Romantism

Faire-voir, faire-entendre, faire-croire et faire-rêver sont des marqueurs symptomatiques du jeu des médias, véritables démiurges générateurs de chimères. Aussi le présent ouvrage scrute-t-il le folklorisme médiatique à travers la déchéance et le mal-être que véhiculent les indigénistes haïtiens à l'encontre de la Constitution de 1987 amendée par le biais du double préjugé où cette constitution serait à la fois un produit importé d'un Autre et une invention sans précédent dans l'histoire de la formation sociale haïtienne. Pourtant, les présentes sédimentations révèlent que rarissimes sont les dispositions de la Constitution de 1987 amendée qui ne proviennent de l'une ou l'autre de ses 21 prédécesseurs.

Данная статья посвящена рассмотрению биографии Э. Виже-Лебрен в контексте европейской и русской культур на рубеже XVIII–XIX вв. Целью статьи является выявление характерных
особенностей биографии художника в этот период времени, которые сближают жизненный путь Э. Виже-Лебрен с судьбами художников русского романтизма (О. Кипренского, В. Орловского, В. Тропинина, А. Варнека, С. Щедрина).
Научная новизна состоит в том, что на сегодняшний день биография художника, принадлежащего к направлению сентиментализма, редко рассматривается в связи с биографиями художников-романтиков и потому представляет собой малоизученное явление в искусстве рубежа XVIII–XIX вв. Существует значительная литература, посвященная теме романтического художника (культу творца и гения), но мастера направления сентиментализма обычно не включаются в этот контекст. Более того, публикации, касающиеся искусства Э. Виже-Лебрен, крайне малочисленны на русском языке.
Историографический обзор творчества Э. Виже-Лебрен позволил выявить, во-первых, неоднозначность позиций историков искусства по отношению к женщине-художнице, не самому частому явлению в культуре XVIII–XIX вв., и, во-вторых, большую роль «Воспоминаний» в оценке ее биографии и творчества. Рассмотрение главных периодов творческого пути Э. Виже-Лебрен приводит к мысли о том, что столь непростая и насыщенная событиями биография художницы, относящейся к направлению сентиментализма, вполне сопоставима с биографиями романтических художников. Иными словами, представление об исключительности творческой личности романтика может быть поставлено под сомнение: объяснение данного явления кроется не в специфике романтизма, а в характере самой эпохи.
Итак, жизненный путь Э. Виже-Лебрен демонстрирует определенную общность с судьбами романтиков, поэтому сопоставление биографий художников разных направлений на основе их мемуаров представляет собой важную научную задачу, которая позволит дополнить и переосмыслить стилистические определения на рубеже XVIII–XIX вв. (романтизм, сентиментализм).

The analysis of Elisabeth Vigee Le Brun’s biography in the context of European and Russian culture at the turn of the 18 th –19 th centuries is presented in the article. As it supposed to be, the thesis should be reviewed. So, the main aim of the article is to compare Elisabeth Vigee Le Brun’s biography and life of romantic artists in Russia (Orest Kiprenskii, Vladimir Orlovskii, Vasilii Tropinin, Aleksandr Varnek and Silvestr Shchedrin).
Despite the fact that numerous studies discuss different romantic artists’ biographies, none of them is devoted to comparison between life of sentimental and romantic artists. Besides, there are a few studies on
Elisabeth Vigee Le Brun’s art in Russian.
So, Elisabeth Vigee Le Brun’s life seems similar to the romantic artists’ ones. Therefore, it is important to compare the biographies of different artists in order to supplement and rethink stylistic definitions at the turn of the 18 th –19 th centuries (romanticism, sentimentalism).

ბნელი რომანტიზმი 1 ლიტერატურის ჟანრია, რომელიც მომდინარეობს
ტრანსცენდენტალური ფილოსოფიური მოძღვრებიდან, მისი ფესვები მე-19 საუკუნის
ამერიკაში უნდა ვეძიოთ. ბნელ რომანტიზმში შექმნილ ნამუშევრებზე ნამდვილად
იგრძნობოდა ტრანსცენდენტალიზმის გავლენა, თუმცა მთლიანად მისი იდეებით არ
სულდგმულობდა. ასეთი ნამუშევრები ნაკლებად პოზიტიურია, ხშირად გვესაუბრება
დიდაქტიკური ენით, გვისახავს ადამიანის, ღმერთისა და ბუნების კავშირს და ხშირად
მათ დისჰარმონიას. ედგარ ალან პო იმ ავტორთაგან ერთ-ერთია, რომელსაც ბნელი
რომანტიზმის სახელი უკავშირდება.

