European Romanticism

My theme is ‘life-writing’, understood as the shaping of one's life through the contemplation of values, although this activity is mostly unreflective. To become an art so that one's life can be shaped in greater accord with clearly held values, this process must become reflective. These values have an inescapably ethical dimension, because as we necessarily poetize our surrounding world, we contribute to our personal and communal ethos the character that arises from the culturally shaping power of guiding ideals. Even the immoralist cultivates life within an ethos where obscure feelings connect with some thing or other, whereby certain aims will then appear more valuable than others.

To understand how we cannot help but shape our lives according to dimly or clearly intuited values, I compare Coleridge’s primary imagination, the ‘shaping spirit’ ‘necessary for all human perception’ with Kant’s ‘blind though indispensible function of the soul, without which we would have no cognition at all, yet of which we are scarcely ever conscious’. With Coleridge, we find in imagination an impulse to connect profound but obscure presentiments and ideas with our surroundings. This impulse propels great art and everyday aesthetics alike. Whether we pursue merely what attracts us, or seek value beyond this, all lives are freely shaped, without excuses, as the existentialists say, but not always in the most pellucid consciousness. Our choices inevitably engage us in the poetic art of life-writing. Cast in medias res, we necessarily improvise. But this is no argument against lives being moral-aesthetic works, spontaneous compositions in value.

Il Corno nella Letteratura Liederistica: gli esempi di Lachner, Schubert e Strauss.
Conservatory degree thesis abouth some example of Romantic Lieder with obbligato horn: Lachner's "Die Seejungfern" and "Notte soave delizia", Schubert's "Auf dem Strom" and Strauss' "Halphorn"

In 1816 a violent literary quarrel engulfed Bourbon Restoration Italy. On one side the Romantics wanted an opening up of Italian culture towards Europe, and on the other the Classicists favoured an inward-looking Italy, based on its Greco-Roman roots. Giacomo Leopardi (1798–1837), a young poet and philosopher, wrote a Discourse of an Italian on Romantic Poetry in 1818, aiming to contribute to the debate from a new perspective; it was finally published in 1906. This study provides the first complete English translation of the Discourse by Gabrielle Sims and Fabio A Camilletti. It is placed in context and its potential impact on contemporary Restoration Italy is assessed. Camilletti argues that the Classicist/Romanticist clash can be seen as the aftermath of the political, social and cultural trauma caused by the Napoleonic Wars.

Am 8. Mai 2016 wurde meine Dissertation "Novalis und die negative Theologie - Träume und Abgrund in der europäischen Romantik" (in französischer Sprache) mit dem Novalis Preis 2016 in Jena ausgezeichnet. Am Vorabend durfte ich bei einem wissenschaftlichen Symposium meine Arbeit synthetisch vorstellen.

"Megaleh Temirin (Revealer of Secrets), ed. Jonatan Meir, Three volumes, Mosad Bialik, Jerusalem

Megaleh Temirin (Revealer of Secrets), first published in Vienna in 1819, is one of the sharpest and wittiest pieces of Jewish literature written in the first half of the nineteenth century, and is perhaps the most important piece of Hebrew prose composed before the stories of Mendele Mocher Seforim. A sly and complex story deriding Hasidism and Hasidim, it is told through the correspondence between the beadles of Hasidic courts and contemporary rabbis, and it presents a dark picture of  avaricious frauds and swindlers whose main concern was control over territory and the souls of believers, a goal achieved by beguiling the authorities and attacking all opponents. Perl lends his book a ‘Hasidic’ feel both in its physical design and in its language, presenting a Maskilic version of In Praise of the Ba’al Shem Tov that lays Hasidism bare so that no reader will ever be able to look at that, or any other Hasidic book, in the same way again. In addition to the book’s satiric sting, which would have been enough to bring its readers a dual pleasure, Perl’s hints at contemporary people and places, hidden within anagrams and numerological tricks. With the unraveling of these clues, which also include the use of actual Hasidic sources, the book is a valuable, contemporary view of historical reality. A meticulous reading of the book may therefore open a window on the hidden worlds of Hasidism and the Haskalah at the start of the nineteenth century.


The first volume (Imagined Hasidism) serves as an introduction to the complex satirical writings of Josef Perl of Tarnopol (1773-1839). At the center of the book stands an analysis of the satires, Megaleh Temirin (1819) and Bochen Tzadik (1838), including a systematic treatment of the ‘characters’ in the central works and a discussion of the dozens of manuscripts to be found in the Perl Archive in Jerusalem. Perl’s writings are analyzed here in the fuller context of Hebrew and Yiddish literature in general and Maskilic and Hasidic literature in particular, as well as other polemical writings and governmental records critical of Hasidism. The study thus presents a complex and nuanced picture of the relationship between literature and history, between the anti-Hasidic reports and the more complicated historical reality, and lays the groundwork for further research into the genre of nineteenth-century Maskilic satire.

