The self‐reflexive tendency in De Quincey's seemingly Kantian aestheticization of murder allows some leeway in deciphering his underlying ethical concerns. As “On the knocking at the gate in Macbeth” shows, De Quincey engages in a special kind of life writing that can be termed “life criticism,” which is not naively referential but revelatory, translating the autobiographical records of memories, experiences, and emotions into mediatory possibilities for argumentative assessments of literary and aesthetic questions. James Wood's critiques function as a compelling touchstone of De Quincey's life criticism, exhibiting how self‐referential episodes, as both the starting and end points for literary criticism, can be incorporated into serious and illuminating theoretical interrogations. Through the new prism of De Quincey's habitual mode of life criticism, his aesthetics of murder can be interpreted as a meta‐reflection upon his literary experiences with Westmorland Gazette and Blackwood's Magazine. His awareness of the facile aestheticiability of murder in the periodical press has an obvious moral implication: it shows his self‐reflexive concern over the commercialized public taste that makes him torn between insisting upon classical highbrow culture and contributing sensational magazine reading matter.
{"title":"Life criticism and De Quincey's ethical concern over the aestheticiability of murder","authors":"Yingjie Duan, Junwu Tian","doi":"10.1111/oli.12462","DOIUrl":"https://doi.org/10.1111/oli.12462","url":null,"abstract":"The self‐reflexive tendency in De Quincey's seemingly Kantian aestheticization of murder allows some leeway in deciphering his underlying ethical concerns. As “On the knocking at the gate in <jats:italic>Macbeth</jats:italic>” shows, De Quincey engages in a special kind of life writing that can be termed “life criticism,” which is not naively referential but revelatory, translating the autobiographical records of memories, experiences, and emotions into mediatory possibilities for argumentative assessments of literary and aesthetic questions. James Wood's critiques function as a compelling touchstone of De Quincey's life criticism, exhibiting how self‐referential episodes, as both the starting and end points for literary criticism, can be incorporated into serious and illuminating theoretical interrogations. Through the new prism of De Quincey's habitual mode of life criticism, his aesthetics of murder can be interpreted as a meta‐reflection upon his literary experiences with <jats:italic>Westmorland Gazette</jats:italic> and <jats:italic>Blackwood's Magazine</jats:italic>. His awareness of the facile aestheticiability of murder in the periodical press has an obvious moral implication: it shows his self‐reflexive concern over the commercialized public taste that makes him torn between insisting upon classical highbrow culture and contributing sensational magazine reading matter.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142208244","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hans Christian Andersen's fairy tales have garnered the greatest popular and scholarly attention despite the interdependence of works across the broad range of his artistic production. We read Andersen's fairy tales in concert with his travel writing to highlight the intertextual aspects that cross these seemingly distinct genres. We leverage recent advances in large language models (LLM) and network theory to generate representations that facilitate user exploration of these intertextual interdependencies across genres and across time. In the first part of our study, we use BERTopic and an LLM model fine‐tuned for nineteenth‐century Danish literary language to present independent and combined topic models of the two corpuses. This approach supports multi‐scalar analysis of intertextual elements within and across these corpuses, thereby implementing a method for macroscopic reading. In the second part of the study, we develop a series of networked representations of the dependencies between fairy tales, where these dependencies are generated on the basis of the shared intertextual topic space of the fairy tales and the travel writing.
{"title":"Travels with BERT: Surfacing the intertextuality in Hans Christian Andersen's travel writing and fairy tales through the network lens of large language model‐based topic modeling","authors":"Timothy R. Tangherlini, Ruofei Chen","doi":"10.1111/oli.12458","DOIUrl":"https://doi.org/10.1111/oli.12458","url":null,"abstract":"Hans Christian Andersen's fairy tales have garnered the greatest popular and scholarly attention despite the interdependence of works across the broad range of his artistic production. We read Andersen's fairy tales in concert with his travel writing to highlight the intertextual aspects that cross these seemingly distinct genres. We leverage recent advances in large language models (LLM) and network theory to generate representations that facilitate user exploration of these intertextual interdependencies across genres and across time. In the first part of our study, we use BERTopic and an LLM model fine‐tuned for nineteenth‐century Danish literary language to present independent and combined topic models of the two corpuses. This approach supports multi‐scalar analysis of intertextual elements within and across these corpuses, thereby implementing a method for macroscopic reading. In the second part of the study, we develop a series of networked representations of the dependencies between fairy tales, where these dependencies are generated on the basis of the shared intertextual topic space of the fairy tales and the travel writing.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141780244","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ZusammenfassungDie zahlreichen Romane in der deutschsprachigen und polnischen Literatur, die in den letzten, durch die Säkularisierungsprozesse geprägten Jahrzehnten erschienen sind und die Figur Jesu thematisieren, bilden kein einheitliches Phänomen und ergeben aus komparatistischer Sicht erhebliche Differenzen. Sie sind auf die andersartigen Deutungsmuster der romantischen Tradition zurückzuführen. Wenn sich im deutschsprachigen Raum in der der Konstruktion der Jesus‐Figur die Tendenz zur Überschreitung des durch die Sprache bestimmten Erkenntnisradius manifest macht, gilt sie bei den polnischen Autoren als überlieferter und ständig präsenter Teil des Bewusstseins, der in kritischer Hinterfragung seine Wandlungsetappen nach der Wendezeit markiert.