In Romanticism, imagination (rather than the concept of the oeuvre) is the true meeting point between writer (as a creator) and reader (as a receptor). Later, along with the disintegration of the 'poeta vates' myth, the place of imagination will be taken over by the text itself, in a modern sense. The writer-reader interaction in Romanticism is governed by two new elements: the game (both as a cosmic pattern and as a reading strategy) and the metaphysical desire (a shared passion with the reader).
Adevărat joc deschis al realităţilor care se întâlnesc din direcţii opuse, joc al scânteilor contradictorii care se unesc într-o flacără uriaşă, raportul dintre creator şi receptor descoperă în romantism infinitatea interpretărilor al căror punct de coincidenţă este totuşi posibil prin empatie. Actul lecturii este în romantism unul al participaţiei. Jocul (ca simbol cosmic şi punere în relaţie a omului cu lumea) şi dorinţa metafizică (pasiunea) stabilesc o nouă rezolvare a interacţiunii scriitor-cititor, interacţiune care ia de acum cotitura spre calea modernităţii. Raportul scriitor-cititor devine unul al potenţării reciproce, al transmiterii unei forţe creatoare originare. Poeta vates.....

Pianist and musicologist Bertrand OTT has requested that I make his work available on my Academia.edu portal. The two articles included in this PDF file were previously unpublished. ABSTRACT (French original by Bertrand Ott) Les ballades de Chopin sont des partitions à la fois énigmatiques et bien connues des pianistes et des mélomanes. L’idée que l’on puisse appliquer à cette oeuvre la notion de « musique à programme » est généralement dénié par la musicologie qui met en avant un Chopin plus intéressé par l’approche musicale pure que par les références littéraires. Pourtant, une anecdote rapporte que Robert Schumann tiendrait de Chopin lui-même que la première et la seconde ballade sont inspirées de poèmes du polonais Mickiewicz, sans d’ailleurs préciser lesquelles. Mais encore une fois, cette référence sera perçue comme une vision romantique et séduisante mais sans fondement avant d’être écartée de la plupart des analyses musicologiques. L’article « Les ballades de Chopin et leur secret polonais » se propose de remettre en question cette opinion communément admise et de démontrer une réelle analogie entre les quatre ballades de Chopin et les poèmes de Mickiewicz préférant une analyse sémantique rigoureuse et détaillée à l’analyse structurale. Dans un deuxième article, « Le romantisme selon Chopin » explorera plus largement les raisons du mystère qui entoure les ballades du compositeur. ABSTRACT (Free English translation by Tibor Szász, edited by Gerard Carter). Chopin’s Ballades are as enigmatic as they are well-known to pianists and music lovers. The idea that they could be regarded as « program music » has been usually rejected by musicologists who have tended to emphasize their purely musical aspects rather than their literary context. Robert Schumann, however, maintained that Chopin himself had stated that the first and the second Ballade were inspired by poems by the Polish poet Mickiewicz, without naming their titles. Yet the majority of musicologists saw this romantic vision of the Ballades as unfounded. Titled « Les ballades de Chopin et leur secret polonais » [Chopin’s Ballades and their Polish secret], the present article endeavors to demonstrate a substantial analogy between the four Ballades of Chopin and the four poems of Mickiewicz analyzed from a semantic rather than an exclusively structural point of view. A second article titled « Le romantisme selon Chopin » will explore the broader context of the mystery surrounding the Polish composer’s Ballades. ABSTRACT (French original by Bertrand Ott). Le romantisme de Chopin ne correspond pas à la vision habituelle du romantisme. Chopin est né en Pologne et s’est exilé en France, aussi le romantisme de Chopin est marqué par une douloureuse solitude. Malgré son accueil chaleureux, la haute société française n’offre pas un cadre épanouissant pour cet homme discret et triste qui préfère fréquenter le cercle restreint de ses amis exilés comme lui et les quelques élèves pianistes qui lui assurent son gagne-pain. C’est dans le Berry, auprès de Georges Sand que Chopin va enfin trouver la paix. Et, c’est au milieu de ces paysages reposants que va éclore la violence des quatre ballades. Souvent regardées comme une énigme d’un point de vue musicologique, ces compositions contrastent avec l’image habituelle d’un Chopin pâle et introverti, dont les valses, mazurkas et polonaises entrainent le public des salons parisiens dans des rêves mélancoliques emplis de nostalgie. Ce jeu si intériorisé semble en telle contradiction avec le jeu passionné et intense que demandent les Ballades qu’il ne les joua pas en