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Academic literature on the topic 'Romanticismo francese'

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Published: 11 March 2023

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Journal articles on the topic "Romanticismo francese"

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ISBELL, J. "Review. Immagini di Faust nel romanticismo francese. Balmas, Enea." French Studies 45, no. 4 (October 1, 1991): 470. http://dx.doi.org/10.1093/fs/45.4.470.

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LLOYD, R. "Review. Licantropi e meteore. Saggi sul romanticismo francese. Contrappunti. Pompili, Bruno." French Studies 40, no. 4 (October 1, 1986): 474. http://dx.doi.org/10.1093/fs/40.4.474.

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Farinella, Calogero. "Caleb Williams, o l’umamanità divisa: letteratura e politica in William Godwin." ACME 74, no. 1 (November 26, 2021): 99–116. http://dx.doi.org/10.54103/2282-0035/16794.

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Storico dai molteplici interessi, bibliotecario, musicista, uomo di cultura e grande modernista, studioso, in particolare, dell’Italia settecentesca, Calogero Farinella ci ha prematuramente lasciati nel giugno del 2019, a poco più di sessanta anni. Le sue pubblicazioni sulla Genova del Settecento e sulla scienza illuminista (veronese specialmente: Francesco Bianchini, Anton Mario Lorgna e l’Accademia dei Quaranta) fanno e faranno sempre data negli studi di storia della cultura. Allievo tra i più brillanti di Salvatore Rotta (1926-2001), dal quale mutuò la passione per il XVIII secolo in particolare, Farinella si laureò sotto la sua guida su William Godwin (1756-1836), padre di Mary Shelley, filosofo e scrittore politico di area libertaria, che, con la sua fondamentale opera, marchia a fuoco il passaggio, in Gran Bretagna, dai Lumi al Romanticismo. Sulla figura e gli scritti di Godwin, ricavandoli dalla propria dissertazione di laurea, Farinella estrasse e pubblicò, negli anni Ottanta del secolo scorso, due articoli, apparsi nel volume della «Miscellanea storica ligure» contenente gli Studi in onore di Francesco Cataluccio (William Godwin ed il suo Journal all’epoca della Rivoluzione Francese, xv, 1984), e poi su Studi settecenteschi (Il governo più semplice. Il mito democratico-repubblicano in William Godwin, viii, 1987). Un terzo ampio articolo, che contiene spunti davvero interessanti sul romanzo utopistico di Godwin, rimase inedito, sino a oggi, malgrado l’oggettivo e rilevante valore del contributo di Farinella. Crediamo, pertanto, di fare cosa gradita alla memoria dell’amico e dello studioso pubblicandolo per la prima volta, in questa sede.
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Guzmán Guzmán, María Aránzazu. "La literatura francesa decadentista, con textos inéditos de un ciclo de conferencias de Emilia Pardo Bazán." Epos : Revista de filología, no. 29 (January 1, 2013): 165. http://dx.doi.org/10.5944/epos.29.2013.15188.

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Emilia Pardo Bazán impartió, entre los meses de marzo y abril de 1918, un ciclo de conferencias sobre literatura francesa decadentista en el Ateneo de Madrid. La escritora, que ya había publicado tres volúmenes sobre literatura francesa, acerca del Romanticismo, la Transición y el Naturalismo, proyectaba publicar un cuarto estudio sobre el Decadentismo con parte de la documentación de estas conferencias, pero dicho proyecto nunca vio la luz. En este artículo analizo las seis conferencias inéditas que componían el ciclo, y edito aquellas parcialmente conservadas en el Archivo de la Real Academia Galega.Emilia Pardo Bazán gave, between March and April, 1918, a cycle of lectures on French decadent literature at the Ateneo of Madrid. The writer, who had already published three volumes on French literature, concerning Romanticism, the Transition and Naturalism, was planning to publish a fourth study on the Decadent Movement with part of the documentation of these lectures, but the above mentioned project never appeared. In this article I analyze six unpublished lectures which comprise the cycle, and those partially preserved in the Real Academia Galega Archive are edited.
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García Castañeda, Salvador. "Ana María Freire. “Índice bibliográfico de la Colección del Fraile”. Madrid: Ministerio de Defensa, 2008, 2ª. edición, 504 pp.; “Entre la Ilustración y el Romanticismo. La huella de la Guerra de la Independencia en la literatura española”. Alicante, 2008." BOLETÍN DE LA BIBLIOTECA DE MENÉNDEZ PELAYO 85, Único (September 14, 2022): 540–45. http://dx.doi.org/10.55422/bbmp.708.

