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1

L’écrivain fictif entre caricature et modélisation au tournant du XIXe siècle

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D’Ascenzo F.

Quêtes littéraires

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2020

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issue 10

EN

During the Belle Époque, the writer’s novel gradually replaces the painter’s novel and forms a platform for asking questions about the role of the author in bourgeois society and the causes of their distress. Through this work, the author thus conveys an axiological portrait of himself which, implicitly referring to the difficulty of creation, gives an account of the values shaping the end of the century. The resulting modelling incorporates caricature, which becomes omnipresent in the 19th century, not only for the parodical load that characterises it, but for the accepted power that exaggeration, distortion and joke hold in the interpretation of reality. From Huysmans to Gide, from Lorrain to Gourmont, from Dumur to Mauclair, Mirbeau or Céard, the writer’s novel makes caricature and the devaluation a guarantee of the authenticity of the fictional self-projection.

FR

Durant la Belle Époque, le roman de l’écrivain supplante progressivement le roman du peintre et se constitue en un filon qui donne lieu à une interrogation sur le rôle de l'homme de lettres dans la société bourgeoise et sur les causes de son désarroi. L’auteur véhicule ainsi à travers son œuvre un portrait axiologique de soi qui, renvoyant implicitement à la difficulté de la création, rend compte des valeurs qui façonnent la fin de siècle. La modélisation qui en découle intègre la caricature, devenue omniprésente au XIXe siècle, non seulement pour la charge parodique qui la caractérise, mais pour le pouvoir désormais accepté que l’exagération, la déformation et la blague détiennent dans l’interprétation du réel. De Huysmans à Gide, de Lorrain à Gourmont, de Dumur à Mauclair, Mirbeau ou Céard, le roman de l’écrivain fait de la caricature et de la dévaluation la garantie de l’authenticité de la projection autofictive.

2

Poszukiwanie sensu u kresu czasu. Kilka uwag o dramaturgii początku XX wieku

100%

Gracla J.

Roczniki Kulturoznawcze

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2015

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vol. 6

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issue 1

101-109

PL

Dramaturgia przełomu XIX i XX wieku stanowi niezwykle ciekawe zjawisko. Jest ona pełna różnorodnych koncepcji, idei, poszukiwań i pytań. Wśród nich oczywiście jedno z najbardziej eksponowanych miejsc zajmuje pytanie o sens (lub bezsens) kultury, cywilizacji i świata. Wydaje się, że dramaturdzy tego okresu, w głębokim przekonaniu o nadchodzącym kresie dotychczasowych wartości, porządku i sensu, starają się odnaleźć i zaprezentować w swoich dziełach świat przyszłości - stworzony z poszukiwania i przekonania. Wśród dramatów tego okresu odnaleźć można zarówno eschatologiczne proroctwa, jak i najbardziej odległe wizje uporządkowanego świata, są one więc swoistym poszukiwaniem sensu w bezsensie. Dodatkowo można w nich odnaleźć różne stanowiska światopoglądowe, kształtujące światy sensu: od Sołowiowskich krain Duszy Świata, poprzez religijne reminiscencje i transformacje po obrazy futurystyczne.

XX

Dramaturgy of 19th and 20th century breakthrough is an amazingly interesting phenomenon. It is full of various concepts, ideas, researches and questions. There is one question which is obviously one of the most exposed places, the question of sense (or nonsense) of culture, civilisation and world. It seems that dramaturges of that period, in deep belief about the coming end of existing values, peace and sense try to find and present in their pieces of art the world of the future—created from searching and belief. Among the dramas from that period we can find both eschatological prophesies and most remote visions of peaceful world, therefore they are characteristic searching of sense in nonsense. Furthermore, among them we can find various outlooks on life, creating sense worlds: from Solovyov’s land of Souls World through religious reminiscences and transformations to futuristic pictures.

3

Kolczasta sensualność. Miasto szwedzkich melancholików przełomu XIX i XX wieku

99%

Wojciechowski P.

Przegląd Humanistyczny

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2018

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vol. 62(2 (461))

109-127

PL

The text shows the picture of nineteenth-century Stockholm saturated with negative content, revealing a large city as a space of deadness, chimerical vitalism, and unconditional dissolution as a result of crisis of values. Symptomatic for the nineteenth-century European social changes made the literary city a reflection of this process by showing the urban monstrosity of that destructive energy, its unfriendliness and controversy. This case is similar. The novelistic city shows multidimensional loneliness of man of that time. This image maps the entity which is not able to save its subjectivity, to find the formula, the man who from the heights of his own selfishness precipitates his identity into the abyss of all progression. It also shows the doom of rudimentary value, flattening of anthropocentric dimension of existence in favour of the eruption of animalistic instincts, impulses and consumerism. The characters in Hjalmar Söderberg’s novel – Martin, Arvid, Gabriel or Tomas – circulate in this space, wander, chase, roam the empty area looking for values. The characters being in chronic pointless movement automatically include themselves in an insensitive stream of street momentum, as they were passively involved in this whole theatre of gestures. Stockholm is a symbol of the inertial city, neutral existentially, it is a braid of illusions, fantasies, afterimages. The city is a zone of axiological deadness, damages. A sad face of the city chronically becomes a grimace of everything that is wrong, hardening into the “damage”, closure. It is an unusual character of this prose.