public sauf la Troisième. Comme l’exprime si bien Robert Schuman, les oeuvres de Frédéric Chopin sont « des canons enfouis sous des fleurs. " Il faut garder cette ambiguïté à l’esprit lorsque l’on interprète sa musique. Au-delà du mystère et de la discrétion d’un Chopin qui semblait jouer presque pour lui-même, derrière la séduction d’une musique à la fois virtuose, sensuelle et mélancolique, se cache à chaque instant l’intensité et la profondeur d’un homme plein de souffrance, de violence et de passion. ABSTRACT (Free English translation by Tibor Szász, edited by Gerard Carter). Chopin’s romanticism did not fit well with the generally accepted concepts of 19th century romanticism. Chopin was born in Poland and went into exile in France, hence his romanticism was marked by a painful loneliness. Although warmly welcomed by upper class French society, their milieu did not offer the fertile ground for the artistic unfolding of this discreet and sad human being who preferred the small company of his exiled Polish compatriots and that of his own piano students. It is in le Berry in the company of Georges Sand that Chopin found the sought after creative environment. Regarded often as an enigma from a musicological point of view, these compositions stand in sharp contrast to the commonly accepted image of a pale and introverted Chopin whose waltzes, mazurkas and polonaises induced in the Parisian salons melancholic reveries full of nostalgia. This introverted playing seemed to be in such contradiction with the passionate and intense tone demanded by most of the Ballades that Chopin performed only the third one in public. The Ballades of Frédéric Chopin are true « cannons buried under flowers » as aptly characterized by Robert Schumann. Beyond the mystery and discretion of a Chopin whose playing produced a pianissimo barely audible to the audience is hidden the intensity and the spiritual depth of a suffering, forceful and passionate human being.

O paganismo é um movimento religioso contemporâneo que acredita em vários deuses, sendo a natureza sacralizada e cultuada em ritos sazonais, com adaptações para a vida na sociedade moderna. Busca-se a inspiração e reconstrução das antigas religiões pré-cristãs europeias e/ou das tradições indígenas do país e origem dos praticantes. Nosso trabalho buscou compreender como é a realidade no paganismo e chegamos à tese de que a realidade Pagã é mágica. Diferente da tríade magia-religião-ciência, criamos o conceito de magia tríplice para representar a realidade Pagã, o qual se divide em magia ritual, magia simbólica e magia participativa. E tal sistema de pensamento pode ser chamado de magismo. Descobrimos que a magia é o elo fundador e aglutinador do paganismo. E que, portanto, a magia no paganismo é um recurso, ao invés de lixeira. As respostas diversas dadas por nossos 40 entrevistados nos revelaram que é o mito que desempenha o papel da crença e distingue as religiões Pagãs. Para chegar a essas conclusões, percorremos um longo caminho. Utilizamos os conceitos de “programas de verdade” e “imaginação constituinte”, de Paul Veyne; investigamos a religião como vida cotidiana, com Graham Harvey; e usamos a ética corpórea de Ian Jamison, em conjunto com os estudos sobre magia de Hanegraaff, Pasi, Thomas e Mauss. Então, fomos aplicando na investigação da origem de formação do paganismo no movimento romântico, que era nostálgico de um passado desaparecido (Pagão), buscando uma união orgânica entre pessoas, cultura e natureza; e na nova forma de magia que surge com a secularização, que busca uma união mística com o divino, combinado ao espírito de otimismo e fé no progresso e aperfeiçoamento humano. Tendo entendimento desse contexto mundial que comporta o mito e o rito Pagão contemporâneo, fomos para o Brasil. Investigamos oito religiões Pagãs: wicca, druidismo e recon, heathenismo, helenismo, xamanismo, espiritualidade da Deusa, bruxarias e piaganismo. Fizemos pesquisa de campo em quase todas as regiões do país, com exceção do Norte, visitando oito estados, pesquisa bibliográfica, documental e entrevistas, sendo quatro presenciais e 36 questionários abertos com 31 perguntas. Os entrevistados são de todas as regiões do país, distribuídos em 15 estados. Foram priorizadas pessoas com mais tempo de prática e com caráter significativo no desenvolvimento, divulgação e atuação do paganismo contemporâneo no Brasil. Todos os dados possibilitaram vermos a magia como o “processo” de Whitehead. Ela é a imaginação, o encanto, a magia que torna a vida real, que possibilita que a crença em um conjunto de mitos una um grande número de estranhos, que possibilita que a prática de um conjunto de gestos crie uma realidade e insira seus praticantes numa comunidade, que se perpetua pelo mesmo processo de experienciação dos sujeitos.