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Aquí se reseñan dos obras de Ana María Freire, cuyas fechas de publicación son parecidas. La primera obra es la segunda edición de su propia tesis doctoral, Índice bibliográfico de la Colección del Fraile. Freire da importancia a un personaje poco conocido, Fray Salvador Joaquín de Sevilla, un capuchino que escribió extensas obras que aún se conservan en distintas instituciones oficiales. La colección se basa en documentos de su hermano, tarea que no le debió de parecer muy ardua debido a su experiencia como bibliotecario y a su curiosidad, paciencia y laboriosidad. En la colección hay diversos géneros literarios que Freire se encarga de analizar y relacionar con los distintos temas que tratan, siempre conectados con algún asunto o persona relevante de la época. Por otro lado, su segunda publicación versa sobre la Ilustración y el Romanticismo, además de las secuelas de la guerra contra los franceses, comentada en la literatura española del siglo XIX. En el libro se tratan el teatro, la literatura satírica, la fábula, la pintura, el Romanticismo y la influencia francesa, que dio pie a la división de la población…
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Diaby, Bakary. "Counting the Bodies: Ferguson and Ferguson1." Essays in Romanticism 27, no. 2 (October 1, 2020): 153–65. http://dx.doi.org/10.3828/eir.2020.27.2.5.

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This article examines the political and interpretive possibilities of Romantic Idealism for understanding contemporary American race relations. Working with Frances Ferguson’s Solitude and the Sublime, it puts Romantic aesthetics into a mutually constructive dialogue with afropessimist thought. That is, the underlying logic of Black Lives Matter proves to be one composed of Romantic “counting” as well as an afropessimist stance on Black alterity. Black Lives Matter, in this sense, features an aesthetics of omission and accumulation that reveals how Romantic Idealism intersects with a more expansive notion of materiality. Turning to Ferguson’s reading of William Wordsworth’s “We Are Seven,” the article contends that any analysis of Romanticism’s political stakes should make use of the Idealism central to it, and that such a use does not attenuate the urgency or efficacy of Romanticist work.
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Schmidt-Welle, Friedhelm. "Traducción y transculturación del romanticismo europeo en Esteban Echeverría." Cuadernos de Literatura 21, no. 41 (June 22, 2017): 114. http://dx.doi.org/10.11144/javeriana.cl21-41.ttre.

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En este artículo se analizan los procesos de traducción cultural, apropiación y transculturación del Romanticismo Europeo —sobre todo del francés— en la ensayística de Esteban Echeverría. En sus textos, existe una relación íntima entre romanticismo, liberalismo y modernidad. El autor se apropia de ciertos elementos de lo romántico, como el concepto de la modernidad y los principios de la Revolución francesa, pero rechaza otros como la revolución estética, la formulación radical del sujeto moderno, la cultura popular como base de la cultura nacional, o la emancipación de las mujeres. La apropiación ecléctica del romanticismo no solamente sirve para autorizar la voz del letrado y su función social, sino también para legitimar el proyecto liberal de la independencia espiritual y cultural.
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O'Grady, Deirdre. "Da Dante a Mercadante: Francesca da Rimini voce del belcanto ottocentesco." Dante e l'Arte 8 (March 7, 2022): 183–202. http://dx.doi.org/10.5565/rev/dea.145.

