La fonte nascosta: inventio e dissonanza tra Paulhan, Desnos e Hopper

L’articolo intende partire dal concetto di automatismo insito nel luogo comune, inteso nella sua accezione più ampia, per enucleare alcuni punti fondamentali della riflessione di Jean Paulhan, direttore della NRF negli anni centrali del Novecento, anche alla luce del contributo di Henri Meschonnic in relazione al proverbio in quanto atto linguistico caratterizzato da ri-enunciabilità. Le considerazioni sul ritmo che ne conseguono, già sfruttate dalle sperimentazioni linguistiche di Paulhan e da dadaisti e surrealisti, vanno nella direzione di riscoprire il côté intersoggettivo che, quale fonte nascosta alla base del luogo comune, permette anche di mettere in discussione e rivitalizzare i cliché stessi. Rielaborazione che funziona da specola nei confronti dei pregiudizi e degli automatismi nascosti nel linguaggio. Verranno così evidenziati i punti di contatto tra la fonte nascosta che sostanzia il luogo comune, il défigement operato da Robert Desnos e le tele di Edward Hopper.

Car Painting in America: Edward Hopper's Vision of the Road

The article presents an analysis of three paintings by one of the greatest American realist painters, Edward Hopper. The three selected works share a common denominator: they all address the concept of a car and the influence it has on the nation’s life—it has altered the way people traveled and expressed their identity. A car in Hopper’s works serves a twofold function, it allows its drivers and passengers to experience the land more as they can travel wherever they desire but, on the other hand, it contributes to a separation from their environment as the journey involves fragmentariness and rootlessness.

Maxim Shaligin’s Ballet “Hopper”: at the Crossroads of Interspecific Interpretation and Artistic Translation

Relevance of the study. Maxim Shalygin’s ballet “Hopper” is for the first time explored both from the point of view of its genre and intonation specifics, and in terms of interspecific connections with the painting by American artist Edward Hopper “Morning Sun”. The author’s methods of interspecific literary translation of E. Hopper’s style are revealed by immanently intonation means. The expediency of using the definition of intermedial interpretation, which is a kind of interpretation by composer of a work of a related art form by means of interspecific literary translation, has been substantiated. The relevance of the study is due to the first scientific appeal to the ballet work of the Ukrainian-Dutch composer Maksim Shalygin (1985) in the context of an intermedia composer’s interspecific. An analytical study of M. Shalygin’s ballet "Hopper" with an emphasis on identifying the specifics of the transplantation of E. Hopper’s style into the genre-intonational essence of ballet provides the innovative status of the presented study. The main objective of the study is to reveal the interpretational specifics of M. Shalygin’s ballet “Hopper” in the aspect of intermedial interpretation. Based on the study of the artistic style of E. Hopper (in particular, his painting “Morning Sun”), the features of the composer’s work on the “translation” and transplantation of the artist’s style into the immanent-musical plane (the model of “pictorial music”) are investigated. The following research methods are adapted in the work: the comparative method (to compare the genre features of M. Shalygin’s ballet and E. Hopper’s painting), the method of genre-intonation analysis — to highlight the immanently musical specifics of ballet; the method of theoretical generalization — for understanding the tendencies of the composer’s work in the intermedial space. Results. In the course of the research, it was found that M. Shalygin, who displays a tendency to-wards intermedial artistic thinking in his work, creates in the ballet “Hopper” an interpretation and sound commentary on the painting by E. Hopper. An important feature of the ballet is the process of transformation at all levels of genre-intonation organization. It is a partial rethinking of the themes of his already existing work “Duet” with the transformation of a non-ballet work into a ballet one proper, and, if we take into account the author’s title of the work “Serenade”, a transformation of the serenade`s genre, which in the process of development loses its real genre coordinates, and, occurrence intonational “transformers” from two ballet themes, each of which represents the main features of E. Hopper’s work (clarity of lines, playing with the light’s).In the process of intermedial interpretation, the phenomenon of “musical painting” is born, which realizes the artistic translation of the American artist’s style by means of music. Thanks to finding musical and intonational equivalents to the main stylistic features of the artist (clear geometric lines, playing with light, the imaginative system of loneliness and alienation) M. Shalygin manages to create a picturesque picture by intonation means.

Corredor-Matheos y Edward Hopper (con Carmen Martín Gaite al fondo). Habitación de Hotel

El cuadro de Edward Hopper Habitación de hotel dejó honda huella en José Corredor-Matheos y Carmen Martín Gaite, pertenecientes al mismo grupo generacional aunque con usos estilísticos dispares. Su reacción ecfrástica ante este óleo vendría facilitada por el hecho de que Hopper fue un «pintor para literatos», según lo confirman las numerosas recreaciones poéticas y narrativas de sus cuadros. En el poema «Qué soledad aflige» (2007), Corredor-Matheos se acerca a Habitación de hotel por medio de una escritura ajena a cualquier señuelo mimético, resaltando la abstracción y esencialidad del cuadro: una tensión helada. Por su parte, Martín Gaite —cuyo realismo es subjetivo y emocional— psicologizará este lienzo en «Todo es un cuento roto en Nueva York» (1993) y en la conferencia Hopper. Habitación de hotel (1996). Pese a dicha disparidad escritural, anida en ambos autores una misma respuesta: el ser humano malvive en un mundo inhóspito, que le intensifica la soledad, la angustia y la alienación.

Las pinturas de cine de Edward Hopper

Edward Hopper —muy conocido por sus composiciones artísticas que evocan típicas escenas de películas y que han inspirado a muchos cineastas— frecuentaba el cine muy a menudo y empleaba los exteriores e interiores del cine como tema principal de algunas de sus obras. A continuación, se analizarán tres obras icónicas sobre cines de Edward Hopper: The Sheridan Theatre (1937), The Circle Theatre (1936), and New York Movie (1939), cuyo contexto histórico aún no se ha examinado en detalle. Sus composiciones son muy sofisticadas e ilustrativas al mostrar la historia del cine y de la historia estadounidense de la década de 1930. Hopper llama la atención sobre los problemas urbanos contemporáneos sobre la inquietud por las estrategias de abaratamiento en el negocio de exhibición de películas. También muestra las experiencias cambiantes del cine en la década de 1930 y deconstruye el glamour del trabajo del acomodador y expone la alienación de su trabajo.

Do outro lado do silêncio: fotografias e vídeos sobre o cotidiano hiperconectado

Este trabalho expõe um estudo crítico em torno de um ensaio visual composto por fotografias e vídeos que pretendem apresentar um pensamento sobre as relações das pessoas de hoje com a tecnologia e as redes sociais. Partindo de referências de pinturas de Edward Hopper, as imagens dessa série buscam trazer aos olhos e dar visão ao vazio e ao silêncio da vida contemporânea através de encenações com personagens envoltos em atmosferas coabitadas pelo real e o virtual.