scholarly journals Come Macbeth si lava le mani. La concezione diderotiana del movimento fra i primi scritti di estetica teatrale e i Salons

Itinera ◽  
2021 ◽  
Author(s):  
Caterina Piccione
Keyword(s):  
Eighteenth Century ◽  
Body Language ◽  
Circular Reasoning ◽  
Work Of Art ◽  
The Enlightenment ◽  
Precise Sense ◽  
The Aesthetic

In the pages of Diderot, theatre is able to enclose a precise sense of movement. By distancing itself from conventions, poses, mannerisms, and affectations, the stage gesture can embody a fundamental dynamism and vitalism. Such a gesture should be read in the light of Diderot’s materialistic conception of nature. The centrality of body language and of pantomime is a leitmotiv of the art of the French eighteenth-century actor. However, in Diderot’s formulation of a dramaturgy of space and motion, as well as in the theorization of the aesthetic relationship between actor and spectator, we find a peculiar synthesis of the dichotomies illusion / fiction and sensitivity / detachment, which emerge with regard to the fictional status of theatre in the Enlightenment environment. In this sense, the analogy with the pictorial sphere turns out to be a fundamental resource. There is a sort of circular reasoning that induces in Diderot the desire of reforming theatre on the basis of painting: a painting which is however conceived in a radically dramatic way. Concepts such as absorption, theatricalization, decisive moment, unity of action, and fourth wall are applied to theatre as well as to painting. Therefore, they can be included within a more general interpretation of the sense of movement, according to the principles of fluidity, harmony, and transformation that regulate both nature and the work of art.

scholarly journals Second Nature and the Sonic Sublime

2021 ◽  
Vol 45 (3) ◽  
pp. 178-196
Author(s):  
Miranda Stanyon
Keyword(s):  
Eighteenth Century ◽  
Contemporary Art ◽  
Human Action ◽  
Second Nature ◽  
Michel De Certeau ◽  
The Enlightenment ◽  
The Sublime ◽  
Physical Environments ◽  
The Aesthetic ◽  
Point Of Departure

Like other spaces of the Enlightenment, the sublime was what Michel de Certeau might have called “a practiced place.” Its rhetorical commonplaces, philosophical terrains, and associated physical environments were cultivated, shaped, and framed by human action and habit. But can the sublime—epiphanic, quasi-spiritual, unmasterable, extraordinary—ever really become a habit? Is it possible, even natural, to become habituated to sublimity? Taking as its point of departure the Aristotelian claim that “habit is a second nature,” this article explores the counterintuitive relationship between habit and the sublime. It focuses not on that eighteenth-century “cultivar,” the natural sublime, but on sonic sublimity, exploring on one hand overwhelming sounds, and on the other a conceptualization of sound itself as a sublime phenomenon stretching beyond audibility to fill all space. As this exploration shows, both the sublime and habit were seen as capable of creating a second nature, and prominent writers connected habit, practice, or repetition to the sublime. Equally, however, there are points of friction between the aesthetic of the sublime and philosophies of habit, especially in the idea that habit dulls or removes sensation. This is a prominent idea in Félix Ravaisson's landmark De l'habitude (1838), a text currently enjoying renewed attention, and one that apparently stems from Enlightenment attempts to explain sensation, consciousness, and freedom. Similar concerns inform the eighteenth-century sublime, yet the logic behind the sublime is at odds with the dulling of sensation. The article closes by touching on the reemergence of “second nature” in contemporary art oriented toward the sublime, and on the revisions of Enlightenment nature this involves.

scholarly journals Hanswurst and Herr Ich: Subjection and Abjection in Enlightenment Censorship of the Comic Figure

2007 ◽  
Vol 23 (2) ◽  
pp. 124-135 ◽  
Author(s):  
Karen Jürs-Munby
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Political Power ◽  
Julia Kristeva ◽  
The Enlightenment ◽  
Theatre Studies ◽  
Historical Relationship ◽  
Early Eighteenth Century ◽  
The Aesthetic ◽  
Historical Movement

The well-known ‘banishment’ of the popular comic figure Hanswurst from the German stage by Gottsched and the Neuber acting troupe in the early eighteenth century is usually read as part of the historical movement from improvised folk theatre to bourgeois literary theatre. In this article Karen Jürs-Munby goes beyond that received wisdom to discuss what kind of acting, what kind of body, and what kind of relationship between stage and audience were censored by banishing Hanswurst. Considering this censorship as part of the larger historical relationship between discourses on acting and the emergence of a modern self in the Enlightenment, she argues that the osmotic body and stage that Hanswurst stood for prevented the aesthetic mirroring relationship sought by eighteenth-century stage reformers in an increasing need for bourgeois self-representation. The Hanswurst banishment can be theorized with reference to Julia Kristeva as an abjection of grotesque acting – a form of acting whose political power to question the autonomous bourgeois subject was to be rediscovered by practitioners in the twentieth century. Karen Jürs-Munby is a lecturer in Theatre Studies at Lancaster University; she has published articles on theories and discourses of acting in the eighteenth and twentieth centuries and recently translated Hans-Thies Lehmann's Postdramatic Theatre.