The second and third volumes (Megaleh Temirin) present for the first time an annotated edition of Megaleh Temirin. It is based on the first edition and the scattered manuscripts and it includes a comparison to its Yiddish translation. The book is accompanied by appendices on its origins and contents, including fundamental treatments of several passages: an explication of the encoded names, the Hasidic sources used by the author, and the variants found in the manuscripts and in the only edition of the book in Yiddish.

The editor of the book, Professor Jonatan Meir, teaches in the Goldstein-Goren Department of Jewish Thought at Ben-Gurion University. He has published several articles on the Haskalah of Eastern Europe, Hasidism, and a number of varied topics in twentieth-century Kabbalah.


Contents

Volume 1  - Critical Edition

Concerning this edition
Key personalities
Sefer Megale Temirin – Critical Edition


Volume 2 - Appendixes:
1. Glossary, Abbreviations, Acronyms
2. Explanation of the Speaking Names
3. Perl’s Hasidic Sources
4. Manuscripts of Sefer Megale Temirin
5. Yiddish Introduction to Sefer Megale Temirin
Bibliographic Abbreviations

-------------------------------
Reviews:
(1) Dan Meron, 2013, ‘Megaleh Temirin’, Kivunim Hadashim 29, 55 pages (Hebrew)
(2) David Assaf, 2014, ‘Hasidim will not Read it but Tear it’, Haaretz, Tarbut ve-Sifrut, p .6 (Hebrew) http://onegshabbat.blogspot.co.il/2014/04/blog-post_18.html
(3) Eliezer Brodt, 2014, 'New book Announcement- Megale Temirin', The Seforim Blog http://seforim.blogspot.co.il/2014/01/new-book-announcement-megale-temirin.html
(4) Matan Hermoni, 2014,  הסבתא המופקרת של הספרות העבריתHaaretz, Sfarim (Hebrew) http://www.haaretz.co.il/.premium-1.2382365
(5) Shinichi Yamamoto, 2015, 山本　伸一, "ヨナタン・メイール編著『想像のハシディズム』", ユダヤ・イスラエル研究　第28号  http://www.waseda.jp/assoc-jsjs/jistudies.html
(6) David Biale and David Assaf,, 2015, 'Revealer Revealed', Jewish Review of Books, pp. 17-21  http://jewishreviewofbooks.com/articles/1454/revealer-revealed/
(7) Hillel Halkin, 2015, "Sex, Magic, Bigotry, Corruption- and the First Hebrew Novel', Mosaic Magazine,  http://mosaicmagazine.com/observation/2015/05/sex-magic-bigotry-corruption-and-the-first-hebrew-novel/
(8) Tomer Persico, 2015, "Interview", Lula'at haEl Blog, http://tomerpersico.com/2015/08/10/meir_perl/

В монографии исследуется феномен художественной репрезентации личного опыта автора, понимаемого как сложный симбиоз «биографического» и «воображаемого». На материале европейского романа XVIII–XX веков рассматриваются проблемы памяти, экзистенциального самообретения «Я», здоровья и безумия, обыденного и поэтического миросозерцаний. Структура книги отображает вехи, проделанные жанром от
эпохи Просвещения (И.В. Гете, К.Ф. Мориц) до романтизма (Т. де Квинси) и модернизма в широком понимании (В. Вульф, Дж. Конрад, Т. Бернхард). Топография «Я» предстает во всей полноте эстетических воплощений – от внутренних ландшафтов до архитектурных метафор, от исповедального солипсизма до карнавала нарративных масок.
Книга предназначена для филологов, культурологов и всех тех, кто интересуется вопросами истории европейской литературы.

Based on this examination of how the term ‘viking’ was actually used and understood by those, who used the word in their native language from its first known occurence c. 700 AD onwards, some conclusions may be drawn.

1) Until at least the end of the 18th century the term ‘viking’ or ‘wicing’ was never associated with any form of specific ethnicity. Hence, we find the word used about persons of all colours, ethnicities and religious persuations known at the time by those who used the word in their native languages. While Old English ‘wicing’ had gone out of use already in the 11th century, we can also observe that Norse ‘viking’ gradually went out of use in all other Scandinavian languages before the end of the Middle Ages apart from Icelandic. Here it was still used as it had been for centuries at least until the mid-17th century if not later. Thus, we find ‘viking’ used to denote those Barbary Pirates from North Africa, who in 1627 landed in Iceland to take slaves.

