Pub Date : 2018-08-21DOI: 10.1515/9783110536690-015
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Pub Date : 2018-08-21DOI: 10.1515/9783110536690-009
Stephanie Bung
When the members of the very young Académie Française acted officially for the first time ever, that is, as representatives of a chartered corporation, they immediately overstepped the boundaries of their self-defined jurisdiction: they broke their own rules by taking sides in the context of the famous Querelle du Cid. In 1637 they published their statement Les sentiments de l’académie française sur la tragi-comédie du Cid, which led Corneille to make some significant changes to his play. Looking back, these changes and Les Sentiments de l’académie represent the beginning of the doctrine classique, the most fundamental doctrine of poetics in seventeenth-century France. But Corneille was not a member of the academy and he had not asked for his successful play to be judged. The academy intervened anyway, even though their statutes only allowed for judging the work of members.1 Interestingly enough, this act of ‘misbehaving’ – from the viewpoint of the academic rules – was followed by an act of recognition by the authorities: a few months after the outbreak of the Querelle du Cid, the Parlement de Paris acknowledged the Académie Française as an established corporation within the realm of Louis XIII.2 This recognition is arguably even more interesting than the well known fact that it was of course the cardinal de Richelieu who forced the academy to intervene in this struggle. The members of the oldest and most powerful corporation of France acknowledged the institutional status of the academy, and in doing so they acknowledged the public relevance, and a certain autonomy, of ‘academic concerns.’ As scholars have shown within the last two decades,3 the Querelle du Cid is a fine example of the transformation European academies had to go through when they first became chartered literary institutions. However, the picture of those transformations is far from complete. In order to grasp its complexity, it
当非常年轻的法兰西学院的成员们第一次正式行动时，也就是说，作为一个特许公司的代表，他们立即越过了他们自己界定的管辖权的界限:他们打破了自己的规则，在著名的《熙德宣言》的背景下站在了一边。1637年，他们发表了他们的声明《Les sentiments de l ' academie academie franaise sur la tragi- comcomdie du Cid》，这使得高奈依对他的剧本做了一些重大的修改。回顾过去，这些变化和《学院感伤》代表了17世纪法国最基本的诗学学说——古典主义的开始。但高乃依不是学院的成员，他也没有要求评判他的成功的戏剧。学院还是介入了，尽管他们的章程只允许评判成员的作品有趣的是，从学术规则的角度来看，这种“行为不端”的行为随后得到了当局的认可:在“熙德之争”爆发几个月后，巴黎高等法院承认法兰西学院是路易十三统治下的一个成立的机构。2这一承认可以说比众所周知的事实更有趣，当然，是黎塞留红衣主教迫使学院介入这场斗争。作为法国历史最悠久、实力最强的机构，学院的成员承认了学院的机构地位，同时也承认了“学术关注”的公共相关性和一定的自主性。正如学者们在过去二十年中所指出的那样，《爱之歌》是欧洲学院在成为特许文学机构时所经历的转型的一个很好的例子。然而，这些转变的图景远未完成。为了把握它的复杂性，它
{"title":"Playful Institutions: Social and Textual Practices in Early Spanish Academies","authors":"Stephanie Bung","doi":"10.1515/9783110536690-009","DOIUrl":"https://doi.org/10.1515/9783110536690-009","url":null,"abstract":"When the members of the very young Académie Française acted officially for the first time ever, that is, as representatives of a chartered corporation, they immediately overstepped the boundaries of their self-defined jurisdiction: they broke their own rules by taking sides in the context of the famous Querelle du Cid. In 1637 they published their statement Les sentiments de l’académie française sur la tragi-comédie du Cid, which led Corneille to make some significant changes to his play. Looking back, these changes and Les Sentiments de l’académie represent the beginning of the doctrine classique, the most fundamental doctrine of poetics in seventeenth-century France. But Corneille was not a member of the academy and he had not asked for his successful play to be judged. The academy intervened anyway, even though their statutes only allowed for judging the work of members.1 Interestingly enough, this act of ‘misbehaving’ – from the viewpoint of the academic rules – was followed by an act of recognition by the authorities: a few months after the outbreak of the Querelle du Cid, the Parlement de Paris acknowledged the Académie Française as an established corporation within the realm of Louis XIII.2 This recognition is arguably even more interesting than the well known fact that it was of course the cardinal de Richelieu who forced the academy to intervene in this struggle. The members of the oldest and most powerful corporation of France acknowledged the institutional status of the academy, and in doing so they acknowledged the public relevance, and a certain autonomy, of ‘academic concerns.’ As scholars have shown within the last two decades,3 the Querelle du Cid is a fine example of the transformation European academies had to go through when they first became chartered literary institutions. However, the picture of those transformations is far from complete. In order to grasp its complexity, it","PeriodicalId":395337,"journal":{"name":"Poetics and Politics","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117181428","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 : 2018-08-21DOI: 10.1515/9783110536690-011
Erika Fischer‐Lichte
