to demonstrate the high cultural level of the Nazi-regime not only to the Germans but also to the foreign audience, there were critical voices against Wagner and his music. Some of the leaders of the Hitlerjugend regarded folksongs as the suitable music for young people. Philosophers who were adherents of Friedrich Nietzsche criticized persistently
    Wagner's music as decadent, as well as Alfred Rosenberg who was one of the rivals for Joseph Goebbels in the field of culture politics. However, because of Hitler's love for Wagner their dissatisfactions could not be open shaped.
    In this essay I have attempted to analyze the music politics of Hitler's
    Germany in regard to three points; Firstly, as E. K. Bramsted asserted,
    the music politics of the Nazis about Wagner-cult aimed also at "total
    Validity"; secondly, the Nazis didn't invent their own art music tradition
    for the purpose of Propaganda, but used and interspersed with the German
    artful music of the past; Thirdly, the conflicts and dissensions among
    the leaders of the Nazis' culture politic might not be understood as the
    failure of their Propaganda. On the contrary, it could support the vitality
    of the Nazis culture-movement.

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    국문 초록 (Abstract) kakao i 다국어 번역

    한국어
    영어
    요약〉
    1. 시작하며: 바그너 연구의 두 가지 경향
    2. 나치 제국의 공식적 바그너 수용
    3. 나치내부의 바그너 비판
    4. 히틀러의 바그너 사랑
    5. 끝맺으며: 바그너 수용을 통해 나타난 나치의 음악정책
    〈참고문헌〉
    〈Abstract〉
    번역하기

    요약〉 1. 시작하며: 바그너 연구의 두 가지 경향 2. 나치 제국의 공식적 바그너 수용 3. 나치내부의 바그너 비판 4. 히틀러의 바그너 사랑 5. 끝맺으며: 바그너 수용을 통해 나타난 나치...

    요약〉
    1. 시작하며: 바그너 연구의 두 가지 경향
    2. 나치 제국의 공식적 바그너 수용
    3. 나치내부의 바그너 비판
    4. 히틀러의 바그너 사랑
    5. 끝맺으며: 바그너 수용을 통해 나타난 나치의 음악정책
    〈참고문헌〉
    〈Abstract〉

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