{"title":"„Nichts verlangte er von seiner Umwelt, außer dass er sie provozieren und vor den Kopf stoßen durfte“: Jesus‐Figuren in der modernen deutschsprachigen und polnischen Literatur","authors":"Marek Jakubów","doi":"10.1111/oli.12457","DOIUrl":"https://doi.org/10.1111/oli.12457","url":null,"abstract":"ZusammenfassungDie zahlreichen Romane in der deutschsprachigen und polnischen Literatur, die in den letzten, durch die Säkularisierungsprozesse geprägten Jahrzehnten erschienen sind und die Figur Jesu thematisieren, bilden kein einheitliches Phänomen und ergeben aus komparatistischer Sicht erhebliche Differenzen. Sie sind auf die andersartigen Deutungsmuster der romantischen Tradition zurückzuführen. Wenn sich im deutschsprachigen Raum in der der Konstruktion der Jesus‐Figur die Tendenz zur Überschreitung des durch die Sprache bestimmten Erkenntnisradius manifest macht, gilt sie bei den polnischen Autoren als überlieferter und ständig präsenter Teil des Bewusstseins, der in kritischer Hinterfragung seine Wandlungsetappen nach der Wendezeit markiert.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141507475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Edwidge Danticat in her novel Claire of the Sea Light (2013) delineates a group of determined women who actively challenge the patriarchal norms prevalent in Haiti. This article conducts a thorough textual analysis focusing on the imagery of the “rose” and its intricate connections with women in the narrative. Through the elaborate naming of Ville Rose, the incarnation of rose as female figures in the novel, as well as the resistance and resilience that rose represents in the female genealogy, Danticat places women at the center of the stage, reclaiming the often neglected, silenced, and marginalized roles of women in Haitian history. This article argues that by foregrounding the unique perspective and experience of Haitian women, Danticat questions the patriarchal hegemonic discourse, reformulates the female discursive system, and reshapes the male‐dominated Haitian literary tradition. This exploration of her poetics of resistance not only contributes to the understanding of Haitian (women's) literature and Caribbean diasporic studies but also provides a new perspective for plant studies within the realm of literature.
埃德维奇-丹吉卡特在其小说《海光中的克莱尔》（2013 年）中描写了一群意志坚定的女性，她们积极挑战海地盛行的父权规范。本文对文本进行了深入分析，重点关注 "玫瑰 "这一意象及其在叙事中与女性之间错综复杂的联系。通过对 Ville Rose 的精心命名、玫瑰在小说中作为女性形象的化身，以及玫瑰在女性谱系中代表的反抗和韧性，丹吉卡特将女性置于舞台的中心，重新唤起了海地历史上经常被忽视、沉默和边缘化的女性角色。本文认为，通过突出海地女性的独特视角和经验，丹蒂卡特质疑了父权制霸权话语，重新制定了女性话语体系，重塑了以男性为主导的海地文学传统。对她的反抗诗学的探索不仅有助于理解海地（女性）文学和加勒比散居研究，还为文学领域的植物研究提供了新的视角。
{"title":"“A saint, a heroine, and a town”: The incarnation of “rose” and poetics of resistance in Edwidge Danticat's Claire of the Sea Light","authors":"Yi Cai","doi":"10.1111/oli.12448","DOIUrl":"https://doi.org/10.1111/oli.12448","url":null,"abstract":"Edwidge Danticat in her novel <jats:italic>Claire of the Sea Light</jats:italic> (2013) delineates a group of determined women who actively challenge the patriarchal norms prevalent in Haiti. This article conducts a thorough textual analysis focusing on the imagery of the “rose” and its intricate connections with women in the narrative. Through the elaborate naming of Ville Rose, the incarnation of rose as female figures in the novel, as well as the resistance and resilience that rose represents in the female genealogy, Danticat places women at the center of the stage, reclaiming the often neglected, silenced, and marginalized roles of women in Haitian history. This article argues that by foregrounding the unique perspective and experience of Haitian women, Danticat questions the patriarchal hegemonic discourse, reformulates the female discursive system, and reshapes the male‐dominated Haitian literary tradition. This exploration of her poetics of resistance not only contributes to the understanding of Haitian (women's) literature and Caribbean diasporic studies but also provides a new perspective for plant studies within the realm of literature.