4

Deux visions du bonheur selon la nature chez Camille Lemonnier et Georges Eekhoud

80%

Chavasse P.

Quêtes littéraires

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2021

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issue 11

99-122

EN

In the last years of the 19th century, the Belgian writer Camille Lemonnier published three novels, L'ÎleVierge, Adam et Ève, and Au cœur frais de la forêt, which conveyed the dream of seeing humanity freed from the shackles imposed by society that enslaves men and women and distorts their instincts. The Belgian Georges Eekhoud published in 1912 Les Libertins d'Anvers, which traces the history of Christian heresies in Antwerp from the 12th century until their repression by the Protestant reform and the Catholic counter-reform. Inspired by the same identity concerns, Lemonnier and Eekhoud offer models of utopian communities that draw inspiration from both paganism and Christian evangelism. The two writers praise charity, and respect for others and for nature. However, they differ in the interest they place in the couple and the family as a social foundation, Lemonnier applying the lessons of naturism, while Eekhoud is more in line with anarchist thinkers such as Charles Fourier, Raoul Vaneigem and Michel Onfray.

FR

Dans les dernières années du XIXe siècle, l’écrivain belge Camille Lemonnier publie trois romans, L’Île vierge, Adam et Ève, et Au cœur frais de la forêt, qui véhiculent le rêve de voir l’humanité libérée du carcan imposé par une société qui asservit l’homme et la femme et dénature leur instinct. Le Belge Georges Eekhoud publie en 1912 Les Libertins d’Anvers, qui retrace l’histoire des hérésies chrétiennes à Anvers du XIIe siècle jusqu’à leur répression par la Réforme protestante et la Contre-réforme. Nourris par les mêmes préoccupations identitaires, Lemonnier et Eekhoud proposent des modèles de communautés utopiques qui s’inspirent à la fois du paganisme et de l’évangélisme chrétien. Les deux écrivains font l’apologie de la charité et du respect du prochain et de la nature. Toutefois, ils diffèrent dans l’intérêt qu’ils accordent au couple et à la famille comme fondement social, Lemonnier appliquant les leçons du naturisme, tandis qu’Eekhoud se situe davantage dans un courant de la pensée anarchiste représenté notamment par Charles Fourier, Raoul Vaneigem et Michel Onfray.

5

Od les goguettes do kabaretów, czyli o zależnościach między polską i francuską piosenką kabaretową z przełomu XIX / XX wieku

80%

Ignaczak L.

Prace Polonistyczne

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2017

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vol. LXXII

163-181

EN

The article deals with the problem of the historical transformation of French and Polish cabaret songs at the turn of the 20th century and the consequent changes in relations between the two cultural circles. The work is focused not only on a comparative analysis of the text and music material from Parisian and Polish cabarets, but also takes into account the sociological context of their functioning. This allows the reader to understand similarities and differences in the creation and development of cabaret life in France and Poland. The article analyzes in detail a unique method used to disseminate songs in France (by the societies of singers called les goguettes, les cafés chantants, les cafés-concerts and cabarets) and the absence of such the phenomenon in Poland. It is shown that these cultural incompatibilities may be one of reasons for the gradual movement of Polish authors and artists away from the conventional and aesthetic style, adopted initially from the Parisian cabarets that were perceived as model ones in Europe (eg. Le Chat Noir or Le Mirliton).

6

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

71%

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.

7

Eine Leidensgeschichte in angstvollen Zeiten. Die Frau zwischen „Neu“ und „Alt“ in Gabriele Reuters Roman „Aus guter Familie. Leidensgeschichte eines Mädchens“

71%

Redlich J.

Germanica Wratislaviensia

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2013

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vol. 137

35 - 45

EN

Referring to Gabriele Reuter’s Novel From a good family, the article discusses the problems which had to be faced by the society of the German Empire. The main character, Agathe Heidling, can be considered as a mirror of this era in German history: On the one hand it was an economically powerful state, very progressive. On the other hand it totally ignored the need for modernization in the social structures. Agathe is an example of the societies’ struggle, being caught between two mental bases: the conservative and the modern one. Agathe’s lack of self-confidence, her mistrust towards both of those mentalities, as well as her cowardice to choose her own way and a childhood trauma that affects her sexual consciousness – all this results in her illness: Hysteria.