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Questo studio rintraccia l’evoluzione della figura di Francesca da Rimini da voce poetica dantesca, a voce scenica del Romanticismo italiano per arrivare sulla scena lirica ottocentesca in veste di primadonna, espressione del belcanto ottocentesco. In questo nuovo contesto Francesca si esprime come voce del Romanticismo medievale. Questo itinerario la libera dall’essere strumento della dottrina tomistica per diventare una figura che medita su una filosofia tutta nuova, che la spinge a riflettere sulla natura della colpevolezza e sul suo rapporto con l’innocenza. Nel campo della musica, il manoscritto riscoperto ci spinge a una rivisitazione delle voci e della tecnica vocale dei grandi interpreti dell’Ottocento e anche a una riconsiderazione della voce di tenore del periodo. Dalla poesia di Dante si passa al teatro di Pellico, al libretto di Romani per riscoprire il Personaggio lirico senza Interprete.
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Gladieu, Marie-Madeleine. "Resonancia de poemas franceses en Los heraldos negros." Archivo Vallejo 4, no. 4 (August 19, 2019): 347–59. http://dx.doi.org/10.34092/av.v4i4.99.

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Si es indudable la influencia de poetas románticos y modernistas, hispanoamericanos y españoles, la lectura de obras de poetas franceses del siglo XIX y comienzos del XX, románticos, parnasianos, simbolistas y otros dejó en este poemario huellas no menos ciertas. María Rosa Sandoval leía para el grupo de jóvenes poetas textos de Baudelaire, Nerval, Verlaine, Samain, Laforgue, Mallarmé, etc. Vallejo escuchó, entre otros poemas que también examinaremos, Un coup de dés, que despertó en él una serie de resonancias debidas a los sonidos del francés cf. La música verlainiana—, interpretadas de varias maneras en su creación. Algunas resonancias recuerdan el Romanticismo y las vanguardias, otras son más originales y personales, y la presencia de sonidos puros en Trilce invita a sospechar que en el primer poemario los sonidos desempeñaron ya un papel importante en la creación vallejiana.
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FERIA VÁZQUEZ, Miguel A. "El Modernismo en El Salvador y la asimilación de la poesía francesa." Creneida. Anuario de Literaturas Hispánicas 5 (December 30, 2017): 333–45. http://dx.doi.org/10.21071/calh.v5i.10376.

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Las diferentes corrientes poéticas francesas del siglo XIX, desde el Romanticismo al Simbolismo, y pasando fundamentalmente por el Parnasianismo, supusieron un caudal común para el nacimiento y consolidación del Modernismo en todos los países de habla hispana. El Salvador, debido en parte a su situación geopolítica en el último tercio del XIX, desarrolló un sistema literario que desde temprano se convirtió en uno de los primeros y más rotundos baluartes de asimilación de estas corrientes. Merced a la labor traductora, difusora y creativa de autores como Mayorga Rivas, Gavidia y un joven Darío, el Modernismo salvadoreño impartió cátedra en este sentido, irradiando su cosmopolitismo poético a otras zonas bajo su influencia. Precisamente por ello, por lo prístino y cabal de su Modernismo, fue también uno de los últimos países hispánicos en superar la estética Fin de Siècle y abrirse paso a la plena contemporaneidad.
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Dissertations / Theses on the topic "Romanticismo francese"

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REGGIANI, Greta. "Visioni dell'Altra: fascino e terrore, bellezza e fatalità della figura femminile nei racconti fantastici di Théophile Gautier e di altri maestri del Romanticismo francese." Doctoral thesis, Università degli Studi di Verona, 2007. http://hdl.handle.net/11562/338159.

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Cucciniello, O. "MILANESI A PARIGI. LA FORTUNA CRITICA FRANCESE DEGLI ARTISTI DI FORMAZIONE LOMBARDA ALLE ESPOSIZIONI DI PARIGI NELLA SECONDA METÀ DELL'OTTOCENTO." Doctoral thesis, Università degli Studi di Milano, 2016. http://hdl.handle.net/2434/373759.