Există în cadrul unor teorii asupra stilurilor, mai multe tipologii de clasificare care ar putea uşura o concepţie unitară şi de perspectivă asupra acestora, clasificări ce renunţă la statutul rigid al noţiunii de stil şi fluidizează semnificaţia acestuia. Acest articol se bazează pe idea că ființa umană se raportează la lumea înconjurătoare în trei feluri: prin simțuri, prin intelect și prin sensibilitate. Forma pe care o dă cunoașterii personale a lumii depinde de amestecul celor trei modalități de receptare a ei, voința fiind facultatea spirituală care dirijează omul preponderent către una dintre ele. De aici iau naștere cele trei atitudini personale de tip empirist, raționalist sau empatic, lucru care se reflectă și în artă.

This paper tries to determine the nature of contemplation in Schiller's aesthetics. It argues that contemplation takes an antinomical form in the case of tragic art and a synthetical form when the subject sees a "living form". The Kantian sources of both forms of contemplation are briefly sketched. The main thesis is that Kant's Critique of Judgement arrives at a "negative presentation" of infinity in the Analytic of the Sublime and an "indirect presentation" of infinitude in the Analytic of the Beautiful, whereas Schiller, through his concept of "living form", makes the positive appearance of the infinite in the finite possible.

Scene of the encounter between the poet and the Muse in the poem Urania by Alessandro Manzoni in the light of the classical tradition.
Structural analysis

Abstract: The short poem Urania is the last neoclassical work of Alessandro Manzoni, one of the greatest
representatives of Italian Romanticism. This paper analyses the chance meeting between Pindar and
the Muse Urania. It examines whether this scene is structured in the same way as those in which chance
meetings between poets and divinities take place in ancient literature. My analysis is inspired by
research conducted by Tomasz Mojsik — a Polish scholar in history and classical philology — on the role
of the Muses in Ancient Greek culture.
Keywords: Manzoni, Neoclassicism, Urania, Pindar, classical tradition.

In the article the author analyzes selected poems by Kazimiera Komierowska. The text begins with the delineation of the situation of women as authors in the 19th century. Thereafter a brief biography of Komierowska is presented. In the last part of the article three texts by Komierowska (Los kobiety, Troistość przeznaczeń kobiety, Bóg-niewiasta) are subject to an analysis in the context of feminism.

"S’il est un point sur lequel les chercheurs sont généralement d’accord, c’est que le philhellénisme, qui prit dans les années 1820 la forme d’un vaste courant de sympathie à la cause de libération grecque, fut l’une des premières manifestations de l’opinion publique à une échelle véritablement européenne. Ce n’est que tout récemment que des questions ont surgi quant à l’ampleur réelle du phénomène et quant à son impact effectif sur le cours des événements politico-militaires. L’existence, longtemps méconnue en Occident, d’un philhellénisme oriental à la fois russe et balkanique, vient compliquer l’image d’un mouvement beaucoup plus complexe et moins unilatéral qu’on ne l’a longtemps cru, où se mêlent aspects culturels et politiques, préoccupations humanitaires et visées économiques.

