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Les arts du spectacle selon les romantiques. Stendhal, Gautier, Nerval critiques musicaux

100%

Opiela-Mrozik A.

Acta Universitatis Lodziensis. Folia Litteraria Romanica

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2018

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issue 13

63-74

PL

Artykuł zawiera przegląd wybranych artykułów krytycznych Stendhala, Gautiera i Nervala, obejmujących sprawozdania z przedstawień operowych i baletowych oraz koncertów muzyki instrumentalnej. Celem analizy porównawczej jest określenie indywidualnych koncepcji muzyki i artysty. Poprzez opisy librett, zdolności wykonawców czy scenografii krytycy tworzą własny ideał sztuki. Uwagi Stendhala z Notatek Dyletanta wynikają z koncepcji nowoczesnego piękna. Artykuły Gautiera zebrane w Historii sztuki dramatycznej… znamionują poetę wrażliwego na wizualną stronę przedstawienia oraz krytyka otwartego na nowości i marzącego o harmonii w sztuce. W felietonach prasowych Nervala widoczny jest podziw dla muzyki epok minionych z jednoczesnym zainteresowaniem nowatorskimi pomysłami i ideą dzieła syntetycznego, która zwiastuje sztukę przyszłości.

EN

This article is the review of some critical articles of Stendhal, Gautier and Nerval which contain reports of operas, ballets and instrumental music concerts. The aim of this comparative analysis is to define the individual concepts of music and artist. The critics make their own ideal of music through the descriptions of the librettos, scenography and the abilities of the performers. The Stendhal’s remarks from Notes d’un Dilettante resulted from the idea of the modern beauty whereas the Gautier’s articles collected in Histoire de l’art dramatique… show the poet who is sensitive to the visual aspect of a performance and the critic who is open to the newness and dreaming of the harmony in art. Instead, in the Nerval’s press columns are visible the admiration for the music of the past age as well as the interest in the innovative schemes and the idea of the synthetic work which heralds the future art.

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Les puschts, les bardaches, les « almées… mâles » : une caricature de la femme orientale ou un autre rêve d’Orient ?

93%

Sokołowicz M.

Quêtes littéraires

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2020

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issue 10

EN

The present paper focuses on some representations of male Oriental dancers who dance dressed as women. It tries to answer the question whether those representations form a caricature of the Oriental woman or if it is another, perverse, Oriental dream. The first part of the paper presents the Oriental male dancer and shows how he was perceived in the Middle East and in Europe. The second part discusses the critics of male dancers’ behaviour in the travelogues by Jean Potocki and Vivant Denon. The three following sections analyse three examples of descriptions dating from the 1840-1850 by Gérard de Nerval, Gustave Flaubert and Théophile Gautier. It turns out that, with time, the caricature becomes less obvious and the descriptions are more and more aesthetic. One can no longer only mock and condemn the male dancers, a new perverse dream seems to be born.

FR

La contribution analyse quelques représentations des danseurs orientaux qui dansent habillés en femmes et cherche à répondre à la question de savoir si ces représentations forment une caricature de la femme orientale ou s'il s'agit d'un autre rêve pervers d'Orient. La première partie présente la danseuse mâle et montre sa perception en Orient et en Europe. La seconde partie évoque la critique du comportement des danseuses mâles présente dans les relations de voyage de Jean Potocki et de Vivant Denon. Les trois dernières parties analysent trois descriptions datant des années 1840-1850, créées par Gérard de Nerval, Gustave Flaubert et Théophile Gautier. Il s'avère qu'avec le temps, la caricature devient moins évidente qu'auparavant et les descriptions s'esthétisent. Il n'est plus possible de ne faire que se moquer des danseuses mâles ou les condamner. Un nouveau rêve pervers d'Orient semble faire son émergence.

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Po stronie życia, przeciw melancholii

83%

Rusinek W.

Śląskie Studia Polonistyczne

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2015

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issue 2(7)

259-267

EN

The subject of Wojciech Rusinek’s review is Marek Bieńczyk’s collection of essays Jabłko Olgi, stopy Dawida [Olga’s Apple, David’s Feet]. The author begins his reading of the book by placing it in the context of Bieńczyk’s earlier achievements: both artistic (novels, literary essays) and academic (bearing witness to his studies on Romanticism). While noting that Bieńczyk’s essays are governed by a wealth and a surprising variety of the explored themes, Rusinek emphasises, however, the worldview coherence of the volume. According to the author of the review, a key to the interpretation of all the essays in the book is “the praise of the taste of life,” which makes a new tone in Bieńczyk’s writing, so far associated mainly with the reflection on melancholy and melancholy discourse present in his artistic prose. In the following part of the review, by outlining the content of the essays devoted to Proust’s and Nerval’s prose, Hopper’s painting or Sempé’s drawings, Rusinek analyses the anthropological figures around which Bieńczyk’s digressive and slow reflection revolves: gesture, light, escape, frozen time. The reading of Bieńczyk’s work becomes enriched with an analysis of style (a role of stylization). Moreover, the review points out those fragments of Jabłko Olgi, stopy Dawida where a description of artistic works becomes smoothly linked with the elements of the author’s biography. In the conclusion of the reflection upon Bieńczyk’s essays, the author states that the essays clearly lean towards poetics of epiphany, which, in the view of the author of Jabłko Olgi…, would mean an unclear, veiled by an infinite number of borrowings, allegories, allusions and stylizations, suspending the flow of time, experience of existence in its inexpressible fullness.

