Pub Date : 2018-02-07DOI: 10.18778/1505-9065.13.05
Edyta Kociubińska
“Eugène Delacroix and his Passions” Summary – The paper is devoted to Eugène Delacroix, the greatest French Romantic painter, who combines the “external cold” and the “inner fire”, as described by René Huyghe. An analysis of selected fragments of his Journal brings to the fore Delacroix’s literary and musical passions and their influence on the artist’s painting.
{"title":"Eugène Delacroix et ses violons d’Ingres","authors":"Edyta Kociubińska","doi":"10.18778/1505-9065.13.05","DOIUrl":"https://doi.org/10.18778/1505-9065.13.05","url":null,"abstract":"“Eugène Delacroix and his Passions” Summary – The paper is devoted to Eugène Delacroix, the greatest French Romantic painter, who combines the “external cold” and the “inner fire”, as described by René Huyghe. An analysis of selected fragments of his Journal brings to the fore Delacroix’s literary and musical passions and their influence on the artist’s painting.","PeriodicalId":33181,"journal":{"name":"Acta Universitatis Lodziensis Folia Litteraria Romanica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81181521","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-02-07DOI: 10.18778/1505-9065.13.14
T. Kaczmarek
“Between Art and Craft – a Quest for the Esthetics of Grand-Guignol Theater” Summary – The Grand-Guignol theater is regarded as a common literary genre having nothing in common with the real art. Certainly repertoire of this “bloody scene” was a popular fraction of the boulevard theater. The procurers of a sensation competed in showing images of violence to flatter the tastes of the middle class eager for blood, human remains, gouged out eyes, scream, wheezing and other “special effects”. Nevertheless, authors associated with this movement also created a new aesthetic which was inspired by the achievements of such classics as Guy de Maupassant and Edgar Allan Poe. They were focused on the common goal: to scare the audience. However, they were rather oriented on the psychological dimension of the fear than on the bloody scenes of violence. New playwrights have found in their brilliant predecessors not only a theme of mystery and horror but also have transplanted their prosaic formal measures on the theatrical ground. The dramas were created concise in the form in which the pressure was meant to lead, according to the classical rules, through the point of culmination up to the final solution. In this article the Author presents the quests of writers who have laid down the foundations of the characteristic “theater of cruelty”.
{"title":"Entre l’art et l’artisanat, ou en quête de l’esthétique du Grand-Guignol","authors":"T. Kaczmarek","doi":"10.18778/1505-9065.13.14","DOIUrl":"https://doi.org/10.18778/1505-9065.13.14","url":null,"abstract":"“Between Art and Craft – a Quest for the Esthetics of Grand-Guignol Theater” Summary – The Grand-Guignol theater is regarded as a common literary genre having nothing in common with the real art. Certainly repertoire of this “bloody scene” was a popular fraction of the boulevard theater. The procurers of a sensation competed in showing images of violence to flatter the tastes of the middle class eager for blood, human remains, gouged out eyes, scream, wheezing and other “special effects”. Nevertheless, authors associated with this movement also created a new aesthetic which was inspired by the achievements of such classics as Guy de Maupassant and Edgar Allan Poe. They were focused on the common goal: to scare the audience. However, they were rather oriented on the psychological dimension of the fear than on the bloody scenes of violence. New playwrights have found in their brilliant predecessors not only a theme of mystery and horror but also have transplanted their prosaic formal measures on the theatrical ground. The dramas were created concise in the form in which the pressure was meant to lead, according to the classical rules, through the point of culmination up to the final solution. In this article the Author presents the quests of writers who have laid down the foundations of the characteristic “theater of cruelty”.","PeriodicalId":33181,"journal":{"name":"Acta Universitatis Lodziensis Folia Litteraria Romanica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88537369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-02-07DOI: 10.18778/1505-9065.13.04
Marta Sukiennicka
“Portrait of the Artist as a Young Bearded Man: Charles Nodier’s Le Peintre de Saltzbourg” Summary – Charles Nodier was one of the leading advocates of the fraternity of artists in the 1830s, but his experience of life and work in artistic circles embracing writers, painters and composers was not limited to his own literary salon at the Arsenal. Already as a young man, Nodier moved in the circle of Méditateurs, a group started at the beginning of the 19th century by rebellious former students of Jacques-Louis David. This experience left its mark on Nodier’s work: his novel, Le Peintre de Saltzbourg (1803) reveals a certain affinity with the aesthetic doctrines of Maurice Quai and Méditateurs. This forgotten episode of the history of Romanticism was brought back to memory in 1832 by the republication of the novel in Œuvres de Charles Nodier, and by the contemporary critics, who compared Méditateurs to Jeunes-France, a popular artistic cenacle of the day.
