Atlante - Revue d'études romanes

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	<title>Atlante - Revue d&#039;études romanes - Tag roman</title>
	<link>https://atlante.univ-lille.fr/tag/roman</link>
	<language>fr</language>
	<description></description>
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	<lastBuildDate>Thu, 16 May 2019 09:53:00 +0200</lastBuildDate>
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		<title>11. Le emozioni dello spettatore e Goldoni</title> 
		<link>https://atlante.univ-lille.fr/11-le-emozioni-dello-spettatore-e-goldoni.html</link>
		<guid>https://atlante.univ-lille.fr/11-le-emozioni-dello-spettatore-e-goldoni.html</guid>
		<description>&lt;p&gt;Marzia Pieri&lt;br /&gt;Universit&amp;agrave; di Siena&lt;br /&gt;p. 194-212.&lt;/p&gt;&lt;p&gt;&lt;strong&gt;&lt;br /&gt;Marzia PIERI,&amp;nbsp;&amp;laquo;&amp;nbsp;Le emozioni dello spettatore e Goldoni&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Sintesi.&lt;/strong&gt; Entusiasmi passioni ed emozioni riguardano, nel Settecento, una massa crescente di lettori di romanzi e di spettatori teatrali che si affacciano per la prima volta alla ribalta della storia liberi di giudicare romanzi e spettacoli secondo il metro di un inedito piacere soggettivo. Una nuova estetica emozionalistica, gi&amp;agrave; intuita da Lope e ora teorizzata da Jean Baptiste Du Bos, soppianta le norme classicistiche del buon gusto aristocratico con effetto dirompente. Goldoni &amp;egrave; fra i pochi che l&amp;rsquo;accolgono con naturalezza, ed &amp;egrave; capace di assecondarla e orientarla all&amp;rsquo;interno di una strategia a largo raggio in cui l&amp;rsquo;interlocuzione attiva con questo nuovo pubblico &amp;egrave; un elemento fondativo della sua azione drammaturgica.&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Parole chiavi.&lt;/strong&gt; Romanzo, Spettatore teatrale, Passione, Noia, Jean Baptiste Du Bos, Goldoni.&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Marzia PIERI, &amp;laquo;&amp;nbsp;Les &amp;eacute;motions du spectateur et Goldoni&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;R&amp;eacute;sum&amp;eacute;. Au XVIIIe si&amp;egrave;cle l&amp;rsquo;enthousiasme, les passions et les &amp;eacute;motions concernent un nombre croissant de lecteurs de romans et de spectateurs du th&amp;eacute;&amp;acirc;tre qui se montrent pour la premi&amp;egrave;re fois sur la sc&amp;egrave;ne de l&amp;rsquo;histoire comme des sujets libres de juger les livres et les spectacles selon leur propre plaisir. Une nouvelle esth&amp;eacute;tique &amp;eacute;motionnelle, d&amp;eacute;j&amp;agrave; entrevue par Lope puis th&amp;eacute;oris&amp;eacute;e par Jean Baptiste Du Bos, remplace les r&amp;egrave;gles classiques du bon go&amp;ucirc;t aristocratique, avec un effet hautement perturbateur. Goldoni offre un rare exemple d&amp;rsquo;acceptation de la nouveaut&amp;eacute;: il est capable de la comprendre et de la diriger dans une strat&amp;eacute;gie d&amp;rsquo;envergure o&amp;ugrave; le dialogue avec le public &amp;eacute;tablit la base de la dramaturgie.&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Mots-cl&amp;eacute;. &lt;/strong&gt;Roman, Spectateur th&amp;eacute;&amp;acirc;tral, Passion, Ennui, Jean Baptiste Du Bos, Goldoni.&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p lang=&quot;en-US&quot; align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Marzia PIERI, &amp;laquo; The spectator&amp;rsquo;s emotions and Goldoni&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;span lang=&quot;en-US&quot;&gt;&lt;strong&gt;Abstract.&lt;/strong&gt;&amp;nbsp;&lt;/span&gt;&lt;span lang=&quot;en-US&quot;&gt;In the 18th century a growing number of novel readers and theater spectators feel free for the first time in history to openly&amp;nbsp;display enthusiasm, passions and emotions, and at the same time evaluate books and plays according to their own subjective pleasure. A new emotional aesthetics, already foreseen by Lope and later theorized by Jean Baptiste Du Bos, replaced the classicist rules of the aristocratic taste provoking explosive results. Goldoni was one of the few authors to naturally welcome this new aesthetics, which became a founding principle of his dramaturgical action. He transformed it into a strategy based on the active dialogue with this new audience.