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Fin de l’art ? Noétique de la littérature

67%

Kyloušek 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

36-54

EN

The transformation of the arts, foreseen and announced by Hegel, coincides with the birth of modernity. One of its essential aspects is the noetic turn in literature, which can be seen as a manifestation of autoreflexivity within the framework of intraliterary dynamics: autoreflexivity engages the questioning of language, it redefines the status of the lyric subject and the narrator, it problematizes discursivity and thus proposes new approaches to referential reality. Literature becomes a specific form of thought and a crucible of reflection by occupying a terrain that neither science nor philosophy could explore, that of existential human experience, not yet conceptualized. Literature thus produces discourses and concepts that can later be grasped and systematized by science and philosophy. An exemplification attempts to illustrate this process from the 19th century to the present day.

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PILLARS OF THE NATIONAL POETRY: GÉRARD DE NERVAL’S VOICE IN THE ROMANTIC DEBATE ON THE ORIGINS OF FRENCH LITERATURE

67%

Kowalska M.

Świat Tekstów. Rocznik Słupski

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2020

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vol. 18

19-31

EN

The article discusses the Gérard de Nerval’s voice in the debate on the sources and origins of French national literature. The main subjects of analysis are two of his articles from 1830, the prefaces to choice of poems of Ronsard, Du Bellay, Baïf, Belleau, Du Bartas, Chassignet, Desportes, and Régnier, as well as to selection from German poetry. In the light of the dispute in the second half of the eighteenth and the beginning of the nineteenth century over the greater importance of trouvères or troubadours as the fathers of national literature, Nerval’s position is less rigid and lacking pathos. He recalls the medieval noble and folk literature, one which is the product of chivalric culture unifying many groups and the other, “Gallic” which does not include a large part of the nation but which goes deeper into it and is more emotional in its expression. In the second type he mentions less popular occasional genres, for instance farces, fabliaux, facetiae and puts them as the examples of literature “from the heart of France”, “capable to inspire” and “to supply great ideas”. This type encompasses the sacred and profane, the multilingual, the seriousness of spiritual themes along with pure comedy. All these qualities according to Nerval reflect the French spirit and may be the sources of revival for true French romantic poetry.

PL

Artykuł przedstawia głos Gérarda de Nervala w dyskusji o źródłach i początkach francuskiej literatury narodowej. Przedmiotem analizy są dwa artykuły z 1830 r., wstępy do Choix des poésies de Ronsard, Du Bellay, Baïf, Belleau, Du Bartas, Chassignet, Desportes, Régnier oraz Poésies allemandes. W kontekście sporu o wyższość truwerów lub trubadurów jako „ojców współczesnej literatury” i „wychowawców narodu”, który toczył się ostatnich dziesięcioleciach XVIII i na początku XIX wieku, stanowisko Nervala jawi się jako budujące mosty między zwaśnionymi stronami, oryginalne i wyzbyte niepotrzebnego patosu. Nerval przypomina, że w średniowiecznej literaturze francuskiej można dostrzec dwa prądy: „rycerski”, na który składają się m.in. powieści, poematy alegoryczne, ballady, oraz „galijski”, który przejawia się np. w misteriach, moralitetach, farsach i facecjach. Taka literatura, łącząca sacrum i profanum, różne języki, śmiech z nauką, oddaje zdaniem Nervala ducha narodu i w niej tkwią źródła odrodzenia francuskiej poezji.

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1 Acta Universitatis Lodziensis. Folia Litteraria Romanica

1 Quêtes littéraires

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

1 Śląskie Studia Polonistyczne

1 Świat Tekstów. Rocznik Słupski

1 Kowalska M.

1 Kyloušek P.

1 Opiela-Mrozik A.

1 Rusinek W.

1 Sokołowicz M.

1 2022

2 2020

1 2018

1 2016

Les arts du spectacle selon les romantiques. Stendhal, Gautier, Nerval critiques musicaux

Les puschts, les bardaches, les « almées… mâles » : une caricature de la femme orientale ou un autre rêve d’Orient ?

Po stronie życia, przeciw melancholii

Fin de l’art ? Noétique de la littérature

PILLARS OF THE NATIONAL POETRY: GÉRARD DE NERVAL’S VOICE IN THE ROMANTIC DEBATE ON THE ORIGINS OF FRENCH LITERATURE