查尔斯·诺迪尔是19世纪30年代艺术家兄弟会的主要倡导者之一，但他在包括作家、画家和作曲家在内的艺术界的生活和工作经历并不局限于他在阿森纳的文学沙龙。早在年轻的时候，诺迪埃就加入了msamdiaturs的圈子。msamdiaturs是19世纪初由雅克·路易斯·大卫(Jacques-Louis David)以前的叛逆学生发起的团体。这段经历在诺迪尔的作品中留下了印记:他的小说《萨尔茨堡的Peintre de Saltzbourg》(1803)显示出他与莫里斯·凯(Maurice Quai)和姆萨迪特乌斯(massadiaturs)的美学学说有一定的亲缘关系。这段被遗忘的浪漫主义历史在1832年被重新唤起人们的记忆，因为这本小说在Œuvres de Charles Nodier出版社再版，而且当时的评论家们把《m - -法兰西》(jeune - france)与当时流行的艺术奇迹相提并论。
{"title":"Portrait de l’artiste en jeune barbu : Le Peintre de Saltzbourg de Charles Nodier","authors":"Marta Sukiennicka","doi":"10.18778/1505-9065.13.04","DOIUrl":"https://doi.org/10.18778/1505-9065.13.04","url":null,"abstract":"“Portrait of the Artist as a Young Bearded Man: Charles Nodier’s Le Peintre de Saltzbourg” Summary – Charles Nodier was one of the leading advocates of the fraternity of artists in the 1830s, but his experience of life and work in artistic circles embracing writers, painters and composers was not limited to his own literary salon at the Arsenal. Already as a young man, Nodier moved in the circle of Méditateurs, a group started at the beginning of the 19th century by rebellious former students of Jacques-Louis David. This experience left its mark on Nodier’s work: his novel, Le Peintre de Saltzbourg (1803) reveals a certain affinity with the aesthetic doctrines of Maurice Quai and Méditateurs. This forgotten episode of the history of Romanticism was brought back to memory in 1832 by the republication of the novel in Œuvres de Charles Nodier, and by the contemporary critics, who compared Méditateurs to Jeunes-France, a popular artistic cenacle of the day.","PeriodicalId":33181,"journal":{"name":"Acta Universitatis Lodziensis Folia Litteraria Romanica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81498671","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-02-07DOI: 10.18778/1505-9065.13.11
J. R. V. Rejchwald
{"title":"Un Pygmalion moderne. L’artiste aux limites de l’art dans \"L’OEuvre\" d’Émile Zola","authors":"J. R. V. Rejchwald","doi":"10.18778/1505-9065.13.11","DOIUrl":"https://doi.org/10.18778/1505-9065.13.11","url":null,"abstract":"","PeriodicalId":33181,"journal":{"name":"Acta Universitatis Lodziensis Folia Litteraria Romanica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86851175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-02-07DOI: 10.18778/1505-9065.13.15
Z. Naliwajek
-
-
{"title":"Mallarmé et Whistler","authors":"Z. Naliwajek","doi":"10.18778/1505-9065.13.15","DOIUrl":"https://doi.org/10.18778/1505-9065.13.15","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":33181,"journal":{"name":"Acta Universitatis Lodziensis Folia Litteraria Romanica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83484031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-02-07DOI: 10.18778/1505-9065.13.12
Anna Kaczmarek‐Wiśniewska
“Women Painters in Emile Zola’s Novels and Short Stories: Artisans or Artists?” Summary – Art is considered by Emile Zola as one of the crucial values, as well in his life as in his work. It appears there in many different ways: practical (collecting paintings, friendship with artists) and theoretic (critical writings on art). One of the consequences of the author’s passion for art are literary characters of male and female painters in several novels of his Rougon-Macquart series and some of his short stories. The paper focuses on a few characters of women painters, taking into consideration Zola’s opinion about female creation, its position and its value compared to the work of men. Christine Hallegrain from The Masterpiece, Clotilde Rougon from Doctor Pascal and Mrs Sourdis from an eponymic short story are used to prove that even the most gifted woman is not able to achieve the level of a male performance, as the value of the genuine art consists of the very element of male genius. This is why women painters can never be considered as artists, they are always just artisans.