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140830791","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I analyze six well‐known antebellum essays on US national identity from the perspective of their engagement with the contemporary exceptionalist discourse. My focus is on their representations of the particular and the universal, whose paradoxical relationship lies at the core of all national exceptionalisms. I approach antebellum exceptionalism as part of the history in which the authors of these texts (Emerson, Fuller, Simms, Douglass, and Delany) lived their lives and to which they responded in different ways. The analysis shows how the universal–particular duality at the core of US exceptionalism is conceived and operates in these essays' discourses of American identity. A tentative conclusion is that whenever the universal dimension of American exceptionalism is enlarged or challenged by other universal criteria, the nationalist ideology loosens its grip; conversely, its presence is stronger when particularization occurs. Furthermore, the representations of the universal and the particular in these texts are discussed in relationship with certain aspects of US exceptionalism as a cultural phenomenon of antebellum history, namely, Manifest Destiny, cultural nationalism, the concept of civilization, and the growing tensions of slavery and racial discrimination in the free states.
{"title":"“Partialist” and “universalist”: American exceptionalism in antebellum writing on national identity","authors":"Iulian Cananau","doi":"10.1111/oli.12449","DOIUrl":"https://doi.org/10.1111/oli.12449","url":null,"abstract":"In this article, I analyze six well‐known antebellum essays on US national identity from the perspective of their engagement with the contemporary exceptionalist discourse. My focus is on their representations of the particular and the universal, whose paradoxical relationship lies at the core of all national exceptionalisms. I approach antebellum exceptionalism as part of the history in which the authors of these texts (Emerson, Fuller, Simms, Douglass, and Delany) lived their lives and to which they responded in different ways. The analysis shows how the universal–particular duality at the core of US exceptionalism is conceived and operates in these essays' discourses of American identity. A tentative conclusion is that whenever the universal dimension of American exceptionalism is enlarged or challenged by other universal criteria, the nationalist ideology loosens its grip; conversely, its presence is stronger when particularization occurs. Furthermore, the representations of the universal and the particular in these texts are discussed in relationship with certain aspects of US exceptionalism as a cultural phenomenon of antebellum history, namely, Manifest Destiny, cultural nationalism, the concept of civilization, and the growing tensions of slavery and racial discrimination in the free states.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140830484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Taking the deictic judgment that is the modernist gesture of declaring something to be art as a starting point, this essay suggests an analogous deixis as a necessary condition for literature. This deixis also can serve as the basis for discussing the expectations of computer‐generated texts. Against the idea that computers or AI systems need only produce sufficiently good output in order to be considered authors, the essay proposes an approach that takes the social recognition of the deictic act within a community of judgment as a precondition for authorship. As an alternative to the Turing test, which is based on the paradigm of deception (people are tricked into considering computer‐written text to be written by humans), the essay favors a version of Susan Leigh Star's “Durkheim test,” which is based on the paradigm of co‐sociality (people directly recognize computers as social actors). Only if the gesture of a machine declaring something to be art is recognized as a deictic judgment in the full sense can one plausibly speak of computer authorship.
