Pub Date : 2021-07-03DOI: 10.1080/08831157.2021.1960111
Jeffrey N. Peters, K. Piechocki
Abstract “Early Modern Clouds II” briefly introduces the four essays contained in this volume and refers readers to the more sustained, introductory essay of the first special issue of “Early Modern Clouds” in Romance Quarterly 68: 2, 2021. Here, the focus shifts from Hubert Damisch’s classic study of clouds in Théorie du nuage: Pour une histoire de la peinture (Theory of /Cloud/: Toward a History of Painting; 1972; 2002) to the question of the cloud’s numerous mediating functions—including philosophy, poetics, art history—with an eye to later centuries, as explored by John Durham Peters in The Marvelous Clouds: Toward a Philosophy of Elemental Media (2016).
“早期现代云II”简要介绍了本卷中包含的四篇文章，并向读者介绍了《浪漫季刊》68:2,2021年第一期“早期现代云”特刊的更持久的介绍性文章。在这里，焦点从休伯特·达米施(Hubert Damisch)对云的经典研究转移到thimorie du nuage: Pour une histoire de la peinture(理论/云/:走向绘画史;1972;约翰·达勒姆·彼得斯(John Durham Peters)在《奇妙的云:走向元素媒体的哲学》(2016)一书中探讨了云的众多中介功能——包括哲学、诗学、艺术史——并着眼于后来的几个世纪。
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Pub Date : 2021-07-03DOI: 10.1080/08831157.2021.1960114
K. Piechocki
Abstract This essay compares the manifold manifestations of clouds in Francesco Buti’s libretto, Le nozze di Peleo e di Teti (1654), the libretto’s anonymous French translation, Les nopces de Pélée et de Thétis, and Giacomo Torelli’s cloud machines for the Parisian stage. The Latin word for “cloud”—nubes, a cognate of nubere, “to veil,” “to marry”—discloses the gendered aspect of clouds and gestures to weddings as privileged occasions for the poetic and artistic presence of clouds. This essay envisions the oscillation between the French and Italian poetics of the libretto and the stage machines as a cross-media process of “operatic nubifications” in which clouds emerge as a powerful, if heretofore less studied, mediating instance not only between these two registers, but also between the male and the female gender. The dual goal of this essay is to investigate the complex tension between the page and the stage as it emerged out of the collaborative work between the librettist and the stage engineer and to disclose, through the cloud, new avenues to rethink the artistic, cultural, and, last but not least, cosmological transformations which took place in the course of the seventeenth-century.
摘要本文比较了弗朗切斯科·布蒂（Francesco Buti）的唱词《佩莱奥与提蒂的舞蹈》（Le nozze di Peleo e di Teti，1654）、该唱词的匿名法语翻译《佩莱与泰蒂斯的舞蹈》和贾科莫·托雷利（Giacomo Torelli）为巴黎舞台设计的云机器中云的多种表现。拉丁语中“云”的意思是nubes，是nubere、“面纱”、“结婚”的同源词，它揭示了云的性别特征，并将婚礼视为云诗意和艺术存在的特权场合。本文将法国和意大利的唱词诗学与舞台机器之间的振荡设想为一个“歌剧化”的跨媒体过程，在这个过程中，云不仅在这两个语域之间，而且在男性和女性之间，成为一个强大的、但迄今为止研究较少的中介实例。这篇文章的双重目标是调查剧本作者和舞台工程师之间的合作所产生的页面和舞台之间的复杂张力，并通过云端揭示重新思考17世纪发生的艺术、文化以及最后但并非最不重要的宇宙学转变的新途径。
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Pub Date : 2021-04-03DOI: 10.1080/08831157.2021.1901524
Eugenio Refini
Abstract In his 1961 song “Nuvole barocche” (Baroque Clouds), Italian songwriter Fabrizio De André commented on the fascination exerted by colorful clouds at sunset and their artistic representation as canonized by the visual culture of the baroque, fittingly emblematized by the transience of clouds themselves. The domain of the visual is turned into that of the acoustic, triggering the synesthetic interaction of forms of sense perception, which are usually conceived as separate from one another. The song thus reminds us that the polysemous nature of clouds makes them particularly suitable for forms of artistic representation that, moving across mediums, blur the boundaries of sense perception. This essay looks at how such interplay of sensory layers actually works and to what extent it fits the rhetoric and poetics of the Baroque. In order to do so, I chase the sound of baroque clouds through arias and songs that play with the ambiguous semantics of meteorology and make the singing voice convey anxieties about topics as diverse as the course of time, the volatility of love, devotional and spiritual concerns. After framing the discussion in rhetorical terms, with a focus on metaphors and similes, the essay examines works by John Dowland, Francesca Caccini, Sigimsondo D’India, and George Frideric Handel in order to assess some of the ways in which the unstable nature of clouds lends itself to a kind of metaphoric code that is best described in synesthetic terms.
