Pub Date : 2022-12-01DOI: 10.1215/00358118-10055111
J. Louette
Une esquisse de biographie existentielle ; une esquisse de psychanalyse existentielle ; une esquisse d’éthique existentielle – voilà le Baudelaire de Sartre1. Ce n’est pas le moins du monde une charge contre Les Fleurs du Mal ou Le Spleen de Paris ni une étude des ces œuvres. Mais une thèse s’y trouve posée dès la fin du premier paragraphe : les hommes n’ont jamais que la vie qu’ils méritent, et Baudelaire n’échappe pas à la règle. Sartre n’aurait guère aimé notre époque où tout un chacun se proclame victime. Et il allait à contre-courant du grand mouvement de réhabilitation dont Baudelaire bénéficia depuis la fin du XIXe siècle. Peut-être Sartre fut-il le dernier accusateur de Baudelaire ? Mais en quel sens, au juste ? N’est-ce pas aussi avec lui-même qu’il cherche à régler ses comptes ? Tout en faisant de Baudelaire l’occasion d’une réflexion sur l’histoire littéraire de la poésie aux XIXe et XXe siècles.
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Pub Date : 2022-09-01DOI: 10.1215/00358118-9812514
M. Truglio
Demand for books about current events in Italy has yielded scores of children’s books in the past three decades that treat the topic of immigration. The goals of eliciting empathy in children and explaining to them complex historical and contemporary events can be challenged by the perceived need to shield children from traumatizing scenes. This essay examines four recent children’s books published in Italy that dramatize immigration from Africa. Authors Maria Attanasio, Erminia Dell’Oro, Dino Ticli, and Francesco D’Adamo allude to canonical Western literature (such as Pinocchio and Cuore) as a way to sweeten these often bitterly disquieting narratives for their young readers. This essay probes the potentials and limits of intertextuality and ultimately argues that several texts go beyond leveraging the image of capsized ships in the Mediterranean, an image that has become a media fetish, to engage readers in ways that facilitate both empathy and critical self-reflection.
在过去的三十年里，人们对意大利时事书籍的需求催生了大量以移民为主题的儿童书籍。唤起儿童的同情心并向他们解释复杂的历史和当代事件的目标可能会受到保护儿童免受创伤场景的感知需求的挑战。这篇文章考察了意大利最近出版的四本描写非洲移民的儿童读物。作家Maria Attanasio, Erminia Dell 'Oro, Dino Ticli和Francesco D 'Adamo暗指西方经典文学(如《匹诺曹》和《Cuore》)，作为一种让年轻读者感到痛苦不安的叙事变得甜蜜的方式。本文探讨了互文性的潜力和局限性，并最终论证了一些文本超越了利用地中海倾覆船只的形象，这一形象已成为媒体的恋物，以促进同情和批判性自我反思的方式吸引读者。
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Pub Date : 2022-09-01DOI: 10.1215/00358118-9812604
Albert Lloret
{"title":"Alone Together: Poetics of the Passions in Late Medieval Iberia","authors":"Albert Lloret","doi":"10.1215/00358118-9812604","DOIUrl":"https://doi.org/10.1215/00358118-9812604","url":null,"abstract":"","PeriodicalId":39614,"journal":{"name":"Romanic Review","volume":"13 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89353284","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 : 2022-09-01DOI: 10.1215/00358118-9812574
Max McGuinness
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Pub Date : 2022-09-01DOI: 10.1215/00358118-9812494
Alex Weintraub
In On the Genealogy of Morals (1887), Friedrich Nietzsche misquotes Stendhal’s definition of beauty. Beauty is not, as the German philosopher claims, “a promise of happiness” (72). Rather, Stendhal proposes in a footnote to his book De l’amour (1822)—in a chapter entitled “La Beauté détrônée par l’amour”—that “la beauté n’est que la promesse du bonheur” (40). Nevertheless, Nietzsche’s misquotation of Stendhal and his subsequent interpretation of the French author’s aesthetics have held sway in later philosophy, such that Stendhal is regularly recruited to endorse views about beauty quite dissimilar from his own. This article approaches Stendhal as a philosopher in order to develop a clearer sense of what the author really meant by characterizing beauty as “only a promise of happiness.” Through close readings of De l’amour and Rome, Naples, et Florence, it is proposed that Stendhal’s restrictive only allows for and even recommends so-called mere judgments of beauty, or the experience of beauty as a completed pleasure in reflective contemplation, as opposed to the Nietzschean reading of Stendhal, which would define judgments of beauty as forepleasures to future satisfactions. More importantly, this article aims to recover what Stendhal still has to teach present-day philosophers and critics about judgments of taste.
在《论道德谱系》(1887)一书中，弗里德里希·尼采错误地引用了司汤达对美的定义。正如这位德国哲学家所说的那样，美不是“幸福的承诺”(72)。相反，司汤达在他的《爱情》(1822)一书的脚注中提出，在题为“La beaut détrônée par l 'amour”的一章中，“La beaut n 'est que La promise du bonheur”(40)。尽管如此，尼采对司汤达的错误引用和他对法国作家美学的后续解释在后来的哲学中占据了主导地位，以至于司汤达经常被邀请来支持与他自己截然不同的关于美的观点。这篇文章将司汤达视为一位哲学家，目的是为了更清楚地理解作者将美描述为“仅仅是幸福的承诺”的真正含义。通过对《爱》和《罗马，那不勒斯，佛罗伦萨》的仔细阅读，我们发现司汤达的限制只允许甚至推荐所谓的单纯的对美的判断，或者是将美的体验作为一种完整的沉思的快乐，而不是尼采式的对司汤达的阅读，后者将对美的判断定义为对未来满足的预知。更重要的是，本文旨在恢复司汤达在品味判断方面仍然可以教给当今哲学家和评论家的东西。
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Pub Date : 2022-09-01DOI: 10.1215/00358118-9812584
Eric M. Macphail
{"title":"Montaigne: A Very Short Introduction","authors":"Eric M. Macphail","doi":"10.1215/00358118-9812584","DOIUrl":"https://doi.org/10.1215/00358118-9812584","url":null,"abstract":"","PeriodicalId":39614,"journal":{"name":"Romanic Review","volume":"13 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78948824","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 : 2022-09-01DOI: 10.1215/00358118-9812504
Timothy Raser
The differences existing between the first three editions of Le Dernier Jour d’un condamné make it impossible to speak of single work with a single message, and close examination of the text shows that it is following a repetitive, mechanical compulsion that has come to be known as overdetermination. This mechanism, just as capable of producing horror as it is of producing outrage, guides the novel itself, but also corrupts the prefaces, making them more emphatic than persuasive.
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