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Milanese people in Paris. The French critical reception of the artists that studied in Lombardy on the exhibitions in Paris during the second half of the 19th Century. The topic of the dissertation is the critical reception of the Lombard art in the second half of the 19th Century in Paris, between printed and archival sources from these years, based on the Parisian universal exhibitions and the annual Salon. As the universal exhibitions are a mirror of the society, important changes in art and politics that characterized the period, both in Italy and in France, are clearly reflected by them. From the 1855 Universal Exhibition, when Lombardy was under the Austrian domination, over the 1867 and 1878 ones that followed the progressive unification of Italy; finally the 1889 Universal Exhibition shows a radical change for the art market and for the artists. Through the critical reception of artists (such as Etienne-Jean Delécluze or Olivier Merson) and anonym or well-known critics (such as Théophile Gautier, Paul Mantz, Charles Blanc), we can understand the contemporary idea of "Italian modern art" and the regional identity of the Lombard school.
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FIACCADORI, CHIARA. "FRANCESCO SCARAMUZZA (SISSA, 1803 - PARMA, 1886)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2016. http://hdl.handle.net/10280/10488.

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Il presente studio si propone di ricostruire, in una dimensione monografica, la figura di Francesco Scaramuzza, personalità artistica prolifica che ha determinato nella prima metà dell’Ottocento il nuovo corso della pittura parmense. Interprete e portatore di un Romanticismo atipico, fu debitore, a suo modo, tanto della lezione dei Nazareni quanto, più tardi, della svolta lombarda verso i temi contemporanei, senza mai trascurare l’amata impronta correggesca. L’artista attraversa tre distinti momenti di committenza, dal governo restaurato di Maria Luigia d’Asburgo, dopo la parentesi napoleonica, all’infelice intervallo borbonico, presto sfociato nell’annessione al regno Sardo di Vittorio Emanuele II. Sotto la sovrana austriaca giunge all’apice della carriera, subendo, però, una battuta d’arresto con i Borbone a causa delle sue note simpatie libertarie. Trova una conferma nel nuovo governo unitario, il quale gli affida il compito di illustrare la Divina Commedia, la sua opera più nota e più riuscita, che segnerà, dopo diciassette anni di strenuo lavoro, il punto di arrivo della sua carriera d’artista.
This study aims to reconstruct, in a monographic dimension, the profile of Francesco Scaramuzza, a prolific artist who determined the new course of painting in Parma in the first half of the 19th century. Interpreter and bearer of an atypical Romanticism, in his artistic development he was inspired by the lessons of the Nazarenes as much as by the Lombard interest in contemporary subjects, without neglecting the beloved imprint of Correggio’s style. Throughout his career he went through three different patronages, from the restored regime of Marie Louise of Hapsburg, after the Napoleonic period, to the unhappy Bourbon interlude, ended quickly with the annexation to the reign of Vittorio Emanuele II. Under the Austrian sovereign he reached the peak of his career, suffering, however, a setback under the Bourbon government because of his well-known libertarian sympathies. His value was recognized eventually by the establishment of the united Italy, who entrusted him to illustrate the Divine Comedy, his most famous and successful work, which will mark, after seventeen years of strenuous work, the conclusion of his career as an artist.
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FIACCADORI, CHIARA. "FRANCESCO SCARAMUZZA (SISSA, 1803 - PARMA, 1886)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2016. http://hdl.handle.net/10280/10488.