{"title":"The deixis of literature: On the conditions for recognizing computers as authors","authors":"Hannes Bajohr","doi":"10.1111/oli.12450","DOIUrl":"https://doi.org/10.1111/oli.12450","url":null,"abstract":"Taking the deictic judgment that is the modernist gesture of declaring something to be art as a starting point, this essay suggests an analogous deixis as a necessary condition for literature. This deixis also can serve as the basis for discussing the expectations of computer‐generated texts. Against the idea that computers or AI systems need only produce sufficiently good output in order to be considered authors, the essay proposes an approach that takes the social recognition of the deictic act within a community of judgment as a precondition for authorship. As an alternative to the Turing test, which is based on the paradigm of deception (people are tricked into considering computer‐written text to be written by humans), the essay favors a version of Susan Leigh Star's “Durkheim test,” which is based on the paradigm of co‐sociality (people directly recognize computers as social actors). Only if the gesture of a machine declaring something to be art is recognized as a deictic judgment in the full sense can one plausibly speak of computer authorship.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140805117","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, we develop a framework for the analysis of ‘movement’ in literary texts. We focus on characters, translation and transmission, thereby going beyond, on the one hand, a stylistic analysis of individual passages, and, on the other hand, the linear enchainment of scenes and summaries underlying much of the narratological discussions around movement, speed and pace. We will develop this framework through a discussion of the character Camilla in Vergil's Aeneid: Book XI, Gavin Douglas's Eneados (1513) and John Dryden's Aeneis (1698). Both the version stylistically close to Vergil (Dryden) and the one that is stylistically looser (Douglas) allow for a discussion of movement that takes the principle beyond a primary concern with style. In a final step, we move to the contemporary example of Ursula Le Guin's Lavinia (2008) in order to investigate how ‘movement’ translates from the epic to the novel. Movement, as we shall show, can be analysed as movement of plot, movement of thought, and movement of figure in narrative. The framework that we propose allows for the principled discussion of transgeneric transfer of narratives, here between epic and novel, as well as the comparison of texts from different moments of literary history between the Middle Ages, the Early Modern period and the present day.
{"title":"Camilla's traces: Movement as an analytical key to literary history","authors":"Eva von Contzen, Karin Kukkonen","doi":"10.1111/oli.12443","DOIUrl":"https://doi.org/10.1111/oli.12443","url":null,"abstract":"In this article, we develop a framework for the analysis of ‘movement’ in literary texts. We focus on characters, translation and transmission, thereby going beyond, on the one hand, a stylistic analysis of individual passages, and, on the other hand, the linear enchainment of scenes and summaries underlying much of the narratological discussions around movement, speed and pace. We will develop this framework through a discussion of the character Camilla in Vergil's <jats:italic>Aeneid</jats:italic>: Book XI, Gavin Douglas's <jats:italic>Eneados</jats:italic> (1513) and John Dryden's <jats:italic>Aeneis</jats:italic> (1698). Both the version stylistically close to Vergil (Dryden) and the one that is stylistically looser (Douglas) allow for a discussion of movement that takes the principle beyond a primary concern with style. In a final step, we move to the contemporary example of Ursula Le Guin's <jats:italic>Lavinia</jats:italic> (2008) in order to investigate how ‘movement’ translates from the epic to the novel. Movement, as we shall show, can be analysed as movement of plot, movement of thought, and movement of figure in narrative. The framework that we propose allows for the principled discussion of transgeneric transfer of narratives, here between epic and novel, as well as the comparison of texts from different moments of literary history between the Middle Ages, the Early Modern period and the present day.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140578683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Cormac McCarthy's Suttree, the novel's titular protagonist Cornelius Suttree resists his father's self‐righteous conviction in the Nietzschean “pathos of distance” by living among Knoxville's helpless and destitute and testing the theory that “there is nothing occurring in the streets.” Among the city's underclass, Suttree finds a commonality in human suffering and comes to the profound realization that “all souls are one and all souls lonely.” The essay demonstrates how Suttree's personal experience of dearth and deprivation and the sense of fellow feeling, pity, and outrage elicited from his perception of and concern for the frequently unjust suffering of others are instances of pathos that persuade him to reject his father's aristocratic and elitist “pathos of distance” in favor of the egalitarian and democratic “pathos of oneness.”
{"title":"“An enormous sadness touched with rue”: The pathos of oneness in Cormac McCarthy's Suttree","authors":"Russell M. Hillier","doi":"10.1111/oli.12447","DOIUrl":"https://doi.org/10.1111/oli.12447","url":null,"abstract":"In Cormac McCarthy's <jats:italic>Suttree</jats:italic>, the novel's titular protagonist Cornelius Suttree resists his father's self‐righteous conviction in the Nietzschean “pathos of distance” by living among Knoxville's helpless and destitute and testing the theory that “there is nothing occurring in the streets.” Among the city's underclass, Suttree finds a commonality in human suffering and comes to the profound realization that “all souls are one and all souls lonely.” The essay demonstrates how Suttree's personal experience of dearth and deprivation and the sense of fellow feeling, pity, and outrage elicited from his perception of and concern for the frequently unjust suffering of others are instances of pathos that persuade him to reject his father's aristocratic and elitist “pathos of distance” in favor of the egalitarian and democratic “pathos of oneness.”","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140578967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
RésuméLe but du présent article consiste à présenter des traits génériques de la forme narrative brève qu’est la contevelle mauricienne. Le corpus textuel à analyser est un recueil de récits, Le poids des êtres, d'Ananda Devi, l'une des écrivaines mauriciennes les plus célèbres. L'article examine les rapports entre la contevelle, le conte et la nouvelle. La contevelle semble être une forme hybride combinant des éléments des catégories littéraires suivantes : le conte de Noël, la nouvelle‐histoire et la nouvelle‐instant. Par ailleurs, l’article répond à la question de savoir si la contevelle est une catégorie littéraire emblématique pour l'île Maurice.