L’insurrection grecque de 1821 suscita naturellement l’enthousiasme des milieux libéraux européens, encore opprimés par la politique réactionnaire de la Sainte-Alliance. Ce lien entre le philhellénisme et le libéralisme fut accrédité presque unanimement par l’historiographie européenne, et cela jusqu’à nos jours. A l’encontre de cet avis largement répandu, notre contribution vise à montrer qu’il a existé également un philhellénisme conservateur qui s’est manifesté dans des cercles légitimistes occidentaux, russes ou balkaniques de l’époque. Des penseurs comme Alexandre Stourdza, bras droit du comte Capodistrias, ont tenté de concilier leurs sympathies philhellènes avec des positions favorables à la Sainte-Alliance.

Basée sur de multiples documents inédits tirés des archives russes et ukrainiennes, cette analyse interprète le philhellénisme dans le contexte de l’Europe de la Restauration. Elle s’attache également à en faire ressortir les composantes politiques, diplomatiques et religieuses.


Bibliographie sélective :

- Stella GHERVAS, "Alexandre Stourdza (1791-1854). Un intellectuel orthodoxe face à l’Occident", Genève, Ed. Suzanne Hurter, 1999.

- Stella GHERVAS, «Alexandru Sturza ou la quête de l’espace orthodoxe», "Bulletin de l’Association internationale d’études du sud-est européen", n° 31, 2001, pp. 53-60.

- Stella GHERVAS, «Alexandre Stourdza sur la scène européenne: autopsie d'un échec», "Revue Roumaine d'Histoire", t. XXXIX, n° 1-4, 2000, pp. 107-148.

“Fragmanların idare ettiği bir kitaba, baştan sona, gerçekler ve kaprisler eşlik eder” diyecektir Emil Cioran, aforizmalar halinde yazılmış kitaplar için; peki, “hangisinin fikir hangisinin kapris olduğuna nasıl karar vermeli, onları süzgeçten nasıl geçirmeli?” (Anathemas and Admirations giriş). Bunun cevabını veremiyoruz ama sürekli arıyoruz. 18. yüzyılın Romantiklerinden olan Georg Friedrich Philipp von Hardenberg’in (1772-1801), (1798’de kendisine mahlas olarak belirlediği) namıdiğer Novalis’in çeşitli başlıklar altında yazdığı “fragmanlar”ından (ve ölmeden bir yıl önceki [1800] günce notlarından) oluşan Novalis’ten Aforizmalar’da (Say, 2018) çoğunlukla kaprislerle değil düşüncelerle, kimi zaman ilkel ama hızla akıp giden, her şeye dokunan düşüncelerle karşılaşıyoruz.

Abstrak: Penelitian ini bertujuan mendeskripsikan hakikat roman sacuwil sebagai karya sastra, mendeskripsikan kondisi lingkungan cerita tersebut lahir, yakni penerbit dan pengarangnya, dan mendeskripsikan nilai dan fungsi roman sacuwil bagi pembacanya. Untuk mencapai ketiga hal tersebut digunakan pendekatan struktural dan pendekatan sosiologi sastra. Sumber data penelitian ini adalah delapan puluh tiga cerita Roman Sacuwil hasil karya sepuluh pengarang produktif yang terbit tahun 2001—2005. Hasil penelitian menunjukkan bahwa hakikat roman sacuwil merupakan sastra remaja yang memiliki mutu populer. Unsur-unsur pembangunnya diolah secara ngambang. Meskipun ada beberapa karya yang diolah dengan bagus, namun tidak mampu mengangkat roman sacuwil. Roman sacuwil memiliki ciri khusus, yakni dihuni oleh tokoh muda-mudi, bercerita tentang cinta dan persahabatan. Para pengarang roman sacuwil sebagian besar hanya mengarang di rubrik tersebut. Nilai-nilai persahabatan muda-mudi yang terkandung dalam roman sacuwil merupakan media pendidikan bagi muda-mudi dalam membentuk karakter pergaulan muda-mudi Jawa yang jauh dari pergaulan bebas seperti di Barat.
Kata-Kata Kunci: sastra remaja, hakikat, nilai,fungsi
Abstract: This paper aims to describe the essence of roman sacuwil as a literary work, background of roman sacuwil i.e. the publisher and the author, and value and the function of roman sacuwil for the reader. To capture those problems, structural approach and the theory of sociology of literature are used in the analysis. The data of this research are eighty three works of roman sacuwil, written by ten authors that published in 2001—2005. The research shows that roman sacuwil is a teenage literature which is potentially enough to be quite popular. However, the elements of the story in roman sacuwil are not written well, that make the development indolence. Roman sacuwil has specific characteristics such as the character is teenager and the theme is about love and friendship. Therefore, roman sacuwil has  its own rubric in Jaya Baya. The glorious value of friendship among teenager is a media to educate and build a good characteristic of the young generations.
KeyWords:teenage literature, the essence, the value, the function.