8

Tęsknota za Chat Noir i Mirliton. Wokół legendy paryskich kabaretów

70%

Ignaczak L.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2016

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vol. 33

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issue 3

279-309

EN

The article invites readers to reinterpret the phenomenon of legendary nineteenth-century Parisian cabarets, inseparably linked to the history of Polish cabarets. The author refers to French sources from the era in order to supplement and verify facts concerning the historical transformation of this phenomenon, while postulating the need for more extensive research on cabaret in the context of its importance for understanding the formation of modern European and Polish popular / mass culture.

9

Verš raného Karla Tomana

61%

Kolár R.

Česká literatura (Czech Literature)

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2021

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vol. 69

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issue 1

33-53

EN

Following on from work by Miloš Sedmidubský, this study deals with syllabic irregularity (heterogeneity) in Toman’s (and Vrchlický’s) verse. It focuses on Toman’s early work, analysing individual poems and collections (particularly Pohádky krve, Tales of Blood, 1898 and Torzo života, Torso of Life, 1902). The material base is made up of 350 poems, and the differences between individual sets are checked by means of statistical tests. Syllabic irregularity is expressed in terms of entropy.

10

Tęsknota za Chat Noir i Mirliton. Wokół legendy paryskich kabaretów

57%

Ignaczak L., Uniwersytet Łódzki W. F., liignacz@konto.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2016

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vol. 33

|

issue 3

EN

The article invites readers to reinterpret the phenomenon of legendary nineteenth-century Parisian cabarets, inseparably linked to the history of Polish cabarets. The author refers to French sources from the era in order to supplement and verify facts concerning the historical transformation of this phenomenon, while postulating the need for more extensive research on cabaret in the context of its importance for understanding the formation of modern European and Polish popular / mass culture.

11

Nieokreśloność gatunkowa i rozbieżność interpretacji: postmodernistyczne spojrzenie na Salome Oscara Wilde’a

57%

Słowik A.

Ogrody Nauk i Sztuk

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2013

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issue 3

PL

Oscar Wilde. Mistrz ciętej riposty i błyskotliwego aforyzmu a jednocześnie przenikliwy obserwator wyższej klasy społeczeństwa wiktoriańskiego. W swojej twórczości wielokrotnie krytykuje społeczeństwo brytyjskiego dekadentyzmu, jednak nigdy w sposób oczywisty. Najlep-szym tego przykładem jest sztuka Salomé, przez wielu krytyków traktowana jako dramat czy też klasyczna tragedia, będąca jednak zawoalowaną drwiną a nawet metaforą zdegenerowanych wyższych sfer brytyjskiego fi n de siècle. Autor celowo defamiliaryzuje sztukę poprzez osadzenie akcji w czasach biblĳ nych w celu nie tylko spotęgowania jej odbioru, ale także zapobiegnięcia automatyzacji percypowania. Dzięki temu Salomé jest nie tylko głównym obrazem archetypu femme fatale czyli kobiety fatalnej, ale staje się także samoświadomym i samorefl eksyjnym satyrycznym krytycyzmem. Jednakże taka interpretacja możliwa jest tylko przy postmodernistycznym spojrzeniu na teorię parodii i autoironii reprezentowaną m.in. przez Lindę Hutcheon czy Michele Hannoosh

EN

In his play Salomé, Oscar Wilde provides readers with the veiled commentary on the vices of nineteenth century bourgeois society. He sets the action in Biblical times in order to point out the characteristic qualities of the Victorian man by means of defamiliarization. Wilde manages to heighten the awareness of his reading public, not only by the use of such a ploy, but also - most importantly - by skilful deployment of parody, which once again allows him to delude his contemporaries with a ‘knife in the pillow’ device. Indeed, even though the reading of Salomé in terms of its parodic quality at fi rst might seem as atypical, it reinforces the play’s deeply ironic and critical overtone and allows multi-layered interpretation. Therefore, it is due only to such a post-modernist analysis that the play can be understood as both a self-conscious and self-refl exive criticism, and an extended metaphor of the fi n de siècle upper class society.

Refine search results

L’écrivain fictif entre caricature et modélisation au tournant du XIXe siècle

Poszukiwanie sensu u kresu czasu. Kilka uwag o dramaturgii początku XX wieku

Kolczasta sensualność. Miasto szwedzkich melancholików przełomu XIX i XX wieku

Deux visions du bonheur selon la nature chez Camille Lemonnier et Georges Eekhoud

Od les goguettes do kabaretów, czyli o zależnościach między polską i francuską piosenką kabaretową z przełomu XIX / XX wieku

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

Eine Leidensgeschichte in angstvollen Zeiten. Die Frau zwischen „Neu“ und „Alt“ in Gabriele Reuters Roman „Aus guter Familie. Leidensgeschichte eines Mädchens“

Tęsknota za Chat Noir i Mirliton. Wokół legendy paryskich kabaretów

Verš raného Karla Tomana

Tęsknota za Chat Noir i Mirliton. Wokół legendy paryskich kabaretów

Nieokreśloność gatunkowa i rozbieżność interpretacji: postmodernistyczne spojrzenie na Salome Oscara Wilde’a