The “New Empire of Common Sense”

2018 ◽  
Author(s):  
Paul B. Wood
Keyword(s):  
Eighteenth Century ◽  
Common Sense ◽  
Atlantic World ◽  
Thomas Reid ◽  
The Enlightenment ◽  
Joseph Priestley ◽  
Common Sense Philosophy

Although the rise of Scottish common sense philosophy was one of the most important intellectual developments of the Enlightenment, significant gaps remain in our understanding of the reception of Scottish common sense philosophy in the Atlantic world during the second half of the eighteenth century. This chapter focuses on the British context in the period 1764–93, and examines published responses to James Oswald, James Beattie, and, especially, Thomas Reid. The chapter contextualizes the polemics of Joseph Priestley against the three Scots and argues that it was Joseph Berington rather than Priestley who was the first critic to claim that the appeal to common sense was the defining feature of “the Scotch school” of philosophy. It also shows that Reid was widely acknowledged to be the founder and most accomplished exponent of the “school”, whereas Beattie and Oswald were typically dismissed as being derivative thinkers.

Classical Learning in Britain, France, and the Dutch Republic, 1690-1750

2020 ◽  
Author(s):  
Floris Verhaart
Keyword(s):  
Eighteenth Century ◽  
Ancient Greece ◽  
Classical Antiquity ◽  
General Point ◽  
Classical Literature ◽  
Sources Of Information ◽  
Literary Value ◽  
Age Of Reason ◽  
Renaissance Humanism ◽  
The Enlightenment

The Quarrel of the Ancients and the Moderns in the late seventeenth and early eighteenth centuries was a moment when scholars and thinkers across Europe reflected on how they saw their relationship with the past, especially classical antiquity. Many readers in the Renaissance had appreciated the writings of ancient Latin and Greek authors not just for their literary value, but also as important sources of information that could be usefully applied in their own age. By the late seventeenth century, however, it was felt that the authority of the ancients was no longer needed and that their knowledge had become outdated thanks to scientific discoveries as well as the new paradigms of rationalism and empiricism. Those working on the ancient past and its literature debated new ways of defending their relevance for society. The different approaches to classical literature defended in these debates explain how the writings of ancient Greece and Rome could become a vital part of eighteenth-century culture and political thinking. Through its analysis of the debates on the value of the classics for the eighteenth century, this book also makes a more general point on the Enlightenment. Although often seen as an age of reason and modernity, the Enlightenment in Europe continuously looked back for inspiration from preceding traditions and ages such as Renaissance humanism and classical antiquity. Finally, the pressure on scholars in the eighteenth century to popularize their work and be seen as contributing to society is a parallel for our own time in which the value of the humanities is a continuous topic of debate.

‹ Rococo › : du jargon à la catégorie de style

2017 ◽  
Vol 80 (4) ◽  
pp. 474-487
Author(s):  
Marie-Pauline Martin
Keyword(s):  
Eighteenth Century ◽  
The Enlightenment ◽  
History Of ◽  
Louis Xvi ◽  
Definition Of ◽  
Louis Xv ◽  
Objective Existence

Abstract Today there is a consensus on the definition of the term ‘rococo’: it designates a style both particular and homogeneous, artistically related to the reigns of Louis XV and Louis XVI. But we must not forget that in its primitive formulations, the rococo has no objective existence. As a witty, sneering, and impertinent word, it can adapt itself to the most varied discourses and needs, far beyond references to the eighteenth century. Its malleability guarantees its sparkling success in different languages, but also its highly contradictory uses. By tracing the genealogy of the word ‘rococo’, this article will show that the association of the term with the century of Louis XV is a form of historical discrimination that still prevails widely in the history of the art of the Enlightenment.