Pourquoi Deleuze cite-t-il les Romantiques anglais - Blake, Coleridge - dans ses livres sur le cinéma ? Et quel lien existe-t-il entre ces références textuelles et l'héritage de Mai 68 ? Le romantisme visionnaire qui en découle transforme aussi bien le diptyque composé de L'Image-mouvement et de L'Image-temps en un essai de philosophie politique.
"Les enfants de Mai 68", in D. Zabunyan, Les Cinémas de Gilles Deleuze (Bayard, 2011, épuisé), p. 143-160.

Nosso argumento é: 1) Gonçalves de Magalhães e os primeiros Românticos em geral escreveram suas poesias e artigos no interior do “tempo histórico” moderno, em especial do Sattelzeit (17501850), e, 2) Suas reflexões são constituídas no Sattelzeit e são determinadas por um “clima histórico” que chamamos de melancólico, o que significa dizer um horizonte
caracterizado por sentimentos como a contrição, cautela e medo radicais, a desesperança e o pessimismo, e, no limite, o desespero em relação à existência humana, num sentido mais
amplo, e ao futuro do Império do Brasil, mais especificamente. Assim, dividiremos nosso texto em 3 partes. No primeiro momento, discutiremos as noções de “tempo histórico” e de
Sattelzeit. Logo em seguida, analisaremos os temas “clima histórico”, “clima histórico” no Império do Brasil, e, por fim, na terceira parte, tematizaremos o pessimismo no interior da
poesia de Magalhães, historicizando-o, ou seja, descrevendo-o
como próprio ao seu “tempo histórico”, a modernidade, e ao seu “clima histórico” melancólico.

The Romanian contemporary culture lays still under the myth of poet Eminescu, although few people continue reading his poetry, even fewer critics manage to say something new on it and pupils seldom learn any of this works. It is a sad inheritance of past ages when it was postulated that Eminescu represents the ”genius” of Romanian culture and that goes undiscussed even now, goes unquestioned and misunderstood. Hence, a huge gap between the scholarly narrative and the societies' incentives to receive his legacy, to identify with it and thus, to promote it. This short article is not a plea for the poet Eminescu, but for a proper understanding and evaluation of his work in present days.

In the article I analyze the concept of cyclical time as it appears in Maj by Karel Hynek Mácha. This type of time, described as “Holy time” according to Eliade’s definition, is compared with the linear (historical) time created by Adam Mickiewicz in one of his most influential works, namely Konrad Wallenrod. The different creation of time in the text of the Czech romantic prove that May is an original work of art, not only a compilation of themes and motifs borrowed from Polish romantic literature, as it is often claimed.