意大利作曲家法布里齐奥·德·安德烈(Fabrizio De andr)在其1961年的歌曲《巴洛克的云》(Nuvole barocche)中评论了日落时彩云的魅力，并将其艺术表现形式视为巴洛克视觉文化的经典，并恰如其分地以云本身的短暂性作为象征。视觉的领域变成了听觉的领域，触发了感官知觉形式的联觉相互作用，这些形式通常被认为是彼此分离的。因此，这首歌提醒我们，云的多义性使它们特别适合于艺术表现形式，通过跨媒介移动，模糊了感官感知的界限。这篇文章着眼于这些感官层次的相互作用是如何运作的，以及它在多大程度上符合巴洛克风格的修辞和诗学。为了做到这一点，我通过咏叹调和歌曲来追逐巴洛克云的声音，这些咏叹调和歌曲与气象学的模糊语义一起玩，并使歌声传达对各种主题的焦虑，如时间的进程，爱情的波动，虔诚和精神上的关注。在以修辞术语为讨论框架，重点关注隐喻和明喻之后，本文考察了约翰·道兰德、弗朗西斯卡·卡奇尼、西格曼松多·迪因迪亚和乔治·弗里德里希·亨德尔的作品，以评估云的不稳定性质如何使自己成为一种隐喻代码，这种隐喻代码最好用联感术语来描述。
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Pub Date : 2021-04-03DOI: 10.1080/08831157.2021.1901513
Alison Calhoun
Abstract While nineteenth century art critic John Ruskin laments that artists do not observe the skies and their clouds enough, seventeenth-century stage machinists were close to meteorologists in the precision they brought to cloud formations on stage. In French late seventeenth-century drama, clouds framed stages like a proscenium, they lowered and lifted heavenly or other flying bodies, abducted figures, served as vessels for lighting that gave beauty and depth to the stage, and hid all sorts of machinery that risked taking away from the set’s credibility, all with unprecedented meteorological precision. Moreover, given the human physiology that was tied to meteorological learning at this time, it is also important to consider the extent to which stage machinists understood the link between their machines and the human body and its psychology. Not only did the theatrical context of their machines generate a psychological moment, but the rigging, the springs, and the movements of the machine’s parts were large, mechanical recreations that imitated Cartesian passions of the soul. In this light, stage clouds may have been engineered, artisanal recreations of the external world of nature, but they were also a kind of live experiment that revealed the mechanisms of the inner world of human emotion. By exploring the possibility that stage engineers were not only natural philosophers but also Cartesian machine psychologists, this essay proposes an affective history of stage clouds in Andromède (1650), Cadmus et Hermione (1673), and Isis (1677).
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Pub Date : 2021-04-03DOI: 10.1080/08831157.2021.1900697
J. Cherbuliez
Abstract How can we know the difference between a cloud in the sky and a puff of smoke from a fire? Jacques Callot’s series of etchings Les Misères et maleurs de la guerre (1633) is not usually considered for its clouds, even though billows, plumes, and vapors accompany its scenes of bloodshed and violence. Considering the premodern print through the mutually constituted nature of environment and media, this article explores how the clouds of Les Misères compel a particular viewing practice combining radical formalism with deep contextualization. Unavailable for any direct symbolic interpretation, clouds instead structure the image and guide the viewer’s eyes; they affirm a way of viewing the prints that seek the detail and gives it both symbolic and structural meaning; they connect the materiality and technology of prints with the series’ subject matter: human violence and divine justice. Through vignettes that explore tensions in composition, technology, temporality, and scale, this essay explores how clouds help Callot’s plates pose a particular challenge to their viewers: to understand the world as a single legible, coherent and harmonious place both despite and because of the violence which rents and repairs it.