2) The early dissappearance of the word ‘viking’, especially in the South Scandinavian languages, no doubt facilitated its sudden reappearance in precisely these languages now infused with explicit Scandinavian ethnicity. This was the result of the belated arrival of Romanticism in Scandinavia in 1800, when a new generation of naïve, self-taught would-be scholars went off on a search for the phantasmal ‘national spirit’ (Volksgeist) thought to define the history and destinity of every single ‘nation’. This ‘national spirit’ Scandinavian romantics found in Nordic mythology as it appeared in Norse literature. There they soon stumbled on the word ‘viking’ as suitable marker of the Scandinavian ‘national spirit’. Hence ‘viking’ began to be used profusely in the writings of these romantics to denote Scandinavians to the extent that from the 1820s the Scandinavian ‘national spirit’ turned into a ‘viking spirit’.
Thus the ‘Scandinavian viking’ was born as an example of an early ‘alternative fact’ soon followed by the invention of a ‘viking age’. Since then, we have lived in an echo chamber where nobody doubts the historical reality of the ‘Scandinavian viking’ even though he never existed in the so-called ‘Viking Age’.

Laß die Toten ruhen, el relato de Ernst Raupach que presentamos aquí apareció por primera y única vez en alemán en el anuario de la revista Minerva en 1823. Tan olvidado en Alemania como su autor, debió resignarse a una fama ingrata y esquiva, ya que fue adjudicado erróneamente durante más de ciento ochenta años a Johann Ludwig Tieck. Hasta el presente, sólo había circulado en la traducción inglesa que lo atribuyó a Tieck  incluido en el primer volumen de la antología Popular Tales and Romances of the Northern Nations, publicada muy poco después en Londres por W. Simpkin, y R. Marshall. La versión inglesa a partir de la cual se hicieron traducciones al español y a otras lenguas, además de modificar el título e introducir un malentendido que acabó trasladándose a las historias de la literatura y la bibliografía específica sobre cuentos de vampiros, despojó al relato del soneto que figuraba a manera de epígrafe y censuró episodios que acaso podían ofender la moral de la época por su erotismo o truculencia. El texto establecido de esta importante pieza de la literatura romántica se publica aquí en forma bilingüe precedido de un estudio preliminar -también en español y en alemán- que lo sitúa en la historia de las letras germánicas y reconstruye los avatares de su recepción.

The satirical writings of Lucian of Samosata had a tremendous influence on the literature of the Eastern European Haskalah, shaping its criticism of the burgeoning Hasidic movement in the nineteenth century as if there were no gap between it and the Roman Empire of the second century. Lucian’s criticism of false prophets, self-proclaimed philosophers, and common fools and frauds, like his satirical dialogues with the world of the dead, provided the perfect model for those Maskilim who opposed the revelations of the Hasidic movement in both theological and social realms. One particularly salient testimony to the classical satirist’s influence is the astounding translation of his story “Alexander the False Prophet” by the Maskilic writer Meir Letteris, the first translation of Lucian’s work into Hebrew. The translation, printed in full below, was based on the German edition of Christoph Martin Wieland and published in the journal Ha-Tsefirah, which Letteris edited in 1823. As with every translation, it is a new product, shaped in and by its own context. This essay discusses the tendencies and apparent goals of the translator, the additions and omissions he made to the text, and the influence of Lucian’s satirical style on the Haskalah.

Άρδην, τεύχος 50, Σεπτέμβριος - Οκτώβριος 2004

Εισαγωγή
M. Lowy - R. Sayre, ο ρομαντισμός σήμερα
Γ. Καραμπελιάς, Η θεμελιώδης παρέκκλιση
Μ. Μερακλής Εκκλησία και φιλοσοφία στον νεοελληνικό διαφωτισμό
Γερ. Λυκιαρδόπουλος, Μια περιπλάνηση, Π.Πανάς
Αλ. Χρύσης, Πέραν του διαφωτισμού και του ρομαντισμού
Γ. Σχίζας, Η φύση στο έργο του λορδου Μπάιρον
R. Means, Στους ιερούς βράχους των Μπλακ Χιλς

This article examines the temporality of interlinear translation through a case study of the rendering of Friedrich Hölderlin’s poetry into Persian. We argue that, in its adherence to the word order of the original, the interlinear crib prioritizes the temporality of the instant (kairos) over the temporality of the linear sequence (chronos). Kairos is made manifest in the literalist translations of Hölderlin by the modernist Iranian translator-poet Bijan Elahi (d. 2010). This inquiry advances our understanding of the role of syntax in constituting literary form and in shaping translation, and exposes the contingency of the translator’s decisions in every given literary juncture.