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Il presente studio si propone di ricostruire, in una dimensione monografica, la figura di Francesco Scaramuzza, personalità artistica prolifica che ha determinato nella prima metà dell’Ottocento il nuovo corso della pittura parmense. Interprete e portatore di un Romanticismo atipico, fu debitore, a suo modo, tanto della lezione dei Nazareni quanto, più tardi, della svolta lombarda verso i temi contemporanei, senza mai trascurare l’amata impronta correggesca. L’artista attraversa tre distinti momenti di committenza, dal governo restaurato di Maria Luigia d’Asburgo, dopo la parentesi napoleonica, all’infelice intervallo borbonico, presto sfociato nell’annessione al regno Sardo di Vittorio Emanuele II. Sotto la sovrana austriaca giunge all’apice della carriera, subendo, però, una battuta d’arresto con i Borbone a causa delle sue note simpatie libertarie. Trova una conferma nel nuovo governo unitario, il quale gli affida il compito di illustrare la Divina Commedia, la sua opera più nota e più riuscita, che segnerà, dopo diciassette anni di strenuo lavoro, il punto di arrivo della sua carriera d’artista.
This study aims to reconstruct, in a monographic dimension, the profile of Francesco Scaramuzza, a prolific artist who determined the new course of painting in Parma in the first half of the 19th century. Interpreter and bearer of an atypical Romanticism, in his artistic development he was inspired by the lessons of the Nazarenes as much as by the Lombard interest in contemporary subjects, without neglecting the beloved imprint of Correggio’s style. Throughout his career he went through three different patronages, from the restored regime of Marie Louise of Hapsburg, after the Napoleonic period, to the unhappy Bourbon interlude, ended quickly with the annexation to the reign of Vittorio Emanuele II. Under the Austrian sovereign he reached the peak of his career, suffering, however, a setback under the Bourbon government because of his well-known libertarian sympathies. His value was recognized eventually by the establishment of the united Italy, who entrusted him to illustrate the Divine Comedy, his most famous and successful work, which will mark, after seventeen years of strenuous work, the conclusion of his career as an artist.
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Costello, Lauren Michelle. "A sociological study of the formation of the Romantic identity in France." Thesis, Boston University, 2005. https://hdl.handle.net/2144/32860.

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Thesis (B.A.)--Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-01
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Cavalcante, Cristovam Bruno Gomes [UNESP]. "O perfeito mágico das letras francesas: aproximações entre o conto fantástico e a poesia de Théophile Gautier." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/140151.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Este trabalho propõe-se a estudar as concepções poéticas do escritor francês Théophile Gautier (1811-1872), figura relevante para a arte de diversos outros poetas e de movimentos literários posteriores. Tendo em vista que ele participou tanto das tentativas de consolidação do movimento romântico na França em 1830 quanto do desenvolvimento da poética do Parnasse, busca-se compreender como se formou o seu estilo e como se firmou o seu pensamento, para, assim, partirmos ao objetivo principal do trabalho, que é o de assinalar a unidade de algumas obras em prosa de natureza fantástica e de sua obra poética, sobretudo da publicada em 1852, Émaux et Camées. Para esse fim, discorreremos, inicialmente, sobre as relações, por vezes conflituosas, entre o espírito burguês, os partidários de mudanças sociais e os artistas. Localizadas as questões que marcaram o poeta, que, particularmente, são a rejeição à demanda por utilidade social da arte e à necessidade de um posicionamento político do artista, partiremos à análise do corpus, aparentemente tão diverso, em busca de dados que comprovem a existência de uma unidade poética entre as obras escolhidas.
This work proposes a study from the poetic conceptions of the French writer Théophile Gautier (1811-1872), relevant name to the art of many other poets and later literary movements. Given that this poet attended both of the Romantic movement consolidation attempts in France in 1830 as the development of poetics of Parnassus, we seek to understand how his style was formed and how his thinking steadied in his composing, for thus we set the main objective of this study, which is to mark the unit inside some works in prose of fantastic nature and inside his poetic composition, especially the one published in 1852, Émaux et Camées. To that, we will discuss initially about conflictual relations between the bourgeois spirit, the supporters of social change and the artists. Once we located the issues that marked the poet, which in particular are the rejections to the social utility demand of art and to the need for a political position of the artist, we will analyze the corpus, apparently so diverse, in search of data to prove the existence of a poetic unity among the chosen works.
CNPq: 134128/2015-0
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Mendes, Maria Lúcia Dias. "No limiar da História e da Memória: um estudo de \'Mes Mémoires\', de Alexandre Dumas." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-01112007-143905/.

