Atlante - Revue d'études romanes - Tag desastres-de-la-guerra

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	<title>Atlante - Revue d&#039;études romanes - Tag desastres-de-la-guerra</title>
	<link>https://atlante.univ-lille.fr/tag/desastres-de-la-guerra</link>
	<language>fr</language>
	<description></description>
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		<title>09. Étude des &lt;em&gt;Desastres de la guerra&lt;/em&gt; : entre fantasmagories et visions pré-photographiques. Autour du corps violenté</title> 
		<link>https://atlante.univ-lille.fr/09-etude-des-desastres-de-la-guerra-entre-fantasmagories-et-visions-pre-photographiques-autour-du-corps-violente.html</link>
		<guid>https://atlante.univ-lille.fr/09-etude-des-desastres-de-la-guerra-entre-fantasmagories-et-visions-pre-photographiques-autour-du-corps-violente.html</guid>
		<description>&lt;p&gt;Corinne Cristini&lt;br /&gt;Universit&amp;eacute; Paris-Sorbonne&lt;br /&gt;CRIMIC&lt;br /&gt; p. 172-204.&lt;/p&gt;&lt;p style=&quot;text-align: justify;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Corinne CRISTINI, &amp;laquo;&amp;nbsp;&amp;Eacute;tude des &lt;em&gt;Desastres de la guerra&lt;/em&gt;&amp;nbsp;: entre fantasmagories et visions pr&amp;eacute;-photographiques. Autour du corps violent&amp;eacute;&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;.&amp;nbsp;&lt;/strong&gt;Cette &amp;eacute;tude se propose de revisiter les &lt;em&gt;Desastres de la guerra&lt;/em&gt; de Goya en consid&amp;eacute;rant essentiellement deux aspects a priori antinomiques, et qui, pourtant, s&amp;rsquo;auto-alimentent chez l&amp;rsquo;artiste&amp;nbsp;: d&amp;rsquo;une part, l&amp;rsquo;art de la fantasmagorie, et d&amp;rsquo;autre part, une modernit&amp;eacute; esth&amp;eacute;tique transgressive, un nouveau regard &amp;laquo;&amp;nbsp;pr&amp;eacute;-photographique&amp;nbsp;&amp;raquo;. Nous nous interrogerons sur les proc&amp;eacute;d&amp;eacute;s plastiques mis en &amp;oelig;uvre par Goya et sur le primat accord&amp;eacute; au corps&amp;nbsp;tortur&amp;eacute;, viol&amp;eacute;, mutil&amp;eacute;, soumis &amp;agrave; toutes les formes de barbarie. En dernier lieu, nous nous int&amp;eacute;resserons aux &amp;eacute;l&amp;eacute;ments qui conf&amp;egrave;rent &amp;agrave; ces gravures une dimension universelle en mettant l&amp;rsquo;accent notamment sur les sources artistiques et religieuses qui nourrissent l&amp;rsquo;&amp;oelig;uvre goyesque.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Mots-cl&amp;eacute;s.&lt;/strong&gt; Goya, &lt;em&gt;Desastres de la guerra&lt;/em&gt;, fantasmagorie, photographie, corps, torture.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Corinne CRISTINI, &amp;ldquo;Estudio de los &lt;em&gt;Desastres de la guerra&lt;/em&gt;: entre fantasmagor&amp;iacute;as y visiones pre-fotogr&amp;aacute;ficas. En torno al cuerpo violentado&amp;rdquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Resumen.&amp;nbsp;&lt;/strong&gt;Este estudio se propone revisitar los &lt;em&gt;Desastres de la guerra&lt;/em&gt; de Goya considerando especialmente dos aspectos aparentemente antin&amp;oacute;micos, pero que, en realidad, se autoalimentan en la obra goyesca: por una parte, el arte de la fantasmagor&amp;iacute;a, y, por otra parte, una modernidad est&amp;eacute;tica transgresiva, una nueva mirada &amp;ldquo;pre-fotogr&amp;aacute;fica&amp;rdquo;. Cuestionaremos los procedimientos pl&amp;aacute;sticos usados por Goya y la importancia otorgada al cuerpo torturado, violado, mutilado, sometido a todas las formas de barbarie. Por fin, nos interesaremos en los elementos que confieren a estos grabados una dimensi&amp;oacute;n universal recalcando particularmente las fuentes art&amp;iacute;sticas y religiosas que nutren la obra goyesca.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Palabras claves.&amp;nbsp;&lt;/strong&gt;Goya, &lt;em&gt;Desastres de la guerra&lt;/em&gt;, fantasmagor&amp;iacute;a, fotograf&amp;iacute;a, cuerpo, tortura.