Tendresse et pudeur chez Stendhal
Identifieur interne : 001486 ( Main/Exploration ); précédent : 001485; suivant : 001487Tendresse et pudeur chez Stendhal
Auteurs : Patrizia Lombardo [Suisse]Source :
- Philosophiques [ 1492-1391 ] ; 2008.
Descripteurs français
- Pascal (Inist)
- France, Siècle 19, Roman, Stendhal, Ironie, Emotion, Esthétique, Style, Rire, Hobbes (T.).
- Wicri :
- geographic : France.
English descriptors
- KwdEn :
- Aesthetics, Century 19, Emotion, France, Hobbes (T.), Irony, Laughter, Novel, Stendhal, Style.
Abstract
This article discusses irony as an aesthetic, therefore affective, value, as exemplified in Stendhal's irony. Affective phenomena vary in nature and intensity, and one same emotion can be coloured differently (adjectives indicate its nuances, as, for example, in sweet nostalgia or desperate nostalgia etc.). Irony involves a very complex gamut of aspects and degrees: it can be satiric, comic, tragic, nihilistic, paradoxical etc. I first consider what kinds of irony Stendhal avoided. He discarded both the tragic satire of Chateaubriand and Romantic nihilistic irony. Then I look at Stendhal's theory of laughter, as hinted at in several of his writings where he reflects upon various forms of comedy while developing his own ideal of comedy as it will appear in his major novels (see Journal littéraire, Histoire de la peinture en Italie, Racine et Shakespeare, and Correspondance). Dissatisfied with Hobbes' definition of laughter as involving a feeling of superiority, he considered two conditions for the comic effect: clarity and suddenness. Both become fundamental in his literary style. At the same time Stendhal was convinced of the affective superiority of the moderns over the Ancients: only the moderns, forged by Christian sensitivity, experienced tender emotions. Tenderness should color everything: the novel should aim at the ideal of opera-bouffe, where comedy is a mixture of gaiety and tenderness, while the writer masks his tenderness by using a sweet (douce) irony towards his favourite characters.
Affiliations:
Links toward previous steps (curation, corpus...)
- to stream PascalFrancis, to step Corpus: 000217
- to stream PascalFrancis, to step Curation: 000348
- to stream PascalFrancis, to step Checkpoint: 000220
- to stream Main, to step Merge: 001506
- to stream Main, to step Curation: 001486
Le document en format XML
<record><TEI><teiHeader><fileDesc><titleStmt><title xml:lang="fr" level="a">Tendresse et pudeur chez Stendhal</title>
<author><name sortKey="Lombardo, Patrizia" sort="Lombardo, Patrizia" uniqKey="Lombardo P" first="Patrizia" last="Lombardo">Patrizia Lombardo</name>
<affiliation wicri:level="4"><inist:fA14 i1="01"><s1>Université de Genève</s1>
<s3>CHE</s3>
<sZ>1 aut.</sZ>
</inist:fA14>
<country>Suisse</country>
<placeName><settlement type="city">Genève</settlement>
<region nuts="3" type="region">Canton de Genève</region>
</placeName>
<orgName type="university">Université de Genève</orgName>
</affiliation>
</author>
</titleStmt>
<publicationStmt><idno type="wicri:source">INIST</idno>
<idno type="inist">10-0222412</idno>
<date when="2008">2008</date>
<idno type="stanalyst">FRANCIS 10-0222412 INIST</idno>
<idno type="RBID">Francis:10-0222412</idno>
<idno type="wicri:Area/PascalFrancis/Corpus">000217</idno>
<idno type="wicri:Area/PascalFrancis/Curation">000348</idno>
<idno type="wicri:Area/PascalFrancis/Checkpoint">000220</idno>
<idno type="wicri:doubleKey">1492-1391:2008:Lombardo P:tendresse:et:pudeur</idno>
<idno type="wicri:Area/Main/Merge">001506</idno>
<idno type="wicri:Area/Main/Curation">001486</idno>
<idno type="wicri:Area/Main/Exploration">001486</idno>
</publicationStmt>
<sourceDesc><biblStruct><analytic><title xml:lang="fr" level="a">Tendresse et pudeur chez Stendhal</title>
<author><name sortKey="Lombardo, Patrizia" sort="Lombardo, Patrizia" uniqKey="Lombardo P" first="Patrizia" last="Lombardo">Patrizia Lombardo</name>