摘要 本文旨在介绍被称为毛里求斯故事的短篇叙事形式的一般特征。要分析的文本语料是毛里求斯最著名作家之一阿南达-德维的故事集《Le poids des êtres》。文章探讨了童话、故事和短篇小说之间的关系。康特维尔似乎是一种混合形式，融合了以下文学类别的元素：圣诞故事、短篇小说和即时短篇小说。文章还回答了 "contevelle "是否是毛里求斯代表性文学类别的问题。
{"title":"La contevelle mauricienne d'après Ananada Devi. Le cas du Poids des êtres","authors":"Katarzyna Gadomska","doi":"10.1111/oli.12446","DOIUrl":"https://doi.org/10.1111/oli.12446","url":null,"abstract":"RésuméLe but du présent article consiste à présenter des traits génériques de la forme narrative brève qu’est la contevelle mauricienne. Le corpus textuel à analyser est un recueil de récits, <jats:italic>Le poids des êtres</jats:italic>, d'Ananda Devi, l'une des écrivaines mauriciennes les plus célèbres. L'article examine les rapports entre la contevelle, le conte et la nouvelle. La contevelle semble être une forme hybride combinant des éléments des catégories littéraires suivantes : le conte de Noël, la nouvelle‐histoire et la nouvelle‐instant. Par ailleurs, l’article répond à la question de savoir si la contevelle est une catégorie littéraire emblématique pour l'île Maurice.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140631124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
RésuméLe présent article se propose d'analyser le lien entre l'histoire et l'humanisme dans une pièce de théâtre de l'écrivaine belge Vera Feyder, intitulée Le chant du retour (1989). Commandé par la ville d'Arras pour célébrer le bicentenaire de la Révolution française et le révolutionnaire arrageois Maximilien de Robespierre, le drame amène dans l'action contemporaine la couche historique à travers l'idée de l'Arbre de la liberté, la reconstruction d'un événement historique ainsi que l'intertextualité assise sur des chansons révolutionnaires. L'idée d'humanisme présente dans la pièce est analysée en référence à ses trois caractéristiques définies par Tzvetan Todorov dans Le jardin imparfait: l'autonomie du je, la finalité du tu et l'universalité des ils. Finalement, l'article analyse le rôle de l'art en tant que porteur d'histoire d'humanisme.
{"title":"« La liberté, c'est le vent ». Histoire et humanisme dans Le chant du retour de Vera Feyder","authors":"Judyta Niedokos","doi":"10.1111/oli.12438","DOIUrl":"https://doi.org/10.1111/oli.12438","url":null,"abstract":"RésuméLe présent article se propose d'analyser le lien entre l'histoire et l'humanisme dans une pièce de théâtre de l'écrivaine belge Vera Feyder, intitulée <jats:italic>Le chant du retour</jats:italic> (1989). Commandé par la ville d'Arras pour célébrer le bicentenaire de la Révolution française et le révolutionnaire arrageois Maximilien de Robespierre, le drame amène dans l'action contemporaine la couche historique à travers l'idée de l'Arbre de la liberté, la reconstruction d'un événement historique ainsi que l'intertextualité assise sur des chansons révolutionnaires. L'idée d'humanisme présente dans la pièce est analysée en référence à ses trois caractéristiques définies par Tzvetan Todorov dans <jats:italic>Le jardin imparfait:</jats:italic> l'autonomie du <jats:italic>je</jats:italic>, la finalité du <jats:italic>tu</jats:italic> et l'universalité des <jats:italic>ils</jats:italic>. Finalement, l'article analyse le rôle de l'art en tant que porteur d'histoire d'humanisme.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140171326","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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