{"title":"Les femmes peintres dans les romans et les nouvelles zoliennes : artisanes ou artistes ?","authors":"Anna Kaczmarek‐Wiśniewska","doi":"10.18778/1505-9065.13.12","DOIUrl":"https://doi.org/10.18778/1505-9065.13.12","url":null,"abstract":"“Women Painters in Emile Zola’s Novels and Short Stories: Artisans or Artists?” Summary – Art is considered by Emile Zola as one of the crucial values, as well in his life as in his work. It appears there in many different ways: practical (collecting paintings, friendship with artists) and theoretic (critical writings on art). One of the consequences of the author’s passion for art are literary characters of male and female painters in several novels of his Rougon-Macquart series and some of his short stories. The paper focuses on a few characters of women painters, taking into consideration Zola’s opinion about female creation, its position and its value compared to the work of men. Christine Hallegrain from The Masterpiece, Clotilde Rougon from Doctor Pascal and Mrs Sourdis from an eponymic short story are used to prove that even the most gifted woman is not able to achieve the level of a male performance, as the value of the genuine art consists of the very element of male genius. This is why women painters can never be considered as artists, they are always just artisans.","PeriodicalId":33181,"journal":{"name":"Acta Universitatis Lodziensis Folia Litteraria Romanica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85230947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-02-07DOI: 10.18778/1505-9065.13.02
W. Malinowski
{"title":"Théodore de Banville : artiste ou artisan ?","authors":"W. Malinowski","doi":"10.18778/1505-9065.13.02","DOIUrl":"https://doi.org/10.18778/1505-9065.13.02","url":null,"abstract":"","PeriodicalId":33181,"journal":{"name":"Acta Universitatis Lodziensis Folia Litteraria Romanica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90398996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-02-07DOI: 10.18778/1505-9065.13.06
Maria Gubińska
Eugene Fromentin belongs to those outstanding artists who achieved successes in both painting and literature. In his epoch, he was greatly successful thanks to his paintings depicting Algerian nature and customs of that country. A talented writer, fascinated with orientalism, he travelled to Algeria and Egypt in order to search for invigorating impulses for his own imagination, to exploit them artistically and imaginatively as a vast space of sundry possibilities. From his travels to the East, Fromentin brought with him paintings being expressions of his solitary disposition and ‘supplemented’ his painting achievements in his unique way by publishing three travel diaries, A Summer in the Sahara (1857), A Year in Sahel (1859) and Notes from the Journey to Egypt (1881). In the preface to his second travel book he wrote that the objective of his ‘orientalising’ writing was not to restate the painting impressions but to express those feelings that only words can express. In our paper we want to show Fromentin as a painter, writer, traveller, art critic, a man of many talents, undeservedly forgotten, for whom painting was an impulse for creating multidimensional works.