They had long been accustomed to an elevation of the voice, with a sudden mechanical depression of its tones, calculated to excite admiration, and to entrap applause. To the just modulation of the words, and concurring expression of the features from the genuine workings of nature, they had been strangers, at least for some time. But after he had gone through a variety of scenes, in which he gave proof of consummate art, and perfect knowledge of character, their doubts were turned into surprise and amazement, from which they relieved themselves by loud and reiterated applause. […] Mr. Garrick shone forth like a theatrical Newton; he threw new light on elocution and action. 13
{"title":"From a Rhetorical to a ‘Natural’ Art of Acting: What the Networks of the Seventeenth and Eighteenth Centuries Achieved","authors":"Erika Fischer‐Lichte","doi":"10.1515/9783110536690-011","DOIUrl":"https://doi.org/10.1515/9783110536690-011","url":null,"abstract":"They had long been accustomed to an elevation of the voice, with a sudden mechanical depression of its tones, calculated to excite admiration, and to entrap applause. To the just modulation of the words, and concurring expression of the features from the genuine workings of nature, they had been strangers, at least for some time. But after he had gone through a variety of scenes, in which he gave proof of consummate art, and perfect knowledge of character, their doubts were turned into surprise and amazement, from which they relieved themselves by loud and reiterated applause. […] Mr. Garrick shone forth like a theatrical Newton; he threw new light on elocution and action. 13","PeriodicalId":395337,"journal":{"name":"Poetics and Politics","volume":"44 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131875020","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 : 2018-08-21DOI: 10.1515/9783110536690-003
Stephen G. Nichols
{"title":"American Presidential Candidates at the Court of Charles V: How Political Theory Trumped Political Theology in Fourteenth-Century Paris","authors":"Stephen G. Nichols","doi":"10.1515/9783110536690-003","DOIUrl":"https://doi.org/10.1515/9783110536690-003","url":null,"abstract":"","PeriodicalId":395337,"journal":{"name":"Poetics and Politics","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130455893","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 : 2018-08-21DOI: 10.1515/9783110536690-004
S. Richter
In 1767 German author and critic Gotthold Ephraim Lessing launched his beautifully written polemics against French drama: he called it frightful, vain, all too rational and idealist, focused on rules and norms only. Lessing wished to ban this kind of drama from the German stage, which was still in its infancy (Lessing, of course, called it “barbarian”): indeed, during its brief period of existence, the Hamburg national theater, Lessing’s theater of reference at which he himself was employed as a critic, played 70 French, 40 German, 5 Italian, and 4 English dramas, plus a Dutch text.1 Though Lessing (like Moses Mendelssohn and Friedrich Nicolai) himself aimed to direct German theater toward the English – according to him, in retrospect Shakespeare beat Voltaire – German literature and theater history thereafter stressed the influence of French drama up to the 1760s and credited the discovery of Shakespeare on the German stage to Lessing and his contemporaries.2 Lessing’s polemic led to an unintended effect: the forgetting of the relevance of English theater and drama in the early modern German context.3 It goes without saying that ascriptions like these suffer from the dominance of “the national” in histories of theater and literature as well as from – so to
{"title":"Cross-Cultural Inventions in Drama on the Basis of the Novel in Prose, or World Literature before World Literature: The Case of Fortunatus","authors":"S. Richter","doi":"10.1515/9783110536690-004","DOIUrl":"https://doi.org/10.1515/9783110536690-004","url":null,"abstract":"In 1767 German author and critic Gotthold Ephraim Lessing launched his beautifully written polemics against French drama: he called it frightful, vain, all too rational and idealist, focused on rules and norms only. Lessing wished to ban this kind of drama from the German stage, which was still in its infancy (Lessing, of course, called it “barbarian”): indeed, during its brief period of existence, the Hamburg national theater, Lessing’s theater of reference at which he himself was employed as a critic, played 70 French, 40 German, 5 Italian, and 4 English dramas, plus a Dutch text.1 Though Lessing (like Moses Mendelssohn and Friedrich Nicolai) himself aimed to direct German theater toward the English – according to him, in retrospect Shakespeare beat Voltaire – German literature and theater history thereafter stressed the influence of French drama up to the 1760s and credited the discovery of Shakespeare on the German stage to Lessing and his contemporaries.2 Lessing’s polemic led to an unintended effect: the forgetting of the relevance of English theater and drama in the early modern German context.3 It goes without saying that ascriptions like these suffer from the dominance of “the national” in histories of theater and literature as well as from – so to","PeriodicalId":395337,"journal":{"name":"Poetics and Politics","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129359246","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 : 2018-08-21DOI: 10.1515/9783110536690-010