In response to the claim that our sense of will is illusory, some philosophers have called for a better understanding of the phenomenology of agency. Although I am broadly sympathetic with the tenor of this response, I question whether the positive-theoretic blueprint it promotes truly heralds a tenable undertaking. Marshaling a Schopenhauerian insight, I examine the possibility that agency might not be amenable to phenomenological description. Framing this thesis in terms of Charles S. Peirce’s semiotic framework, I suggest a way to integrate the idea of streaming experiences with that of bodily strivings, which, owing to their primitive structure, can never be represented.

Digitale Tagung des Kleist-Museums Frankfurt (Oder)

Diversität und Darstellung. 
Zugehörigkeit und Ausgrenzung im Literaturmuseum und in den Literaturwissenschaften

9. bis 11. März 2022

Anmeldungen und Link unter: [email protected]
Anmeldeschluss: 6. März 2022

Konzept und Organisation:
Magdalena Hülscher, Kleist-Museum
Dr. Sebastian Schönbeck, Universität Bielefeld

Die Tagung ist eine digitale Veranstaltung des Kleist-Museums. Sie findet in Kooperation mit der Literaturwissenschaft der Universität Bielefeld statt und wird gefördert im Programm »360°– Fonds für Kulturen der neuen Stadtgesellschaft« der Kulturstiftung des Bundes.

Die Konferenz untersucht Figuren der Endlichkeit in der europäischen Romantik. Ausgangspunkt ist die Beobachtung, dass Figuren des Letzten – letzte Menschen (J.-B. Grainville: Le dernier homme (1805); M. Shelley: The Last Man (1826)), letzte Dinge (I. Kant: Das Ende aller Dinge (1794)) – in der Romantik ein spezifisches Endlichkeitsbewusstsein artikulieren.

Die einsetzende romantische Reflexion der Endlichkeit, die sich synchron mit den zeitgenössischen Diskursen über die Begrenztheit von Ressourcen ausbildet, stellt dabei den Beginn einer genuin modernen Erfahrung dar. Die Verzeitlichung wird um 1800, so die Grundthese, vor allem verhandelt und reflektiert an poetologischen und philosophischen Figuren der Endlichkeit, des Letzten und des Verbrauchbaren.

Wenn die Konferenz etwa das Fragment, die Ruine oder die „Denkmäler der alten Zeiten“ (F. Schiller) als Figurationen einer Reflexion der Endlichkeit erneut in den Blick nimmt, dann schärft und ergänzt sie zugleich klassische Elemente der Epochenkonstruktion der Romantik, welche bislang vorwiegend mit Begriffen wie Entgrenzung, Potenzierung und Unendlichkeit oder mit einem Fokus auf Gegenwart, Jetztzeit und Augenblick in Verbindung gebracht wurde.

Konzept und Organisation:
Dr. Jakob Christoph Heller (Halle)
Dr. habil. Erik Martin (Frankfurt/Oder)
Dr. Sebastian Schönbeck (Bielefeld)

Die Konferenz wird ermöglicht durch die finanzielle Förderung der Fritz Thyssen Stiftung und die Unterstützung durch das IZEA.

Die Konferenz steht allen interessierten Gästen offen; es wird um vorherige Anmeldung per E-Mail an [email protected] gebeten.

La légende du philhellénisme, sentiment né à la fin du XVIIIe siècle, mais qui s'épanouit véritablement à partir de la guerre d'Indépendance grecque (1821-1827), a occulté les manifestations hostiles à la Grèce moderne dès lors que la réalité politique s'est substituée à une patrie mentale. Ce livre, issu de la thèse de doctorat, s'attache, en rationalisant le débat, à étudier sous l'angle de l'histoire, les raisons, les manifestations et les principales étapes d'un phénomène de l'histoire culturelle, le « mishellénisme », qu'on a longtemps considéré comme témoignage d'aberrations individuelles, alors qu'il s'agit de l'expression d'un imaginaire collectif, ou même d'un contre-imaginaire. Les dates qui encadrent cette étude correspondent à deux charnières dans les relations France-Grèce : en 1846 est fondée à Athènes, sur une idée de Sainte-Beuve et sur le modèle de l'Académie de France à Rome, l'École française d'Athènes, première institution scientifique étrangère sur le sol grec ; cent ans plus tard, en 1946, année marquant le début d'une terrible guerre civile, le rêve hellénique des Français semble s'être libéré de la nécessaire référence à l'héritage grec, peut-être tout simplement parce que le XXe siècle a douloureusement appris que les civilisations sont mortelles. À côté de l'histoire littéraire, une attention constante a été portée à l'histoire contemporaine : l'intelligentsia française a longtemps eu tendance à dépasser son malaise face à la Grèce moderne en la situant dans un passé irréel ou dans un futur hypothétique,sans considération autre qu’ironique pour le présent. La mise en question de la Grèce implique la force prégnante d'un territoire chimérique, entretenue, dans un évident malentendu, par les esthétiques parnassienne et symboliste. Derrière le mishellénisme de bon ton et les railleries des touristes, des diplomates et des archéologues, surtout attentifs à ce qui n'est conforme ni au mythe ni aux convenances européennes, se dissimule une perception ambiguë de l'hellénisme, qui paie le fait d'être une cause à la fois « morale », c'est-à-dire emblématique, et politique. Cet ouvrage s'attache, en confrontant un maximum de documents, à reconstituer l'ensemble des manifestations suscitées par la Grèce dans la littérature au sens le plus large : ouvrages d'écrivains reconnus, mais également de diplomates, de journalistes et de touristes.