{"title":"Eugène Fromentin, un artiste complet ?","authors":"Maria Gubińska","doi":"10.18778/1505-9065.13.06","DOIUrl":"https://doi.org/10.18778/1505-9065.13.06","url":null,"abstract":"Eugene Fromentin belongs to those outstanding artists who achieved successes in both painting and literature. In his epoch, he was greatly successful thanks to his paintings depicting Algerian nature and customs of that country. A talented writer, fascinated with orientalism, he travelled to Algeria and Egypt in order to search for invigorating impulses for his own imagination, to exploit them artistically and imaginatively as a vast space of sundry possibilities. From his travels to the East, Fromentin brought with him paintings being expressions of his solitary disposition and ‘supplemented’ his painting achievements in his unique way by publishing three travel diaries, A Summer in the Sahara (1857), A Year in Sahel (1859) and Notes from the Journey to Egypt (1881). In the preface to his second travel book he wrote that the objective of his ‘orientalising’ writing was not to restate the painting impressions but to express those feelings that only words can express. In our paper we want to show Fromentin as a painter, writer, traveller, art critic, a man of many talents, undeservedly forgotten, for whom painting was an impulse for creating multidimensional works.","PeriodicalId":33181,"journal":{"name":"Acta Universitatis Lodziensis Folia Litteraria Romanica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81012504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-02-07DOI: 10.18778/1505-9065.13.16
Maja Pawłowska
{"title":"Andrzej Rabsztyn, \"L’hybridité du roman français à la première personne\" (1789-1820), Katowice, Wydawnictwo Uniwersytetu Śląskiego, 2017, 242 pages","authors":"Maja Pawłowska","doi":"10.18778/1505-9065.13.16","DOIUrl":"https://doi.org/10.18778/1505-9065.13.16","url":null,"abstract":"","PeriodicalId":33181,"journal":{"name":"Acta Universitatis Lodziensis Folia Litteraria Romanica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73507183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-02-07DOI: 10.18778/1505-9065.13.03
Tomasz Szymański
“Each Mind is a Masonˮ: the Royal Art and the Idea of Universal Religion in 19th Century French Literature Summary – Masonic Royal Art, combining science and philosophy with spiritual research and moral improvement, radiates throughout the whole 19th century, which is the successor of both rationalist Enlightenment thought and 18th century illuminism. One of the key ideas of Freemasonry is the “Religion in which all Men agree” mentioned in Anderson’s Constitutions. The idea of a universal religion, referring to a primal revelation or taking the form of natural religion, has numerous variations in the 19th century, formed in contact with romantic literature (Madame de Staël), social utopias (Saint-Simonianism) or humanitarianism (Pierre Leroux). The aim of the article is to show the role played in this process by Freemasons and the influence they have exerted on other authors reflection on religion.
《每个心灵都是一个共济会——19世纪法国文学中的皇家艺术与普世宗教思想》综述——共济会皇家艺术将科学和哲学与精神研究和道德提升相结合，辐射整个19世纪，是理性主义启蒙思想和18世纪光明主义的继承者。共济会的关键思想之一是安德森宪法中提到的“所有人都同意的宗教”。普遍宗教的概念，指的是原始的启示或采取自然宗教的形式，在19世纪与浪漫主义文学(Madame de Staël)，社会乌托邦(saint - simonanism)或人道主义(Pierre Leroux)的接触中形成了许多变化。本文的目的是展示共济会在这一过程中所发挥的作用，以及他们对其他作者的宗教反思所产生的影响。
{"title":"« Chaque esprit est maçon » : l’Art Royal et l’idée de religion universelle dans la littérature française du XIXe siècle","authors":"Tomasz Szymański","doi":"10.18778/1505-9065.13.03","DOIUrl":"https://doi.org/10.18778/1505-9065.13.03","url":null,"abstract":"“Each Mind is a Masonˮ: the Royal Art and the Idea of Universal Religion in 19th Century French Literature Summary – Masonic Royal Art, combining science and philosophy with spiritual research and moral improvement, radiates throughout the whole 19th century, which is the successor of both rationalist Enlightenment thought and 18th century illuminism. One of the key ideas of Freemasonry is the “Religion in which all Men agree” mentioned in Anderson’s Constitutions. The idea of a universal religion, referring to a primal revelation or taking the form of natural religion, has numerous variations in the 19th century, formed in contact with romantic literature (Madame de Staël), social utopias (Saint-Simonianism) or humanitarianism (Pierre Leroux). The aim of the article is to show the role played in this process by Freemasons and the influence they have exerted on other authors reflection on religion.","PeriodicalId":33181,"journal":{"name":"Acta Universitatis Lodziensis Folia Litteraria Romanica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84499062","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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