我们怎么知道天空中的云和火中的烟的区别呢?雅克·卡洛(Jacques Callot) 1633年的蚀刻画系列《不幸的男人》(Les misires et maleurs de la guerre)通常不被认为是其中的云彩，尽管伴随着流血和暴力场景的是巨浪、羽流和蒸汽。本文通过环境与媒介相互构成的本质来考察前现代版画，探讨《悲惨世界》的云朵是如何将激进的形式主义与深刻的语境化相结合，迫使一种特殊的观看实践。没有任何直接的符号解释，云代替结构图像和引导观众的眼睛;他们肯定了一种寻找细节并赋予其象征意义和结构意义的观看版画的方式;他们将版画的物质性和技术与该系列的主题:人类暴力和神圣正义联系起来。通过探索构图、技术、时间和规模的紧张关系的小插曲，本文探讨了云如何帮助卡洛的盘子向观众提出了一个特殊的挑战:将世界理解为一个清晰、连贯和和谐的地方，尽管也因为暴力而租用和修复它。
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Pub Date : 2021-04-03DOI: 10.1080/08831157.2021.1900690
Jeffrey N. Peters, K. Piechocki
Abstract Since antiquity, philosophers and poets have understood clouds to be principles of generation and procreation. They can turn, Aristophanes tells us, “into anything they want.” They are bound up with the act of begetting and giving birth, of bringing into being the new – hollow vessels, as Seneca would later put it, with solid walls. And yet the creative force of clouds is a strange, even counterintuitive, one: what they generate and bring forth is often evanescent, incorporeal, and unsubstantial. In this essay, we explore a poetics of clouds as a site of tension between the empty and the procreative, the material and the immaterial, the perceptible and the imperceptible. Clouds, we suggest, are instances of conveyance whose power of mediation gives shape to the unsayable, the unrepresentable, and the apparently unknowable. Their meteorological trickery draws our attention to the infinity of the cosmos by obscuring it. Their rhetorical obfuscations – what medieval tradition called the integumentum – draw us into their truths by turning us seductively away from them. Expressions of both cosmological and poetic becoming, clouds are therefore inseparable from epistemological and esthetic considerations of the ways meaning and knowledge are at once hidden and revealed.
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Pub Date : 2021-01-16DOI: 10.24197/CEL.12.2021.XVII-XIX
J. C. López
Reseña del libro ¿Qué mandáis hacer de mí? Una historia desvelada de relecturas teresianas en el contexto cultural de entresiglos (Madrid/Frankfurt, Iberoamericana-Vervuert, 2019), de Amelina Correa Ramón.
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Pub Date : 2021-01-02DOI: 10.1080/08831157.2020.1854555
Lourdes Monterrubio Ibáñez
Abstract Yves Navarre's literary work is one of the greatest materializations of epistolary writing in postmodern literature. This article aims to analyze the different elements and procedures through which the epistolary matter becomes a practice of postmodern writing that continues to evolve throughout his prolix literary œuvre. First, the epistolary writing of fictional characters becomes an element of the renarrativization that participates in processes of discontinuity: a progressive fragmental writing—from his first novel Lady Black (1971) to the last Dernier dimanche avant la fin du siècle (1994)—and the hybridization with diaristic writing and literary metadiscourse—Le Petit Galopin de nos corps (1977), Kurwenal ou la Part des êtres (1977), Le Temps voulu (1979), Romances sans paroles (1982). Besides, these same practices are brought into the autofictional space, where the possibilities of hypertextuality are further deepened by quotation, intertext and metadiscourse—Biographie (1981), Romans, un roman (1988). Finally, the two spaces converge in an auto/alter-fiction in which postmodern diversel materializes through experimentation with alterity, giving rise to récits indécidables—L’Espérance de beaux voyages (1984), La terrasse des audiences au moment de l’adieu (1990). Throughout his entire literary work, and in all the aforementioned spaces, the abundant metadiscourse about epistolarity enables a postmodern phenomenology of epistolary activity.