The connections between the short story The Vampyre, and Italy are numerous. First and foremost, of course, we have Polidori's family heritage. Born in London in 1795 to the expatriate Gaetano, John William Polidori was the eldest son in a family of intense literary activity, in which the passion for the Italian language and culture had remained very much alive. Much has been said about the complicated composition and publication history of Polidori's celebrated story, especially regarding its relationship with Lord Byron and the company at Villa Diodati. Fabio Camilletti (2020) and Nick Groom (2022) have offered crucial, and to me, conclusive, insights on the troubled genesis of Polidori's work and its even more troubled editorial history. Perpetuo desìo proposes some reflection on the metacultural significance of The Vampyre and reconstruct its first Italian reception, starting from a simple observation. The numerous critics who have dealt with the European reception of Polidori's work agree in attributing a seminal role to this text, characterised by an almost biological capacity (Bortolotti & Hutcheon, 2007) of cultural adaptation. While the posthumous reception of The Vampyre is well documented beyond the Alps, I was surprised to see that Italy hardly appears in these comparative investigations, as if the success and influence of Polidori's text had only scathingly touched the Italian peninsula. Despite the dearth of systematised critical studies, is it conceivable, I wonder, that Italy was truly impermeable to the influence of a figure such as the vampire created by Polidori, a character that immediately became a mythos, a transcultural and transmedia European phenomenon, and a true seme of our own modernity? Also, how does such an ‘explosive’ text, in Lotman's definition (1992; Eng. vers. 2009), such as Polidori's, fit into the composite political and cultural mosaic of early nineteenth-century Italy?

My paper will be looking at representations of the vampire in Italy before and after the publication of Polidori's seminal The Vampyre. I use the term Italy to indicate the Italian peninsula, well aware that Italy is a much later socio-political concept. I use the word representations as I analyse several type of texts, in their transmedia transits.

British Romanticism and Europe Conference
Monte Verità, Ascona, Switzerland
Thursday 23 June to Sunday 26 June 2022

One of the most controversial and multifaceted aspects of Liszt's life and career concerns his involvement with religion and the Catholic Church. [...] How sincere could his attitude toward religion be when he had led such a flamboyant and unconventional life? During his 'years of pilgrimage' he retained a long and public relationship with Marie d'Agoult, a woman he never married; he had had three illegitimate children; and after their breakup, he met and carried on an equally public relationship with Princess Carolyne Sayn-Wittgenstein. The fact that he decided to become an Abbé only after the thwarted nuptials to Sayn-Wittgenstein in Rome, continues to fuel mistrust of his motives. What remained constant throughout all these changes was an attraction to the ideals of Christianity viewed not through its doctrines but rather in the philosophies of intellectual leaders and writers of the time. ......................

L'image romantique des Monténégrins dans la culture tchèque aux 19e et 20e siècles, In: Igor Tchoukarine (dir.): Entre mythe et réalité: les relations culturelles et politiques entre Tchèques et Slaves du Sud de l´Ex-Yougoslavie aux 19e et 20e siècles, Etudes du CEFRES, N° 11, Prague, Septembre 2008, pp. 9 – 22.


The article focuses on the long-term production of romantic representations of the Montenegrins, usually conceptualized as heroic Slavic warriors who managed to preserve their national identity, mentality and folk culture despite centuries of constant struggles with the mightier Turks, in Czech culture of the second half of the 19th century and the first half of the 20th century.

El escritor danés H.C. Andersen es una gota de agua en el océano del tiempo, eco de la época revolucionaria del siglo XIX. Europa, territorio de casacas, bayonetas y cañones. H.C. Andersen, rebelde conformista, revolucionario en el estilo de escribir, se convierte también en una ola, sin límites. Es un viajero. Un escritor de viajes.

