ROMANCE QUARTERLY最新文献_第9页

Early modern clouds II: Revisiting the poetics of meteorology 早期现代云II:重新审视气象学的诗学

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2021-07-03 DOI: 10.1080/08831157.2021.1960111

Jeffrey N. Peters, K. Piechocki

引用次数: 0

Clouds, nuptials, nubifications: At the origins of operatic poetics 云、婚礼、婚礼：歌剧诗学的起源

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2021-07-03 DOI: 10.1080/08831157.2021.1960114

K. Piechocki

{"title":"Clouds, nuptials, nubifications: At the origins of operatic poetics","authors":"K. Piechocki","doi":"10.1080/08831157.2021.1960114","DOIUrl":"https://doi.org/10.1080/08831157.2021.1960114","url":null,"abstract":"Abstract This essay compares the manifold manifestations of clouds in Francesco Buti’s libretto, Le nozze di Peleo e di Teti (1654), the libretto’s anonymous French translation, Les nopces de Pélée et de Thétis, and Giacomo Torelli’s cloud machines for the Parisian stage. The Latin word for “cloud”—nubes, a cognate of nubere, “to veil,” “to marry”—discloses the gendered aspect of clouds and gestures to weddings as privileged occasions for the poetic and artistic presence of clouds. This essay envisions the oscillation between the French and Italian poetics of the libretto and the stage machines as a cross-media process of “operatic nubifications” in which clouds emerge as a powerful, if heretofore less studied, mediating instance not only between these two registers, but also between the male and the female gender. The dual goal of this essay is to investigate the complex tension between the page and the stage as it emerged out of the collaborative work between the librettist and the stage engineer and to disclose, through the cloud, new avenues to rethink the artistic, cultural, and, last but not least, cosmological transformations which took place in the course of the seventeenth-century.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"68 1","pages":"160 - 176"},"PeriodicalIF":0.2,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47090962","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}

引用次数: 0

Nuvole barocche: Clouds as synesthetic metaphors across baroque poetry and music 云在巴洛克诗歌和音乐中的联觉隐喻

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2021-04-03 DOI: 10.1080/08831157.2021.1901524

Eugenio Refini

{"title":"Nuvole barocche: Clouds as synesthetic metaphors across baroque poetry and music","authors":"Eugenio Refini","doi":"10.1080/08831157.2021.1901524","DOIUrl":"https://doi.org/10.1080/08831157.2021.1901524","url":null,"abstract":"Abstract In his 1961 song “Nuvole barocche” (Baroque Clouds), Italian songwriter Fabrizio De André commented on the fascination exerted by colorful clouds at sunset and their artistic representation as canonized by the visual culture of the baroque, fittingly emblematized by the transience of clouds themselves. The domain of the visual is turned into that of the acoustic, triggering the synesthetic interaction of forms of sense perception, which are usually conceived as separate from one another. The song thus reminds us that the polysemous nature of clouds makes them particularly suitable for forms of artistic representation that, moving across mediums, blur the boundaries of sense perception. This essay looks at how such interplay of sensory layers actually works and to what extent it fits the rhetoric and poetics of the Baroque. In order to do so, I chase the sound of baroque clouds through arias and songs that play with the ambiguous semantics of meteorology and make the singing voice convey anxieties about topics as diverse as the course of time, the volatility of love, devotional and spiritual concerns. After framing the discussion in rhetorical terms, with a focus on metaphors and similes, the essay examines works by John Dowland, Francesca Caccini, Sigimsondo D’India, and George Frideric Handel in order to assess some of the ways in which the unstable nature of clouds lends itself to a kind of metaphoric code that is best described in synesthetic terms.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"68 1","pages":"102 - 113"},"PeriodicalIF":0.2,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08831157.2021.1901524","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41791750","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}

引用次数: 0

What cloud machines tell us about early modern emotions 云机器告诉我们早期现代情感

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2021-04-03 DOI: 10.1080/08831157.2021.1901513

Alison Calhoun

{"title":"What cloud machines tell us about early modern emotions","authors":"Alison Calhoun","doi":"10.1080/08831157.2021.1901513","DOIUrl":"https://doi.org/10.1080/08831157.2021.1901513","url":null,"abstract":"Abstract While nineteenth century art critic John Ruskin laments that artists do not observe the skies and their clouds enough, seventeenth-century stage machinists were close to meteorologists in the precision they brought to cloud formations on stage. In French late seventeenth-century drama, clouds framed stages like a proscenium, they lowered and lifted heavenly or other flying bodies, abducted figures, served as vessels for lighting that gave beauty and depth to the stage, and hid all sorts of machinery that risked taking away from the set’s credibility, all with unprecedented meteorological precision. Moreover, given the human physiology that was tied to meteorological learning at this time, it is also important to consider the extent to which stage machinists understood the link between their machines and the human body and its psychology. Not only did the theatrical context of their machines generate a psychological moment, but the rigging, the springs, and the movements of the machine’s parts were large, mechanical recreations that imitated Cartesian passions of the soul. In this light, stage clouds may have been engineered, artisanal recreations of the external world of nature, but they were also a kind of live experiment that revealed the mechanisms of the inner world of human emotion. By exploring the possibility that stage engineers were not only natural philosophers but also Cartesian machine psychologists, this essay proposes an affective history of stage clouds in Andromède (1650), Cadmus et Hermione (1673), and Isis (1677).","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"68 1","pages":"114 - 126"},"PeriodicalIF":0.2,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08831157.2021.1901513","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48305649","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}

引用次数: 1

Jacques Callot’s billows, puffs, and plumes 雅克·卡洛的波涛，泡芙和羽状

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2021-04-03 DOI: 10.1080/08831157.2021.1900697