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;em&gt;&amp;nbsp;&lt;/em&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Corinne CRISTINI, &amp;ldquo;Study of the &lt;em&gt;Desastres de la guerra&lt;/em&gt;: between Phantasmagorias and Pre-photographic Visions. About the Violated Body&amp;rdquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Abstract.&amp;nbsp;&lt;/strong&gt;The purpose of this study is to revisit Goya&amp;rsquo;s &lt;em&gt;Desastres de la guerra&lt;/em&gt; by focusing on two aspects which seem contradictory prima facie, but are actually sustaining one another in the artist&amp;rsquo;s work: the art of phantasmagoria on the one hand, and a transgressive aesthetic modernity &amp;ndash; or a new &amp;ldquo;pre-photographic&amp;rdquo; view &amp;ndash; on the other. It examines the plastic processes used by Goya as well as the prominence he gives to the tortured, violated, mutilated body, which has been subjected to every possible form of barbarism. Lastly, it is interested in the elements which convey a universal dimension to Goya&amp;rsquo;s engravings, with a special emphasis on the artistic and religious sources nourishing his work.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Keywords.&amp;nbsp;&lt;/strong&gt;Goya, &lt;em&gt;Desastres de la guerra&lt;/em&gt;, phantasmagoria, photography, body, torture.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_6_10.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (pdf, 1 Mb)&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;</description>
		<pubDate>Thu, 21 Jun 2018 09:15:00 +0200</pubDate>
		<dc:creator>admin</dc:creator>
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		<title>07. Goya : le corps profané, ou la rupture du modèle classique</title> 
		<link>https://atlante.univ-lille.fr/07-goya-le-corps-profane-ou-la-rupture-du-modele-classique-roland-behar-p-119.html</link>
		<guid>https://atlante.univ-lille.fr/07-goya-le-corps-profane-ou-la-rupture-du-modele-classique-roland-behar-p-119.html</guid>
		<description>&lt;p&gt;Roland B&amp;eacute;har&lt;br /&gt;&amp;Eacute;cole Normale Sup&amp;eacute;rieure, Paris&lt;br /&gt; p. 119-143.&lt;/p&gt;&lt;p style=&quot;text-align: justify;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Roland B&amp;Eacute;HAR, &amp;laquo; Goya : le corps profan&amp;eacute;, ou la rupture du mod&amp;egrave;le classique &amp;raquo;&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;. &lt;/strong&gt;La violence des &lt;em&gt;Desastres de la guerra &lt;/em&gt;de Goya est produite non seulement par l&amp;rsquo;horreur imm&amp;eacute;diate de ce qui est repr&amp;eacute;sent&amp;eacute;, la guerre, mais aussi par une profonde rupture avec les canons n&amp;eacute;o-classiques de son temps. L&amp;rsquo;article rappelle, en pr&amp;ecirc;tant une attention particuli&amp;egrave;re aux aquatintes n&amp;deg; 37 et n&amp;deg; 39, comment Goya s&amp;rsquo;est form&amp;eacute; &amp;agrave; l&amp;rsquo;&amp;eacute;cole de l&amp;rsquo;imitation des Anciens, du &lt;em&gt;Torse du Belv&amp;eacute;d&amp;egrave;re &lt;/em&gt;mais aussi et surtout du &lt;em&gt;Laocoon&lt;/em&gt;, et comment cette le&amp;ccedil;on est sensible jusque dans ses &amp;oelig;uvres les plus tardives, au prix de constantes transgressions de la repr&amp;eacute;sentation classique du corps. Cette transgression, enfin, n&amp;rsquo;est pas seulement visuelle, elle est aussi intellectuelle : avec les &lt;em&gt;Desastres&lt;/em&gt;, Goya fait &amp;eacute;cho aux consid&amp;eacute;rations du &lt;em&gt;Laocoon &lt;/em&gt;(1766) de Lessing sur la laideur et le moment f&amp;eacute;cond (&lt;em&gt;fruchtbarer Moment&lt;/em&gt;) et cr&amp;eacute;e un art se situant radicalement en-dehors de ce que la th&amp;eacute;orie des Beaux-Arts consid&amp;eacute;rait comme de l&amp;rsquo;art.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Mots-cl&amp;eacute;s.