Presenciado e relatado duas vezes na novela sentimental Menina e Moça, do autor português do século XVI, Bernardim Ribeiro, o episódio do canto do rouxinol,  seguido da sua morte e queda num ribeiro, é talvez um dos mais marcantes e comoventes da História da Literatura Portuguesa, e, segundo Mário Martins, dá “o tom e o símbolo” à obra. Consideramos que, conjuntamente com o título e o incipit, este contribui igualmente para a fortuna literária da novela, que ocorre desde a sua publicação.
No século XIX, em pleno Romantismo, em Viagens na Minha Terra, de Almeida Garrett, o narrador, ao ouvir o canto de rouxinóis num cenário natural paradisíaco, evoca imediatamente o rouxinol de Bernardim, como este ficou conhecido. Passados três séculos, num contexto histórico e cultural completamente diferentes, os rouxinóis de Garrett assumem naturalmente valores e funções igualmente diferentes daqueles que a novela de Bernardim evidencia, mas o encanto continua talvez na mesma proporção. De tal forma que, para as outras personagens da história e para gerações de leitores, a protagonista e a novela de que faz parte passaram a ser conhecidas como “Menina dos Rouxinóis” ou “Joaninha dos Rouxinóis”.
Os dois casos oferecem  múltiplos significados para explorar e  desenvolver.

Palavras-chave: Bernardim Ribeiro; Almeida Garrett; Menina e Moça; Viagens na Minha Terra.

Analisamos o livro de poesias de Gonçalves de Magalhães, Suspiros poéticos e saudades, publicado em Paris em 1836.
Nosso argumento fundamental é o de que Magalhães evidenciou e intensificou o “clima histórico” caracterizado
pela melancolia próprio à modernidade e ao Sattelzeit e, em nosso caso, ao período regencial (1831-1840). Enfim, veremos que Magalhães e os primeiros românticos em geral experimentaram a modernidade e sua aceleração radical,
intensificando o seu “clima histórico” específico, o da melancolia, determinado (a) pelo que podemos chamar
de oscilação sentimental entre certo otimismo e esperança, por um lado, e pessimismo e desesperança, por outro, e (b) pela insistência em projetos positivos, mesmo que estes nascessem, por sua vez, de uma profunda desconfiança no que tange à sua consecução.

We look at Gonçalves de Magalhães’ poetry book Suspiros poéticos e saudades (Poetic sighs and longing), published in
Paris in 1836. Our basic argument is that Magalhães highlighted and enhanced the “historical atmosphere” characterized by melancholy that befits modernity and the Sattelzeit, and, in our case, the Brazilian regency era (1831-1840). We will see that Magalhães and the first romantics generally experienced modernity and its radical acceleration, thus intensifying its
specific “historical atmosphere”, one of melancholy, determined by (a) what we can call a mood swing between a certain
optimism and hope, on the one hand, and pessimism and despair, on the other hand, and (b) insistence on positive projects, even though these stem from a deep mistrust
towards its execution.

Inicialmente ligado ao universo moral e religioso e ao carácer psicológico de grande parte da ficção e da literatura do duplo no séc. XIX, a estética do duplo oitocentista foi plenamente revisitada em The New York Trilogy de Paul Auster, sofrendo importantes modificações.
(MA 150 pp.)

Artykuł sytuuje się w obrębie kulturoznawstwa rozumianego jako opisywanie wartości i uczuć przejawiających się za pośrednictwem różnorakich ludzkich wytworów. Przeprowadzona analiza koncentruje się na kulturze, której trzonem jest pielęgnacja inności. Źródłami są przede wszystkim publikacje antygenderowe, dopełnione refleksją nad filozofią Slavoja Žižka oraz nad polską recepcją teorii queer. W tekście została postawiona teza, że wysoka ranga pary tożsame–inne jest w jakiejś mierze cechą wspólną zarówno strony antygenderowej (mężczyzna–kobieta), jak i queerowej (system–nienormatywność).


This article is located within the field of culture studies, which is understood here as describing the values and feelings manifested in various human creations. The author analyses a culture whose core is the cultivation of otherness. As sources, the author primarily uses anti-gender publications, complemented by reflection on the philosophy of Slavoj Žižek and the Polish reception of queer theory. The author advances the thesis that the high rank accorded to the same–other pair is to some extent a common feature of both the anti-gender side (male–female) and the queer side (system–non-normativity).