<affiliation wicri:level="4"><inist:fA14 i1="01"><s1>Université de Genève</s1>
<s3>CHE</s3>
<sZ>1 aut.</sZ>
</inist:fA14>
<country>Suisse</country>
<placeName><settlement type="city">Genève</settlement>
<region nuts="3" type="region">Canton de Genève</region>
</placeName>
<orgName type="university">Université de Genève</orgName>
</affiliation>
</author>
</analytic>
<series><title level="j" type="main">Philosophiques</title>
<idno type="ISSN">1492-1391</idno>
<imprint><date when="2008">2008</date>
</imprint>
</series>
</biblStruct>
</sourceDesc>
<seriesStmt><title level="j" type="main">Philosophiques</title>
<idno type="ISSN">1492-1391</idno>
</seriesStmt>
</fileDesc>
<profileDesc><textClass><keywords scheme="KwdEn" xml:lang="en"><term>Aesthetics</term>
<term>Century 19</term>
<term>Emotion</term>
<term>France</term>
<term>Hobbes (T.)</term>
<term>Irony</term>
<term>Laughter</term>
<term>Novel</term>
<term>Stendhal</term>
<term>Style</term>
</keywords>
<keywords scheme="Pascal" xml:lang="fr"><term>France</term>
<term>Siècle 19</term>
<term>Roman</term>
<term>Stendhal</term>
<term>Ironie</term>
<term>Emotion</term>
<term>Esthétique</term>
<term>Style</term>
<term>Rire</term>
<term>Hobbes (T.)</term>
</keywords>
<keywords scheme="Wicri" type="geographic" xml:lang="fr"><term>France</term>
</keywords>
</textClass>
</profileDesc>
</teiHeader>
<front><div type="abstract" xml:lang="en">This article discusses irony as an aesthetic, therefore affective, value, as exemplified in Stendhal's irony. Affective phenomena vary in nature and intensity, and one same emotion can be coloured differently (adjectives indicate its nuances, as, for example, in sweet nostalgia or desperate nostalgia etc.). Irony involves a very complex gamut of aspects and degrees: it can be satiric, comic, tragic, nihilistic, paradoxical etc. I first consider what kinds of irony Stendhal avoided. He discarded both the tragic satire of Chateaubriand and Romantic nihilistic irony. Then I look at Stendhal's theory of laughter, as hinted at in several of his writings where he reflects upon various forms of comedy while developing his own ideal of comedy as it will appear in his major novels (see Journal littéraire, Histoire de la peinture en Italie, Racine et Shakespeare, and Correspondance). Dissatisfied with Hobbes' definition of laughter as involving a feeling of superiority, he considered two conditions for the comic effect: clarity and suddenness. Both become fundamental in his literary style. At the same time Stendhal was convinced of the affective superiority of the moderns over the Ancients: only the moderns, forged by Christian sensitivity, experienced tender emotions. Tenderness should color everything: the novel should aim at the ideal of opera-bouffe, where comedy is a mixture of gaiety and tenderness, while the writer masks his tenderness by using a sweet (douce) irony towards his favourite characters.</div>
</front>
</TEI>
<affiliations><list><country><li>Suisse</li>
</country>
<region><li>Canton de Genève</li>
</region>
<settlement><li>Genève</li>
</settlement>
<orgName><li>Université de Genève</li>
</orgName>
</list>
<tree><country name="Suisse"><region name="Canton de Genève"><name sortKey="Lombardo, Patrizia" sort="Lombardo, Patrizia" uniqKey="Lombardo P" first="Patrizia" last="Lombardo">Patrizia Lombardo</name>
</region>
</country>
</tree>
</affiliations>
</record>
Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/OperaV1/Data/Main/Exploration
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 001486 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Main/Exploration/biblio.hfd -nk 001486 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien |wiki= Wicri/Musique |area= OperaV1 |flux= Main |étape= Exploration |type= RBID |clé= Francis:10-0222412 |texte= Tendresse et pudeur chez Stendhal }}
This area was generated with Dilib version V0.6.21. |