摘要伊夫·纳瓦拉的文学作品是后现代文学中最伟大的书信体作品之一。本文旨在分析书信体成为后现代写作实践的不同要素和过程，并在其冗长的文学作品œuvre中不断发展。首先，虚构人物的书信写作成为再叙事化的一个元素，参与了不连续的过程:一种渐进式的碎片式写作——从他的第一部小说《黑夫人》(1971)到最后一部《丹尼耶·迪曼切·阿凡达》(1994)——以及日记式写作和文学元话语的混合——《军团的小Galopin》(1977)、《Kurwenal ou la Part des êtres》(1977)、《Le Temps voulu》(1979)、《无假面浪漫》(1982)。此外，这些同样的实践也被带入了自我虚构的空间，在这里，超文本性的可能性通过引用、互文和元话语进一步深化——传记(1981)，罗马人，非罗马人(1988)。最后，这两个空间在一部自动/另类小说中汇合，后现代的多样性通过对另类的实验得以实现，产生了“无法改变的人生”——《旅行的人生》(1984)、《告别时刻的观众》(1990)。在他的整个文学作品中，在上述所有空间中，关于书信的丰富元话语使书信活动的后现代现象学成为可能。
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Pub Date : 2021-01-02DOI: 10.1080/08831157.2020.1854556
Marc Olivier Reid
Abstract This paper aims to analyze how Arturo Pérez-Reverte claims the legacy of the Enlightenment in his historical novel Hombres buenos (2015). The history of two members of the Real Academia Española, in charge of travelling to Paris in the hopes of obtaining all the volumes of the Encyclopedia and bringing them to Spain, allows Pérez-Reverte to create an original account of eighteenth-century Spain. Pérez-Reverte belongs to an intellectual tradition that depicts the Hispanic Enlightenment as inexistent, incomplete, insufficient, or unoriginal. At the same time, however, he keeps his distance from such tradition, by questioning the consensual image of a civilized and enlightened France, and by showing that Spaniards also participated in the creation and dissemination of the Enlightenment. This paper also analyzes how the fictitious account of the eighteenth century is nor only a defense of enlightened Spaniards, but also a way to express desires for the twenty-first century, especially regarding the political and linguistic unity of Spain.
摘要本文旨在分析阿图罗·佩雷斯·雷维特（Arturo Pérez Reverte）在其历史小说《人》（Hombres buenos）（2015）中如何宣称启蒙运动的遗产。西班牙皇家科学院（Real Academia Española）的两名成员负责前往巴黎，希望获得百科全书的所有书籍并将其带到西班牙，他们的历史使佩雷斯·雷维特（Pérez Reverte）能够创建一个关于18世纪西班牙的原始记述。Pérez Reverte属于一种知识传统，将西班牙裔启蒙运动描述为不存在、不完整、不充分或没有独创性。然而，与此同时，他与这种传统保持距离，质疑文明和开明的法国的共识形象，并表明西班牙人也参与了启蒙运动的创造和传播。本文还分析了18世纪的虚构故事不仅是对开明的西班牙人的辩护，也是表达21世纪愿望的一种方式，尤其是关于西班牙政治和语言统一的愿望。
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Pub Date : 2021-01-02DOI: 10.1080/08831157.2020.1854554
Christopher C. Oechler
Abstract Ambrogio Spinola’s victory at the Siege of Breda (1624–1625) marked a high point in the imperial policies of Philip IV and his royal favorite, the Count-Duke of Olivares. Contemporary newsletters celebrated the achievement, and Pedro Calderón de la Barca followed these reports in commemorating the victory in his play El sitio de Bredá (1625). I find that in addition to the obvious praise of the triumphant Habsburg forces and monarchy, El sitio de Bredá cultivates a new vision of imperial siege warfare, one that is nurtured by a preoccupation with the burgeoning news industry. Cueing off contemporary reports, Calderón proposes a recently proven model in juxtaposition with those found in earlier siege plays, specifically El asalto de Mastrique por el Príncipe de Parma by Lope de Vega and Tragedia de Numancia by Miguel de Cervantes. When read alongside these works, Calderón’s play suggests an evolution in the depiction of Spanish warfare, redefining its technical and tactical aspects in light of the growing news industry and its rapid dissemination of knowledge.
摘要Ambrogio Spinola在布雷达围城战（1624–1625）中的胜利标志着菲利普四世和他的皇室宠儿奥利瓦雷斯伯爵公爵的帝国政策达到了一个高点。当代时事通讯庆祝了这一成就，佩德罗·卡尔德隆·德拉巴卡（Pedro Calderón de la Barca）紧随这些报道，在他的戏剧《布雷达之地》（El sitio de Bredá，1625）中纪念了这一胜利。我发现，除了对胜利的哈布斯堡王朝军队和君主制的明显赞扬之外，El sitio de Bredá还培养了一种新的帝国围攻战愿景，这种愿景是由对蓬勃发展的新闻业的关注所培育的。根据当代的报道，Calderón提出了一个最近被证实的模型，与早期攻城剧中的模型并置，特别是Lope de Vega的El asalto de Mastrique por El Príncipe de Parma和Miguel de Cervantes的Tragedia de Numancia。当与这些作品一起阅读时，卡尔德龙的剧本表明了对西班牙战争描述的演变，根据不断增长的新闻业及其知识的快速传播，重新定义了其技术和战术方面。
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