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A tese faz uma leitura da obra Mes mémoires de Alexandre Dumas a partir da visão de Georges Gusdorf sobre as escrituras do eu. A pesquisa parte da hipótese de que mesmo sendo uma obra memorialística mescla interesses e técnicas utilizadas por Dumas em outras obras. No início, as idéias de Philippe Lejeune e de Georges Gusdorf são apresentadas, e o conceito de memória esboçado. Devido à profunda ligação entre memória e História, analisou-se as mudanças ocorridas no início do século XIX na historiografia e literatura francesas, influenciadas por Walter Scott e como Dumas as assimilou em sua obra. Depois, procura discernir quais foram os recursos narrativos empregados para a construção da obra, os temas recorrentes e as técnicas vindas de outros gêneros praticados pelo autor. Discute a imagem que o autor deseja fixar para si e para a sua geração. No final, apresenta-se uma biografia de Victor Hugo que, como outras, foi inserida nessa obra multifacetada de Dumas. Conclui-se que em Mes mémoires Alexandre Dumas narra a sua trajetória harmonizando interesses e características já presentes em outras obras, movido pelo desejo de eternizar em suas memórias a memória da França de seu tempo.
The thesis revises the book Mes mémoires, written by Alexander Dumas, adopting Georges Gusdorf\'s vision of the writes of the self. The research assumes the initial premise that, even being a memory book, it brings together interests and techniques used by Dumas in other works. At the beginning, the ideas of Philippe Lejeune and Georges Gusdorf are presented and the concept of memory is explained. Because of the deep linking between memory and History, the changes occurred in French historiography and literature during the beginning of century XIX, influenced by Walter Scott and assimilated by Dumas, are studied. Further, it seeks to understand the narrative resources used to build the memories, the recurrent issues and the techniques that the author rescued from previous writes. It also analyses the image that Dumas desires to fix for himself and for his generation. Finally, the thesis presents a biography of Victor Hugo that, as others, was included in this multifaceted work of Dumas. The conclusion is that Mes mémoires of Alexander Dumas tells its trajectory putting together interests and characteristics already presents in his complete works, moved by the desire to eternize in his memories the Memories of France and of his time.
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Baril, Joselle. "Quatre poètes au jardin des Oliviers." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79822.

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In the course of the romantic movement, the vision of the poetic ministry has been expressed by several poets through the figure of Jesus at the Mount of Olives. While Lamartine appropriates the suffering of Christ in order to proclaim himself to be a poet-prophet, Vigny refuses the silence of God. He, thus, accomplishes his poetic mission against God. Whereas Hugo does not take into consideration the meaning of Jesus' agony in order to make the Gethsemane a place of glory, Nerval rejects the notion of a Christlike mission. Hence, by putting into words the death of God, he foretells what Hugo Friedrich will later call an "empty transcendence", which is the very sign of modern poetics. Romanticism carried within itself the signs of the end of transcendence of poetics. Therefore, we will analyse the transition of romanticism to modernity in these four poems1 through the representation of Jesus Christ at Gethsemane.
1"Gethsemani ou la mort de Julia" d'Alphonse de Lamartine, "Le Mont des Oliviers" d'Alfred de Vigny, un extrait (strophes VI, VII et VIII du Chapitre intitule Jesus-Christ) de La Fin de Satan de Victor Hugo et "Le Jardin des Oliviers" de Gerard de Nerval.
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Paixao, Grace Alves da. "Natureza e artificialidade nas mulheres das poesias de Victor Hugo e Charles Baudelaire." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-12112010-161229/.