THE “HARD FORM” OF SCULPTURE: MARBLE, MATTER AND SPIRIT IN EUROPEAN SCULPTURE FROM THE ENLIGHTENMENT THROUGH ROMANTICISM

2008 ◽  
Vol 5 (3) ◽  
pp. 455-486 ◽  
Author(s):  
LINDA WALSH
Keyword(s):  
Eighteenth Century ◽  
Theory And Practice ◽  
Early Nineteenth Century ◽  
External Appearance ◽  
The Enlightenment ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Familiar World ◽  
A Site ◽  
Aesthetic Values

The apparently distinct aesthetic values of naturalism (a fidelity to external appearance) and neoclassicism (with its focus on idealization and intangible essence) came together in creative tension and fusion in much late eighteenth-century and early nineteenth-century sculptural theory and practice. The hybrid styles that resulted suited the requirements of the European sculpture-buying public. Both aesthetics, however, created difficulties for the German Idealists who represented a particularly uncompromising strain of Romantic theory. In their view, naturalism was too closely bound to the observable, familiar world, while neoclassicism was too wedded to notions of clearly defined forms. This article explores sculptural practice and theory at this time as a site of complex debates around the medium's potential for specific concrete representation in a context of competing Romantic visions (ethereal, social and commercial) of modernity.

II.—A Plea for the Study of Literature from the æsthetic Standpoint

PMLA ◽  
1891 ◽  
Vol 6 (1) ◽  
pp. 29-40
Author(s):  
John P. Fruit
Keyword(s):  
Divine Attributes ◽  
External Quality ◽  
Work Of Art ◽  
Divine Justice ◽  
The Aesthetic

That teacher of literature who has not comprehended the significance of a work of Art, has never been endued with the spirit and power of his high calling. He stands unwittingly in the place of an apostle of “that external quality of bodies which may be shown to be in some sort typical of the Divine attributes.”“Those qualities, or types,” according to Ruskin, “on whose combination is dependent the power of mere material loveliness” are:“Infinity, or the type of Divine Incomprehensibility; Unity, or the type of the Divine Comprehensibility; Repose, or the type of the Divine Permanence; Symmetry, or the type of the Divine Justice; Purity, or the type of the Divine Energy; Moderation, or the type of Government by Law.”

A Russian Mystic Faces the Age of Rationalism and Revolution: Thought and Activity of Ivan Vladimirovich Lopukhin

1967 ◽  
Vol 36 (2) ◽  
pp. 170-188
Author(s):  
Alexander Lipski
Keyword(s):  
Eighteenth Century ◽  
The State ◽  
Russian Culture ◽  
Peter The Great ◽  
The Enlightenment ◽  
Western Influence ◽  
The World ◽  
Extreme Degree ◽  
State Of Mind

It is generally accepted that even though rationalism was predominant during the eighteenth century, a significant mystical trend was simultaneously present. Thus it was not only the Age of Voltaire, Diderot, and Holbach, but also the Age of St. Martin, Eckartshausen and Madame Guyon. With increased Western influence on Russia, it was natural that Russia too would be affected by these contrary currents. The reforms of Peter the Great, animated by a utilitarian spirit, had brought about a secularization of Russian culture. Father Florovsky aptly summed up the state of mind of the Russian nobility as a result of the Petrine Revolution: “The consciousness of these new people had been extroverted to an extreme degree.” Some of the “new people,” indifferent to their previous Weltanschauung, Orthodoxy, adopted the philosophy of the Enlightenment, “Volter'ianstvo” (Voltairism). But “Volter'ianstvo” with its cult of reason and belief in a remote creator of the “world machine,“ did not permanently satisfy those with deeper religious longings. While conventional Orthodoxy, with its emphasis on external rites, could not fill the spiritual vacuum, Western mysticism, entering Russia chiefly through freemasonry, provided a satisfactory alternative to “Volter'ianstvo.”

Pen, print and communication in the eighteenth century

2020 ◽  
Keyword(s):  
Eighteenth Century ◽  
Cultural Change ◽  
The Enlightenment ◽  
Production Distribution ◽  
Fresh Perspective ◽  
Private And Public ◽  
Original Narrative ◽  
General Record ◽  
Printed Word ◽  
Political Economic

Pen, print and communication in the eighteenth century is a volume of fourteen essays each of which explores the production, distribution and consumption of both private and public texts during the Enlightenment from a variety of historical, theoretical and critical perspectives.  During the eighteenth century there was a growing interest in recording, listing and documenting the world, whether for personal interest and private consumption, or general record and the greater good. Such documentation was done through both the written and printed word. Each genre had its own material conventions and spawned industries which supported these practices. This volume considers writing and printing in parallel: it highlights the intersections between the two methods of communication; discusses the medium and materiality of the message; considers how writing and printing were deployed in the construction of personal and cultural identities; and explores the different dimensions surrounding the production, distribution and consumption of private and public letters, words and texts during the eighteenth-century. In combination the chapters in this volume consider how the processes of both writing and printing contributed to the creation of cultural identity and taste, assisted in the spread of knowledge and furthered bother personal, political, economic, social and cultural change in Britain and the wider-world. This volume provides and original narrative on the nature of communication and brings a fresh perspective on printing history, print culture and the literate society of the Enlightenment.

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