&lt;/span&gt;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Keywords. &lt;/strong&gt;Novel, Theater spectator, Passion, Boredom, Jean Baptiste Du Bos, Goldoni.&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_9_12.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (pdf, 196 Kb)&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;</description>
		<pubDate>Thu, 16 May 2019 09:53:00 +0200</pubDate>
		<dc:creator>daniel.ramirezmahecha</dc:creator>
	</item>
	<item>
		<title>06. Goya et l’expression de l’horreur dans la prose et la poésie espagnoles contemporaines</title> 
		<link>https://atlante.univ-lille.fr/06-goya-et-lexpression-de-lhorreur-dans-la-prose-et-la-poesie-espagnoles-contemporaines.html</link>
		<guid>https://atlante.univ-lille.fr/06-goya-et-lexpression-de-lhorreur-dans-la-prose-et-la-poesie-espagnoles-contemporaines.html</guid>
		<description>&lt;p&gt;Xavier Escudero&lt;br /&gt;Universit&amp;eacute; du Littoral C&amp;ocirc;te d&#039;Opale&lt;br /&gt;U.R.H.L.L.I. EA 4030&lt;br /&gt; p. 104-117.&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;Xavier ESCUDERO, &amp;laquo;Goya et l&amp;rsquo;expression de l&amp;rsquo;horreur dans la prose et la po&amp;eacute;sie espagnoles contemporaines&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;Francisco de Goya n&amp;rsquo;est pas seulement le peintre de la cour, des portraits ou de la famille royale, ou le graveur des &lt;em&gt;Caprichos&lt;/em&gt; et des &lt;em&gt;Desastres&lt;/em&gt;. Il introduit le discours universel de l&amp;rsquo;horreur dans l&amp;rsquo;histoire de l&amp;rsquo;Art. Son influence d&amp;eacute;passe ce champ pour atteindre celui de la litt&amp;eacute;rature. Lui-m&amp;ecirc;me proche des hommes de lettres de son temps, la litt&amp;eacute;rature reconna&amp;icirc;t &amp;agrave; Goya d&amp;rsquo;avoir invent&amp;eacute; le langage universel de l&amp;rsquo;horreur.Son observation des horreurs de la guerre et son esth&amp;eacute;tique ont particuli&amp;egrave;rement marqu&amp;eacute; les po&amp;egrave;tes, chroniqueurs, dramaturges et romanciers espagnols de la fin du XVIII&lt;sup&gt;e&lt;/sup&gt; si&amp;egrave;cle &amp;agrave; nos jours. Nous d&amp;eacute;voilons dans cet article quelques-unes de ces traces goyesques et, plus pr&amp;eacute;cis&amp;eacute;ment, celles des &lt;em&gt;Desastres&lt;/em&gt; dans des textes vari&amp;eacute;s.&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&lt;/em&gt;, horreur, po&amp;eacute;sie, roman, chroniques, Espagne contemporaine, litt&amp;eacute;rature.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;&amp;nbsp;&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Xavier ESCUDERO, &amp;ldquo;Goya y la expresi&amp;oacute;n del horror en la prosa y la poes&amp;iacute;a espa&amp;ntilde;olas contempor&amp;aacute;neas&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;Francisco de Goya no s&amp;oacute;lo es el pintor de la corte, de los retratos o de la familia real, o el grabador de los &lt;em&gt;Caprichos&lt;/em&gt; y de los &lt;em&gt;Desastres&lt;/em&gt;. Introduce el discurso universal del horror en la historia del Arte. Su influencia va aun m&amp;aacute;s all&amp;aacute; de este campo para alcanzar el de la literatura. Mientras &amp;eacute;l mismo fue cercano a los literatos de su tiempo, la literatura reconoce que Goya es el inventor del idioma universal del horror. Su observaci&amp;oacute;n de los horrores de la guerra y su est&amp;eacute;tica marcaron en particular a los poetas, cronistas, dramaturgos y novelistas espa&amp;ntilde;oles desde finales del siglo XVIII hasta la actualidad. Exponemos en este art&amp;iacute;culo algunas de esas huellas goyescas y, m&amp;aacute;s precisamente, las que se relacionan con los &lt;em&gt;Desastres&lt;/em&gt; en diversos textos.