Franz Gratl
A brief overview of the secondary literature dealing with folk drama reveals a significant lack of interest in musical aspects. On the part of theater and literary scholars, it is primarily the functional aspects of music, if any, that are taken into consideration. On the part of musicologists, music in folk drama has played a marginal role in research, something that can be said about theater music in general. In the article “Schauspielmusik” (stage music) in the most important German music encyclopedia, Die Musik in Geschichte und Gegenwart, Detlef Altenburg states: “Demgegenüber gilt in der deutschen Musikwissenschaft Schauspielmusik weithin als unergiebiges Randphänomen der Musikgeschichte.”1 There are some exceptions: Medieval folk drama, especially liturgical and mystery plays, have attracted music scholars from the nineteenth century to the present. Another example of a quite well-investigated tradition is Viennese folk plays of the nineteenth century. The article “Volkstheater” in the Österreichisches Musiklexikon,2 for example, is almost completely focused on Vienna. As a special field that cannot be appropriately described as “folk play,” but which was a major source of influence, Jesuit drama also attracted interest quite early.3
对有关民间戏剧的二手文献的简要概述表明，对音乐方面的兴趣明显缺乏。对于戏剧和文学学者来说，主要考虑的是音乐的功能方面，如果有的话。从音乐学家的角度来看，民间戏剧中的音乐在研究中起着边缘作用，这可以说是对一般戏剧音乐的研究。在德国最重要的音乐百科全书《Die Musik In Geschichte und Gegenwart》中的“Schauspielmusik”(舞台音乐)一文中，Detlef Altenburg写道:“demgegener gilt In der deutschen Musikwissenschaft Schauspielmusik within als unergiebiges Randphänomen der Musikgeschichte”。也有一些例外:中世纪的民间戏剧，尤其是仪式剧和神秘剧，从19世纪到现在一直吸引着音乐学者。另一个被充分研究的传统是19世纪维也纳的民间戏剧。例如，Österreichisches Musiklexikon上的文章《人民剧院》(Volkstheater)几乎完全聚焦于维也纳。作为一个特殊的领域，不能恰当地称为“民间戏剧”，但它是影响的主要来源，耶稣会戏剧也很早就引起了人们的兴趣
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Pub Date : 2018-08-21DOI: 10.1515/9783110536690-fm
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Pub Date : 2018-08-21DOI: 10.1515/9783110536690-012
J. Drnovšek
Es ist Schande zu sagen – selbst seynwollende Katholiken werfen sich jetzt als Reformatoren auf, unterfangen sich ihre heilige Mutter, die christkatholische Kirche zu hofmeistern, und besonders ihre äußerliche Pracht, ihre Zeremonien und Feyerlichkeiten, als lauter Mißbräuche und Gauckelwerke, mit Mund und Feder zu beschnarchen und auszuzischen. [...] Ihr, meine Geliebtesten! Haltet euch unerschüttert an die alten Gewohnheiten und löblichen Gebräuche unserer christkatholischen Religion. [...] – Lasset euch doch von keinem Quacksalber, und Marktschreyer, von keinem heutigen Afterphilosophen – neue Begriffe von Gottesverehrung beybringen. Sie sind Leute eines gebrandmarkten Gewissens, Feinde der Religion, und der wahren Kirche, Selbstdenker, und Modewitzler, die eben so wenig zum Unterrichte des christlichen Volkes, als der Esel zum Lautenschlagen, berufen sind.1
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Pub Date : 2018-08-21DOI: 10.1515/9783110536690-006
S. Gulizia
So wrote Jacob Soll, in 2009, brilliantly recasting Peter Burke’s previous discussion of chivalric and courtly values in Castiglione’s Book of the Courtier within a new history of knowledge and politics. There are several things to notice about this quotation. First, Soll suggests that the vast information system that lies at the very center of the rise of the modern state was actually indebted to humanist pedagogy in two ways – that is, through the instrumental legacy of measurement developed by the ars mercatoria, and through the antiquarian ideals of learning related to the use of historical scholarship and paperwork – rather than to be seen as a complete departure from earlier conceptions of the legal archive, both in terms of scale and as an aesthetic object. Second, even though royal business was larger and infinitely more complex than its Quattrocento predecessors, none of its instruments, old and new, were self-evident in their use. The type of double-entry bookkeeping favored by Tuscan merchants, for instance, or Luca Pacioli’s insistence that inventorying should be kept in real time, needed to be articulated, as Soll has shown, by a new class of interpreters and instructors. Thus, these practices also needed a community of scholars and consumers already aware of their importance, and capital assessment, in turn, had a function in creating a larger public in which people’s interests and undertakings switched from manufacture to use and meaning. My question in this chapter is: how can we best describe the managerial dimension of Castiglione in his time and space? To answer that question, I take Castiglione’s unusual engagement as a stage-manager to be a representative instance of theatrical networks and public-making in early modern Italy. The event took place in the ducal palace of Urbino on the last Sunday of carnival, on 6 February 1513, and involved a production of Bernardo Dovizi da Bibbiena’s successful comedy Calandra. The degree to which that performance is able to stand as an adequate description of an early, coalescing phase of trade, distance, and sociability in European drama as a whole depends not
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