This is planned for Saturday 11 to Monday 13 June 2022, to correspond with the twentieth anniversary of the unveiling of the stained-glass window to commemorate Frances Burney in Westminster Abbey.

A President’s Prize of £200 will be awarded for a postgraduate/early career paper.

Venues:

11 June at Foundling Museum London  – 12 June at Alton House Hotel, Alton  – 13 June at St Bride Foundation London

Registration & lunch:  £130 for all 3 days; £100 for 2 days; £70 for 1 day

50% reduction for Students/Precariously employed

Registration form    Word

De la période romantique aux années symbolistes, où l’on s’élance « vers l’idéal » (Léon de
Tinseau, 1896), en passant par Emma Bovary qui « poursuit l’idéal à travers les bastringues et les
estaminets de la préfecture » (Baudelaire, 1857), le XIXe siècle est hanté par l’idéal. Dans le sillage
de la philosophie platonicienne et de l’idéalisme allemand, de nombreux écrivains, artistes et
historiens s’emparent de cette notion. Elle engage en effet un ensemble de réflexions esthétiques
et éthiques sur ce que l’on peut ou doit représenter en art, et sur les systèmes de valeurs
dominants.
La notion fait d’autant plus facilement l’objet d’une appropriation ou d’un rejet que son
contenu reste souvent vague. Image d’une perfection située hors du monde matériel, l’idéal est
moins défini par des caractéristiques intrinsèques que par la valeur qui lui est attachée : il est, tout
au long du siècle, objet de culte, d’aspiration, de déni, de rejet, de regret. Valorisé quand il est
opposé au désenchantement, au spleen, au prosaïsme bourgeois, il devient objet de critiques
quand il est considéré comme le négatif de la science, de l’énergie, de la vérité et de la réalité. Il
produit les « lacrymales historiettes des Theuriet et des Sand » (Huysmans) mais motive
aussi La Recherche de l’absolu. Dès lors, l’idéalisme apparaît comme un facteur de structuration du
champ artistique et intellectuel et façonne au cours du siècle toute une série de clivages, opposant
entre autres romantiques et philistins, symbolistes et naturalistes.
Pour prolonger la réflexion entretenue depuis septembre 2012 par leur séminaire de
recherches consacré à l’idéalisme (doctoriales-serd.com/projet.html), les Doctoriales de la SERD
organisent un colloque de deux journées. C’est à l’examen des transferts culturels et disciplinaires
que s’intéresseront les interventions, qui croiseront approche lexicologique et approches
esthétique, sociale ou politique. Qu’entend-on par « idéal » au XIXe siècle et quelle fonction revêt
cette notion dans les débats intellectuels et artistiques de l’époque ?
Samedi 8 février 2014
salle 682
9h Accueil des participants
9h15 Introduction du colloque par le comité d’organisation
9h45 Les genres littéraires de l’idéal (Modération : Aude Déruelle)
Thomas Conrad (Paris III Sorbonne nouvelle)
Le laboratoire de l’idéal de Villiers de l’Isle-Adam : manières d’écrire l’idéal
Pascale Auraix-Jonchière (Blaise-Pascal, Clermont-Ferrand)
La poétique du conte dans les romans champêtres de Sand : une clé pour l’idéalisme ?
10h45 Débats et pause
11h30 Les romantiques et l’idéal (Modération : Emilie Pezard)
Damien Zanone (Louvain, Belgique)
L’« idéalisme » de George Sand
Amélie de Chaisemartin (Sorbonne Paris-IV)
Les romanciers romantiques et le « beau idéal » néoclassique
Marie-Clémence Régnier (Sorbonne Paris-IV)
La mansarde, le château ou l’appartement : habiter en poète. Idéalisations de l’espace domestique
du Poète chez Théophile Gautier
12h30 Débats
13h00 Déjeuner
14h30 Symbolisme et idéal (Modération : Françoise Gaillard)
Eric Lecler (Université d’Aix-Marseille)
L’idéalisme et ses détournements de sens : du symbolisme à l’Absolu littéraire
Renzo Alvarado Ruiz de Castilla (Sorbonne Paris-IV)
Ne dites pas Symbolisme, mais dites Idéalisme
Maja Vukusic Zorica (Université de Zagreb, Croatie)
André Gide et l’idéalisme fin de siècle
16h45 Débats et pause
17h30 Premières conclusions par le comité d’organisation
Samedi 5 avril 2014
salle Pierre Albouy
9h00 Accueil des participants
9h15 Introduction par le comité d’organisation
9h45 L’idéal dans les écrits sur l’art (Modération : Olivier Schefer)
Fanny Bacot (Université Paris I Panthéon-Sorbonne)
Ressemblances et dissemblances dans les exempla idéalistes : usage, portée et application de
l’idéal dans la critique d’art fin-de-siècle
Florence Beillacou (Université de Strasbourg)
Zola et « la guerre à l’idéal » : idéalisme, académisme et romantisme dans les écrits sur l’art et
la littérature
Thibaut Radomme (Louvain / Oxford)
L’Art ou le Progrès ? Les idéaux antagonistes d’Édouard Fétis et de la bourgeoisie libérale
dans la Belgique du XIXe siècle
11h15 Débats et pause
11h45 Naturalisme et idéal (Modération : Aude Jeannerod)
Jean-Marie Seillan (Nice Sophia Antipolis)
Naturalisme et anti-idéalisme
Pascaline Hamon (Paris III Sorbonne nouvelle)
L’idéal dans la critique littéraire fin de siècle : un étendard antinaturaliste ?
12h45 Débats
13h15 Déjeuner
14h30 Héritages de l’idéalisme (Modération : Alain Vaillant)
Thomas Constantinesco (Paris Diderot Paris VII)
De l’idéalisme en Amérique : Emerson, Poe, Hawthorne
Matthew Sandefer (Princeton University)
Réalisme idéal ou idéalisme réel ? Syncrétisme littéraire au XIXe siècle
Marie Panter (ENS Lyon)
Le roman idéaliste en contexte réaliste-naturaliste : Victor Hugo, Theodor Fontane, Thomas
Hardy
16h00 Questions et pause
16h30 L’idéalisme, entre littérature et philosophie (Modération : Victoire Feuillebois)
Eric Dayre (ENS Lyon)
Que se passe-t-il entre 1790 et 1810 en Grande Bretagne et en Allemagne ? Ce qu’on a appelé
l’idéalisme romantique
Sarah Alharbi (Montréal / Paris VIII Vincennes Saint-Denis)
Évolution de la notion d’« idéal » dans la théorie des genres poétiques chez Schiller et
Schlegel : essai de reconstruction de l’héritage littéraire de l’idéalisme allemand au XIXe siècle.
18h00 Débats
18h30 Conclusion du colloque par le comité d’organisation
Comité d’organisation :
Capucine Echiffre (Nantes)
Victoire Feuillebois (Aix-Marseille Université)
Aude Jeannerod (Jean Moulin Lyon 3)
Lola Kheyar Stibler (Paris III Sorbonne Nouvelle)
Mathilde Labbé (Sorbonne Paris-IV / Blaise-Pascal, Clermont-Ferrand)
Émilie Pezard (Sorbonne Paris-IV)