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Palabras clave.&lt;/strong&gt; Goya, &lt;em&gt;Desastres&lt;/em&gt;, horror, poes&amp;iacute;a, novela, cr&amp;oacute;nicas, Espa&amp;ntilde;a contempor&amp;aacute;nea, literatura.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;&amp;nbsp;&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Xavier ESCUDERO, &amp;ldquo;Goya and the Expression of Horror in Contemporary Spanish Prose and Poetry&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;Francisco de Goya is not only the painter of the court, of portraits or of the royal family, nor is he only theengraver of the &lt;em&gt;Caprichos&lt;/em&gt; and the &lt;em&gt;Desastres&lt;/em&gt;. Indeed, he introduces the universal discourse of horror into history of Art. But his influence is broader than this field, and reaches the one of literature. As a man close to the intellectual elite of his time, Goya is recognized in literature as the inventor of the universal language of horror. His observation of the horrors of war and his aesthetics greatly influenced Spanish poets, chroniclers, playwrights and novelists from the end of the 18&lt;sup&gt;th&lt;/sup&gt; century to the present day. This article presents some of those goyesque traces &amp;ndash; more precisely those of the &lt;em&gt;Desastres&lt;/em&gt; &amp;ndash; as they may be discovered in various texts.&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&lt;/em&gt;, horror, poetry, novel, chronicles, contemporary Spain, literature.&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;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_6_7.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (pdf, 125 Kb)&lt;/a&gt;&lt;/p&gt;</description>
		<pubDate>Thu, 21 Jun 2018 09:13:00 +0200</pubDate>
		<dc:creator>admin</dc:creator>
	</item>
	<item>
		<title>09. &lt;em&gt;Guzmán de Alfarache. Atalaya de la vida humana&lt;/em&gt; (Madrid, 1599-Lisbonne, 1604) de Mateo Alemán et la controverse &lt;em&gt;De auxiliis divinae gratiae&lt;/em&gt;</title> 
		<link>https://atlante.univ-lille.fr/08-guzman-de-alfarache-atalaya-de-la-vida-humana-madrid-1599-lisbonne-1604-de-mateo-aleman-et-la-controverse-de-auxiliis-divinae-gratiae.html</link>
		<guid>https://atlante.univ-lille.fr/08-guzman-de-alfarache-atalaya-de-la-vida-humana-madrid-1599-lisbonne-1604-de-mateo-aleman-et-la-controverse-de-auxiliis-divinae-gratiae.html</guid>
		<description>&lt;p&gt;Mich&amp;egrave;le Guillemont&lt;br /&gt;Universit&amp;eacute; de Lille 3&lt;br /&gt;CECILLE EA4074&lt;br /&gt;p.211-237.&lt;/p&gt;&lt;div&gt;
&lt;p class=&quot;atlantetablecont&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p class=&quot;atlantetablecont&quot;&gt;&lt;strong&gt;Mich&amp;egrave;le Guillemont, &amp;laquo;&amp;nbsp;&lt;em&gt;Guzm&amp;aacute;n de Alfarache. Atalaya de la vida humana&lt;/em&gt; (Madrid, 1599-Lisbonne, 1604) de Mateo Alem&amp;aacute;n et la controverse &lt;em&gt;De auxiliis divinae gratiae&lt;/em&gt; &amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p class=&quot;atlantetablecont&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;.&amp;nbsp;&lt;/strong&gt;Cet article pr&amp;eacute;tend revenir au d&amp;eacute;bat fondamental qu&amp;rsquo;&amp;eacute;tablit Mateo Alem&amp;aacute;n entre son c&amp;eacute;l&amp;egrave;bre &lt;em&gt;Guzm&amp;aacute;n de Alfarache. Atalaya de la vida humana&lt;/em&gt; (1599, 1604) et la controverse &lt;em&gt;De Auxiliis divinae gratiae&lt;/em&gt;. Si celle-ci agite la p&amp;eacute;ninsule ib&amp;eacute;rique depuis les prises de position des j&amp;eacute;suites (Prudencio de Montemayor, Luis de Molina) et des dominicains (Domingo B&amp;aacute;&amp;ntilde;ez), elle prend une dimension publique et politique &amp;agrave; la fin du XVIe si&amp;egrave;cle. Le rappel de ce contexte est n&amp;eacute;cessaire pour lire l&amp;rsquo;innovation al&amp;eacute;manienne non pas tel un roman d&amp;eacute;vot, mais comme l&amp;rsquo;apparition du roman philosophique europ&amp;eacute;en.