In this volume a team of three dozen international experts presents a fresh picture of literary prose fiction in the Romantic age seen from cross-cultural and interdisciplinary perspectives. The work treats the appearance of major themes in characteristically Romantic versions, the power of Romantic discourse to reshape imaginative writing, and a series of crucial reactions to the impact of Romanticism on cultural life down to the present, both in Europe and in the New World. Through its combination of chapters on thematic, generic, and discursive features, Romantic Prose Fiction achieves a unique theoretical stance, by considering the opinions of primary Romantics and their successors not as guiding »truths« by which to define the permanent »meaning« of Romanticism, but as data of cultural history that shed important light on an evolving civilization.

Sturm und Drang, pokret u kojem je nastao roman Jadi mladog Vertera, nastao je kao rekacija na prosvetiteljstvo, a prepoznatljiv je po okrenutosti srcu I dusi, izlivima snaznih emocija, naglasenom subjektivizmu I individualizmu, snaznom osecanju prirode, religioznom osecaju, filozofsko-kontemplativnom duhu, sumornoj melanholiji. Sve ove osobine opisuju I pomenuti roman koji tematizuje nesrecnu sanjalaku ljubav koja se zavrsava samoubistvom gl. lika, Vertera. Kao reprezentativno delo Sturm und Dranga, Jadi mladog Vertera potkopavaju mnoge prosvetiteljske ideje, a mi cemo u daljem radu nastojati da pokazemo kako je kritika prosvetiteljstva sprovedena u pomenutom romanu. Dok se prosvetiteljstvo snazno oslanja na racionalni princip I propagira razum kao jedino ispravno sredstvo rasudjivanja, Gete u Verteru racionalni princip zamenjuje iracionalnim I proglasava srce za pravog vodica kroz zivot. On na jednom mestu kaze: 60 " sreca nasa zavisi iskljuciovo od srca nasega " cime se sva blagodet u zivotu pripisuje osecanjima I negovanju emocija, nasuprot prosvetiteljskoj ideji da jedino zdravorazumsko rasudjivanje ocisceno od afekta moze coveku da donese srecu. Verter brizljivo vodi racuna o svom scu I ispunjava mu svaku zelju a citav njegov misaoni svet usredsredjen je na pracenje sopstevih emocija I ugadjnje srcu. Ovakvom preorijentacijom sa racionalnog principa na emotivni izvrsena je kritika prosvetiteljskih postaviki koje zanemaruju osecanja I teze dominaciji cistog razuma. Emotivni sklop I osecajni svet covekov ovde su mnogo vazniji nego njegovo obrazovanje, znanje, reputacija. V. kaze:104 " ono sto ja znam, to svak znati moze,a srce moje, njega imam ja jedini " Emotivna inteligencija, kao sredstvo induvidualizacije I izgradnje jedinstvenog

This article aims to introduce the theory of a German physician and so-called „wild psychoanalyst” Georg Groddeck. During the First World War, after contacting Sigmund Freud, Groddeck has started to develop the psychoanalytic theory in scientific, as well as in his literary writings. In 1923 he published a novel entitled The Book of the It (Das Buch vom Es), in which he discussed and reinterpreted Freud’s theory. By introducing the category of the „It” (das Es), Groddeck aimed to enlarge Freud’s notion of the unconscious, which he saw as too much restricted and reduced to what the Viennese psychoanalysts understood as conscious and preconscious. In the article, the author points out the importance of the discussions between Freud and Groddeck started as early as in 1917 in their letters. The publication of The Book of the It coincides with Freud’s treatise The Ego and the Id (Das Ich und das Es) written the same year. The author analyses the similarities, as well as the differences between Freud’s and Groddeck’s notion of the It (das Es). Groddeck’s theory is presented in the light of German philosophical and literary tradition. The article addresses the issue of Groddeck modernist writing strategies, such as interfering psychoanalysis with literature and with the different life-writing genres, which are seen as the author’s way to create a new language in the scientific discourses of his time. The author points out the importance of two main categories in Groddeck writings, which have animated the whole of his theory. The first one is a category of imagination deeply rooted in romanticism, the second is self-analysis related to the modernist understanding of autobiography. If the first one concerns Groddeck’s general doubt in the objectivity of science, especially in the linear progress in medicine, the second is linked to his conviction that every discourse — not only literary but also philosophic or psychoanalytic, has an autobiographic, thus intimate dimension.