The distinguished scholar and artist Stephen Bann is the focus of this collection of essays. Contributors discuss his manifold influence in art history, visual studies, and cultural history, studies of French art and architecture,  histories of the garden, painting in China. Together with a portfolio of Bann’s poem prints.
Contributors include Wolfgang Ernst, Michael Fried, Zhang Hongxing, Michael Charlesworth, Paul Duro,  Martin Bressani And Marc Grignon, Richard Shiff, Jean Louis Shefer and a bibliography of Bann's publications

The article tells the story of a myth-making around an ivory pieces of "unknown musical instrument" from Adam Kirkor's collection, found in Vilnius castle ruins in 1850-x and since then being interpreted as "an ancient ritual instrument of pagan rituals". These pieces appeared to be a drone boxes of a French "musette de cour", built in 1730-1750.

The political autonomy of the human species, in which for Leopardi consists European civilization, has neutralized the ancient naturalistic myths, and replaced the vital conflicts and disorders of the savages and the republics with the social order of the modern nation states. Leopardi suggests instead a return to nature guided by his “ultra-philosophy”, the deconstruction of European modernity from the standpoint of a middling civilization: “our regeneration depends upon an ultra-philosophy, one could say, which knowing things completely and profoundly, brings us closer to nature”. “The life of animals and independent things” must be recognized as the source, norm and goal of social reality. In the context of contemporary global environmental change, Leopardi’s thought can now be rediscovered as a radical ecophilosophy .

Jonatan Meir (Ben Gurion University): "Haskalah and Western Esotericism"

Monday 15th December

The lecture will focus on the physician and poet Justinus Andreas Christian Kerner (18 September 1786 – 21 February 1862) as well as on some still underestimated phenomena within the broader context of the European Enlightenment. A fresh look will be given in particular on the hidden boundaries between the representatives of the Jewish movement Haskalah and the contemporary trends of Western Esotericism.

