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1

Littérature fin de siècle, littérature fin de langue? Imaginaires linguistiques vers 1900 chez Remy de Gourmont

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Gauthier C.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2022

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vol. 32

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issue Special Issue

190-200

EN

The “fin-de-siècle” in France is pervaded by a particular concern about the future of the French language, which Remy de Gourmont echoes in several texts and articles (notably Esthétique de la langue française, La Destinée des langues and L’Influence étrangère). He identifies internal threats, those of academics and primary schools accused of killing the language and of stifling the creative impulse expressed in fruitful deformations. He also mentions external threats, demonstrating on this occasion a virulent linguistic xenophobia towards foreign influences that would threaten the purity of French language and literature. The question, which reveals a fear of losing one’s own form, is aesthetic as well as political. Gourmont hesitates, however, between a posture of quasi-pamphleteer and that of a detached observer, a sign of his taste for paradox, but also, more generally, of the difficulty of reflecting on the end and decadence in both nationalistic and cosmopolitan era, where external, “barbaric” influences can be considered as either mortifying or regenerating.

2

De la Fin de l’art au Musée Imaginaire: Malraux lecteur de Hegel

100%

Voldřichová Beránková E.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2022

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vol. 32

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issue Special Issue

68-77

EN

The article summarizes the major topoi of Hegelianism that Malraux adopts in his texts on art (The Voices of Silence, The Imaginary Museum and The Metamorphosis of the Gods), before focusing, in particular, on Malrucian interpretation of the end of art and on the links that the latter has with his own concept of the imaginary museum. According to some of Hegel’s exegetes (Bernard Bosanquet, Martin Heidegger, Jean-Luc Nancy, Thierry de Duve, but also Theodor Adorno, Arthur Danto, Joseph Kosuth, Rainer Rochlitz or Jan Patočka), the end of traditional art paves the way for its retrospective conceptualization, its reconfiguration in the public space, as well as for very exciting debates on the nature of contemporary art, post-religious, post-national, post-historical in a way. The article illustrates the original place that Malraux occupies within this “positive” and creative interpretation of the end of art.

3

Fin de l’art et la mélancolie

80%

Luňáková A.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2022

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vol. 32

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issue Special Issue

78-89

EN

Based on the theory of Arthur Coleman Danto I try to outline possible similarities between the state of art after its end and the state of melancholy. The melancholic breaks the order, thus paradoxically drawing its boundaries. Aristotle’s Problems, Robert Burton’s Melancholia, and a study of Melancholia of theorist László F. Földényi help us to name characteristics of this state.

4

Fins de l’art : la réception de Hegel dans la littérature française du XIXe siècle

61%

Olivier A. P.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2022

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vol. 32

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issue Special Issue

15-35

EN

In a period of global pandemic and confinement to our homes, the end of art is not only a philosophical hypothesis, it is a fact of society. We have experienced that modern societies, those that were able to make art an absolute at one point in their history, no longer need the arts, or the physical presence of artists and spectators, or have considered them inessential, and therefore contingent. Is this what G. W. F. Hegel prophesied with his thesis of the end of art? In this paper I aim to clarify this by referring to the sources of Hegel’s lectures and by examining the reception by nineteenth-century French writers. 1) First, I give a reminder of the different ways in which Hegel’s theme of the end of art can be interpreted. 2) Then, I give a second reminder concerning the reception of Hegel’s Aesthetics in France, with a focus on the translations. 3) Finally, I propose to study three writers who determine three ways of conceiving the appropriation of Hegel in the 19th century and of the theme of the end of art: Théophile Gautier, Charles Baudelaire and Gustave Flaubert.

5

Deux Narcisse, miroirs des fins: essai d’interprétation hégélien

61%

Ébert-Zeminová C.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2022

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vol. 32

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issue Special Issue

55-67

EN

This paper attempts to cross-read the End of Art as it is conceptualized by Georg Wilhelm Friedrich Hegel, and André Gide’s and Jean Lorrain’s versions of the myth of Narcissus. The most relevant mythemes such as beauty, self-love, duplication, “specularity” and death are apprehended in their recovery by fin-de-siècle aesthetics. The hermeneutic back-and-forth movement between the two texts assesses the structural symbols carrying various models of the evolution of art and formulates what Hegel could have possibly understood by this concept. The results of our interpretation are then related to certain phenomena of the history of art, and particularly of literature in the 20th century.

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5 Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

1 Gauthier C.

1 Luňáková A.

1 Olivier A. P.

1 Voldřichová Beránková E.

1 Ébert-Zeminová C.

5 2022

Littérature fin de siècle, littérature fin de langue? Imaginaires linguistiques vers 1900 chez Remy de Gourmont

De la Fin de l’art au Musée Imaginaire: Malraux lecteur de Hegel

Fin de l’art et la mélancolie

Fins de l’art : la réception de Hegel dans la littérature française du XIXe siècle

Deux Narcisse, miroirs des fins: essai d’interprétation hégélien