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Mots-cl&amp;eacute;s.&lt;/strong&gt;&amp;nbsp;Mateo Alem&amp;aacute;n, &lt;em&gt;Guzm&amp;aacute;n de Alfarache. Atalaya de la vida humana&lt;/em&gt; (1599, 1604), Controverse &lt;em&gt;De auxiliis divinae gratiae&lt;/em&gt;, conversion, roman.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;&lt;strong&gt;Mich&amp;egrave;le Guillemont, &amp;laquo;&amp;nbsp;&lt;em&gt;Guzm&amp;aacute;n de Alfarache. Atalaya de la vida humana&lt;/em&gt;&amp;nbsp;(Madrid, 1599-Lisboa, 1604) de Mateo Alem&amp;aacute;n y la controversia de&amp;nbsp;&lt;em&gt;De auxiliis divinae gratiae&lt;/em&gt;&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Resumen.&lt;/strong&gt;&amp;nbsp;Este art&amp;iacute;culo vuelve al debate fundamental que establece Mateo Alem&amp;aacute;n entre su c&amp;eacute;lebre &lt;em&gt;Guzm&amp;aacute;n de Alfarache. Atalaya de la vida humana&lt;/em&gt; (1599, 1604) y la controversia &lt;em&gt;De Auxiliis divinae gratiae&lt;/em&gt;. Si &amp;eacute;sta agita la pen&amp;iacute;nsula ib&amp;eacute;rica a partir de las tomas de posici&amp;oacute;n de los jesuitas (Prudencio de Montemayor, Luis de Molina) et de los dominicos (Domingo B&amp;aacute;&amp;ntilde;ez), toma una dimensi&amp;oacute;n p&amp;uacute;blica y pol&amp;iacute;tica a fines del siglo XVI. Recordar dicho contexto es necesario para leer la innovaci&amp;oacute;n alemaniana no como una novela devota, sino como la aparici&amp;oacute;n de la novela filos&amp;oacute;fica europea.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;&lt;strong&gt;Palabras claves.&lt;/strong&gt;&amp;nbsp;Mateo Alem&amp;aacute;n, &lt;em&gt;Guzm&amp;aacute;n de Alfarache. Atalaya de la vida humana&lt;/em&gt; (1599, 1604), Controversia &lt;em&gt;de Auxiliis divinae gratiae&lt;/em&gt;, conversi&amp;oacute;n, novela.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;&lt;strong&gt;Mich&amp;egrave;le Guillemont, &amp;laquo;&amp;nbsp;&lt;/strong&gt;&lt;/strong&gt;&lt;strong&gt;&lt;strong&gt;Mateo Alem&amp;aacute;n&#039;s&amp;nbsp;&lt;/strong&gt;&lt;/strong&gt;&lt;strong&gt;&lt;strong&gt;&lt;em&gt;Guzm&amp;aacute;n de Alfarache. Atalaya de la vida humana&lt;/em&gt;&amp;nbsp;(Madrid, 1599-Lisbon, 1604) and the&amp;nbsp;&lt;em&gt;De auxiliis divinae gratiae&lt;/em&gt;&amp;nbsp;Controversy &amp;raquo;.&lt;/strong&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Abstract.&lt;/strong&gt;&amp;nbsp;The purpose of this paper is to re-explore the fundamental debate initiated by Mateo Aleman between his celebrated &lt;em&gt;Guzm&amp;aacute;n de Alfarache. Atalaya de la vida humana&lt;/em&gt; (1599, 1604) and the Controversy &lt;em&gt;de Auxiliis divinae gratiae&lt;/em&gt;. The Controversy did stir discussion in the Iberian Peninsula from the moment the Jesuits (Prudencio de Montemayor, Luis de Molina) and the Dominicans (Domingo B&amp;aacute;&amp;ntilde;ez) expressed their respective stances, but it only reached a public and political dimension at the end of the 16thc. It is necessary to recall this context so as to reassess Aleman&#039;s innovative narrative, no longer as just a devotional novel, but as the very first manifestation of the European philosophical novel.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;&lt;strong&gt;Keywords.&lt;/strong&gt;&amp;nbsp;Mateo Alem&amp;aacute;n, &lt;em&gt;Guzm&amp;aacute;n de Alfarache. Atalaya de la vida humana&lt;/em&gt; (1599, 1604), Controversy &lt;em&gt;de Auxiliis divinae gratiae&lt;/em&gt;, conversion, novel.&lt;/p&gt;
&lt;p&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_2_9.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (pdf, 302 Kb)&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;/div&gt;</description>
		<pubDate>Tue, 06 Feb 2018 13:13:00 +0100</pubDate>
		<dc:creator>admin</dc:creator>
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