The nineteenth century realist author was a contradictory figure. He was the focus of literary criticism, but obscured his creative role by insisting on presenting his works as ‘copies’ of reality. He was a celebrity who found himself subservient to publishers and the public, in a newly-industrialised literary marketplace. He was the owner of his work who was divested of his property by imperfect copyright laws, playwrights who adapted his novels for the stage, and sequel-writers. This combination of a conspicuous yet precarious status with a self-effacing attitude was expressed by an image of the author as a plural, Protean subject, possessing the faculty of sympathetic imagination – which the realists incorporated in their works in the form of a series of fictional characters who functioned as ‘doubles’ of the author.

Paraschas focuses on two realists, Honoré de Balzac and George Eliot, and traces this authorial scenario from its origins in the late eighteenth century to its demise in the early twentieth century, examining its presence in the works of E.T.A. Hoffmann, Friedrich Schlegel, Charles Baudelaire and André Gide.

The 2018 album Mickiewicz – Stasiuk – Haydamaky by the Ukrainian folk-rock band Haydamaky is a setting of ten poems by Adam Mickiewicz. The album combines recitations in Polish by the writer Andrzej Stasiuk with parts sung in Ukrainian. This chapter offers a reading of the album in light of its literary sources in Polish and Ukrainian Romanticism and of its historical context, showing a melopoetic tradition of folksong’s political force to which both Mickiewicz and Haydamaky subscribe. Mickiewicz’s Konrad Wallenrod, the source of the oriental ballad Alpuhara (track 4), builds an axis of conflict, articulated in terms of linguistic, religious and poetic genre contrasts between the German, knightly, “Highbrow”, Catholic “West” and the oppressed, conquered, Lithuanian, Pagan “East”, whose priest and folk singer, the wajdelota, is presented as heir to Homer’s lyre. The Crimean Sonnets (tracks 1-3, 5, 7, 8) provide an additional layer to the East/West axis in terms of an ambiguous orientalism, eloquently re-appropriated by the Ukrainian rock band. It is my contention that Mickiewicz’s politically charged melopoesis is here recast as popular music to make a statement on Ukraine’s precarious position between East and West.

David Roberts (1796-1864) y Genaro Pérez Villaamil (1807-1854) fueron dos de los grandes paisajistas del Romanticismo europeo. A través de sus vistas de monumentos, ciudades y paisajes, animadas a menudo con escenas costumbristas, contribuyeron a forjar una imagen romántica de España que puede rastrearse hasta nuestros días.

El presente catálogo, que acompaña a la exposición del mismo nombre celebrada en la Real Academia de Bellas Artes de San Fernando, ofrece nuevas perspectivas sobre el diálogo entre la obra de uno y otro en el contexto del descubrimiento cultural de España, el Norte de África y Oriente Medio por los viajeros artistas del siglo XIX. Empleando un enfoque comparativo, once especialistas encabezados por Claudia Hopkins, comisaria de la muestra y directora del volumen, abordan en los seis textos y las más de 120 fichas que lo integran las trayectorias de ambos pintores desde su primer encuentro en Sevilla en 1833.

Aquí se analiza por primera vez en profundidad la influencia de Roberts sobre Villaamil y se señalan las notables diferencias en la visión que cada uno tenía de España. Para Roberts, se trataba de un país exótico y atemporal, mientras que Villaamil, aun compartiendo la fascinación del escocés por Andalucía, volvió su atención más hacia el norte, desmontando los tópicos presentes en la obra de aquél y ofreciendo la imagen de una España católica que se estaba abriendo al progreso y la modernidad. En la década de 1850, ambos ofrecieron una respuesta similar a los cambios que el progreso estaba operando en sus respectivos países.

El catálogo, que incluye obras inéditas, está profusamente ilustrado con dibujos, pinturas y grabados, pero también con manuscritos y piezas de cerámica que permiten al lector establecer numerosos paralelismos.

Claudia Hopkins es catedrática y directora del Zurbarán Centre for Spanish and Latin American Art en la Durham University. Antes de entrar en Durham en 2020, fue profesora de Historia del Arte en la University of Edinburgh y coeditora de la revista Art in Translation, financiada por la Fundación Getty. Hopkins centra sus investigaciones en el arte español de los siglos XIX y XX y en las relaciones culturales angloespañolas. En 2009 hizo aportaciones muy significativas a la exposición The Discovery of Spain: British Artists and Collectors. Goya to Picasso (National Gallery of Scotland). Además, ha escrito artículos y capítulos de libros, y ha coeditado los volúmenes Pascual de Gayangos: A Nineteenth-Century Spanish Arabist (con C. Álvarez-Millán, 2009), Orientalism and Spain (con A. McSweeney, 2017) y Hot Art, Cold War (2 vols., con I. B. Whyte, 2020).