&amp;nbsp;&lt;/strong&gt;Goya, &lt;em&gt;Desastres de la guerra&lt;/em&gt;, Beaux-Arts, &lt;em&gt;Torse du Belv&amp;eacute;d&amp;egrave;re&lt;/em&gt;, &lt;em&gt;Laocoon&lt;/em&gt;, Winckelmann, Lessing, &lt;em&gt;fruchtbarer Moment&lt;/em&gt;.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Roland B&amp;Eacute;HAR, &amp;ldquo;Goya: el cuerpo profanado, o la ruptura del modelo cl&amp;aacute;sico&amp;rdquo;&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Resumen. &lt;/strong&gt;La violencia de los &lt;em&gt;Desastres de la guerra &lt;/em&gt;de Goya emana no s&amp;oacute;lo del horror inmediato de lo que se muestra, la guerra, sino tambi&amp;eacute;n de una profunda ruptura con los c&amp;aacute;nones neocl&amp;aacute;sicos de su tiempo. Prestando especial atenci&amp;oacute;n a las aguatintas 37 y 39, el art&amp;iacute;culo recuerda c&amp;oacute;mo Goya se form&amp;oacute; en la imitaci&amp;oacute;n de los antiguos, del &lt;em&gt;Torso del Belvedere &lt;/em&gt;y, ante todo, del &lt;em&gt;Laocoonte&lt;/em&gt;, y c&amp;oacute;mo esta lecci&amp;oacute;n es sensible hasta en sus &amp;uacute;ltimas obras, pero con constantes transgresiones de la representaci&amp;oacute;n cl&amp;aacute;sica del cuerpo. Esta transgresi&amp;oacute;n, por &amp;uacute;ltimo, no es s&amp;oacute;lo visual, sino tambi&amp;eacute;n intelectual: con sus &lt;em&gt;Desastres&lt;/em&gt;, Goya se hace eco de las consideraciones del &lt;em&gt;Laocoonte &lt;/em&gt;(1766) de Lessing acerca de la fealdad y del momento f&amp;eacute;rtil (&lt;em&gt;fruchtbarer Moment&lt;/em&gt;), creando as&amp;iacute; un arte que se ubica completamente fuera de lo que la teor&amp;iacute;a de Bellas Artes consideraba como arte.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Palabras clave.&amp;nbsp;&lt;/strong&gt;Goya, &lt;em&gt;Desastres de la guerra&lt;/em&gt;, Bellas Artes, &lt;em&gt;Torso del Belvedere&lt;/em&gt;, &lt;em&gt;Laocoonte&lt;/em&gt;, Winckelmann, Lessing, &lt;em&gt;fruchtbarer Moment&lt;/em&gt;.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Roland B&amp;Eacute;HAR, &amp;ldquo;Goya: the Profaned Body, or the Rupture of the Classical Model&amp;rdquo;&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Abstract. &lt;/strong&gt;The violence of Goya&amp;rsquo;s &lt;em&gt;Desastres de la guerra &lt;/em&gt;is a result not only of the immediate horror of what is represented, war, but also of a deep rupture with the neoclassical canons of its time. Paying particular attention to aquatints n&amp;deg; 37 and n&amp;deg; 39, this paper recalls how Goya was trained in the school of imitation of the Ancients, of the &lt;em&gt;Belvedere Torso &lt;/em&gt;and of the &lt;em&gt;Laoco&amp;ouml;n&lt;/em&gt;, and how this lesson is evident even in his late works, though with constant transgressions of the classical representation of the body. This transgression is not only visual, it is also intellectual: with the &lt;em&gt;Desastres&lt;/em&gt;, Goya echoes the considerations of Lessing&amp;rsquo;s &lt;em&gt;Laocoon &lt;/em&gt;(1766) on ugliness and the fruitful moment (&lt;em&gt;fruchtbarer Moment&lt;/em&gt;), and creates an art that lies radically beyond what the theory of the fine arts considered as art.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Key Words.&amp;nbsp;&lt;/strong&gt;Goya, &lt;em&gt;Desastres de la guerra&lt;/em&gt;, Fine Arts, &lt;em&gt;Belvedere Torso&lt;/em&gt;, &lt;em&gt;Laocoon&lt;/em&gt;, Winckelmann, Lessing, &lt;em&gt;fruchtbarer Moment&lt;/em&gt;.&lt;/p&gt;
&lt;h2 style=&quot;text-align: justify;&quot;&gt;&amp;nbsp;&lt;/h2&gt;
&lt;p&gt;&lt;strong&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_6_8.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (pdf, 2 Mb)&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;</description>
		<pubDate>Thu, 21 Jun 2018 09:14:00 +0200</pubDate>
		<dc:creator>admin</dc:creator>
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