J. Cherbuliez

{"title":"Jacques Callot’s billows, puffs, and plumes","authors":"J. Cherbuliez","doi":"10.1080/08831157.2021.1900697","DOIUrl":"https://doi.org/10.1080/08831157.2021.1900697","url":null,"abstract":"Abstract How can we know the difference between a cloud in the sky and a puff of smoke from a fire? Jacques Callot’s series of etchings Les Misères et maleurs de la guerre (1633) is not usually considered for its clouds, even though billows, plumes, and vapors accompany its scenes of bloodshed and violence. Considering the premodern print through the mutually constituted nature of environment and media, this article explores how the clouds of Les Misères compel a particular viewing practice combining radical formalism with deep contextualization. Unavailable for any direct symbolic interpretation, clouds instead structure the image and guide the viewer’s eyes; they affirm a way of viewing the prints that seek the detail and gives it both symbolic and structural meaning; they connect the materiality and technology of prints with the series’ subject matter: human violence and divine justice. Through vignettes that explore tensions in composition, technology, temporality, and scale, this essay explores how clouds help Callot’s plates pose a particular challenge to their viewers: to understand the world as a single legible, coherent and harmonious place both despite and because of the violence which rents and repairs it.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"68 1","pages":"79 - 101"},"PeriodicalIF":0.2,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08831157.2021.1900697","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42338017","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}

引用次数: 0

Early modern clouds and the poetics of meteorology: An introduction 近代早期云层与气象学诗学导论

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2021-04-03 DOI: 10.1080/08831157.2021.1900690

Jeffrey N. Peters, K. Piechocki

{"title":"Early modern clouds and the poetics of meteorology: An introduction","authors":"Jeffrey N. Peters, K. Piechocki","doi":"10.1080/08831157.2021.1900690","DOIUrl":"https://doi.org/10.1080/08831157.2021.1900690","url":null,"abstract":"Abstract Since antiquity, philosophers and poets have understood clouds to be principles of generation and procreation. They can turn, Aristophanes tells us, “into anything they want.” They are bound up with the act of begetting and giving birth, of bringing into being the new – hollow vessels, as Seneca would later put it, with solid walls. And yet the creative force of clouds is a strange, even counterintuitive, one: what they generate and bring forth is often evanescent, incorporeal, and unsubstantial. In this essay, we explore a poetics of clouds as a site of tension between the empty and the procreative, the material and the immaterial, the perceptible and the imperceptible. Clouds, we suggest, are instances of conveyance whose power of mediation gives shape to the unsayable, the unrepresentable, and the apparently unknowable. Their meteorological trickery draws our attention to the infinity of the cosmos by obscuring it. Their rhetorical obfuscations – what medieval tradition called the integumentum – draw us into their truths by turning us seductively away from them. Expressions of both cosmological and poetic becoming, clouds are therefore inseparable from epistemological and esthetic considerations of the ways meaning and knowledge are at once hidden and revealed.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"68 1","pages":"65 - 78"},"PeriodicalIF":0.2,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08831157.2021.1900690","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48742020","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}

引用次数: 4

“¿Qué mandáis hacer de mí?” Una historia desvelada de relecturas teresianas en el contexto cultural de entresiglos “你要我做什么?”特蕾西格洛斯文化背景下特蕾西格洛斯重读的揭开历史

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2021-01-16 DOI: 10.24197/CEL.12.2021.XVII-XIX

J. C. López

引用次数: 0

Yves Navarre. About a postmodern epistolary writing 伊夫纳瓦拉。关于后现代书信体的写作

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2021-01-02 DOI: 10.1080/08831157.2020.1854555

Lourdes Monterrubio Ibáñez

{"title":"Yves Navarre. About a postmodern epistolary writing","authors":"Lourdes Monterrubio Ibáñez","doi":"10.1080/08831157.2020.1854555","DOIUrl":"https://doi.org/10.1080/08831157.2020.1854555","url":null,"abstract":"Abstract Yves Navarre's literary work is one of the greatest materializations of epistolary writing in postmodern literature. This article aims to analyze the different elements and procedures through which the epistolary matter becomes a practice of postmodern writing that continues to evolve throughout his prolix literary œuvre. First, the epistolary writing of fictional characters becomes an element of the renarrativization that participates in processes of discontinuity: a progressive fragmental writing—from his first novel Lady Black (1971) to the last Dernier dimanche avant la fin du siècle (1994)—and the hybridization with diaristic writing and literary metadiscourse—Le Petit Galopin de nos corps (1977), Kurwenal ou la Part des êtres (1977), Le Temps voulu (1979), Romances sans paroles (1982). Besides, these same practices are brought into the autofictional space, where the possibilities of hypertextuality are further deepened by quotation, intertext and metadiscourse—Biographie (1981), Romans, un roman (1988). Finally, the two spaces converge in an auto/alter-fiction in which postmodern diversel materializes through experimentation with alterity, giving rise to récits indécidables—L’Espérance de beaux voyages (1984), La terrasse des audiences au moment de l’adieu (1990). Throughout his entire literary work, and in all the aforementioned spaces, the abundant metadiscourse about epistolarity enables a postmodern phenomenology of epistolary activity.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"68 1","pages":"33 - 49"},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08831157.2020.1854555","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46276700","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}

引用次数: 0

El legado de la Ilustración en Hombres buenos de Arturo Pérez-Reverte Arturo perez - reverte的《好人》中的启蒙遗产

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2021-01-02 DOI: 10.1080/08831157.2020.1854556

Marc Olivier Reid

引用次数: 0

“Hoy escribiré una carta”: The news of siege warfare in Calderón’s El sitio de Bredá “今天我要写一封信”：卡尔德隆布雷达网站上的围攻战新闻

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2021-01-02 DOI: 10.1080/08831157.2020.1854554

Christopher C. Oechler

引用次数: 1