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O objetivo da presente pesquisa é comparar as figuras femininas das poesias de Victor Hugo e Charles Baudelaire, tendo como eixo de análise a expressão da natureza e da artificialidade. O trabalho realiza-se especialmente a partir da leitura de poemas e consiste numa reflexão sobre as comparações entre os poetas encontradas na fortuna crítica, em uma apresentação geral de suas obras voltada para o estudo do progresso, da função do poeta e da paisagem em relação ao contexto do século XIX, e na análise de correlações e diferenças nas imagens de mulheres de suas poesias.
The aim of this research is to compare the female figures of poems by Victor Hugo, Charles Baudelaire considering the expression of nature and artificiality as their center. The comparison applied to these works will take place especially through reading poems. In addition to a literature review of the comparisons between them previously undertaken and an overview of their work focused on the study of progress, the role of poet and landscape in relation to the context of the nineteenth century, the work allows correlations and differences in the images of women on their poetry to be analyzed.
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10

Fossard, Stéphane. "Plaisirs du texte et plaisirs du sexe : l'érotisation de l'histoire dans les récits historiques de Paul Lacroix (1829-1835)." Thesis, La Réunion, 2017. http://www.theses.fr/2017LARE0004/document.

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Les années 1830 sont marquées par l'émergence d'une jeune génération romantique. Parmi ces nouveaux écrivains se trouve Paul Lacroix, jeune homme ambitieux qui désire marquer la littérature de son temps. Il connaît le succès grâce à ses romans historiques publiés sous le pseuadonyme de « Bibliophile Jacob », vieil érudit amateur de livres. Il exprime à travers son œuvre la volonté de donner à son public le goût de l'histoire, science réputée austère et exigeante. Il cherche également à se démarquer de ses illustres aînés et à devenir le « Walter Scott français ». Il joue pour cela sur l'attrait de l'érotisme et introduit ses lecteurs au cœur des secrets les plus intimes de l'histoire de France. Érotiser l'histoire est une manière pour Paul Lacroix de proposer une définition personnelle du roman historique, de s'interroger sur l'esthétique romantique et d'exprimer ses revendications idéologiques. Cette approche plurielle permettra de cerner au mieux les enjeux de son écriture et de montrer les limites de son projet
The 1830's are caracterized by the emergence of a young romantic generation. Among those new writers is Paul Lacroix, young ambitious man who desires to influence the litterature of his own time. He succeds to do so thanks to the historical novels he published under the pseudonym of « Bibliophile Jacob », old erudite book lover. He expresses through his work his will to give his public a taste for history, known to be an austere and demanding science. He also tries to stand out from his illustrious predecessors in becoming the « french Walter Scott ». Then, he plays on the attraction of eroticism and leads to his readers into the heart of the most intimate secrets of France history. By showing of the erotic side of history, Paul Lacroix gives his personal definition of the historical novel. That way, he brings up question about romantic aesthetic and expresses ideologicals claimings. This plural approach will enable to identify the issues of his writing and to show the limits of his project
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Books on the topic "Romanticismo francese"

1

Annarosa, Poli, ed. Rappresentazioni del sacro nel romanticismo francese. Moncalieri (Torino): Centro interuniversitario di ricerche sul viaggio in Italia, 2001.

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Dissonanze del grottesco nel romanticismo francese. Roma: Bulzoni, 1988.

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Convegno su Rappresentazioni del sacro nel romanticismo francese (2000 Verona, Italy). Rappresentazioni del sacro nel romanticismo francese. Moncalieri (Italie): Centro interuniversitario di ricerche sul "Viaggio in Italia", 2002.

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Balmas, Enea Henri. Immagini di Faust nel romanticismo francese. Fasano: Schena, 1989.

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Manzoni francese (1805-1810): Dall'Illuminismo al Romanticismo. Rome: Laterza, 1993.

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Strategie del fantastico: Berlioz e la cultura del romanticismo francese. Alessandria: Edizioni dell'Orso, 2002.

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Randi, Elena. Anatomia del gesto: Corporeità e spettacolo nelle poetiche del romanticismo francese. Padova: Esedra, 2001.

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Randi, Elena. Anatomia del gesto: Corporeità e spettacolo nelle poetiche del romanticismo francese. Padova: Esedra, 2001.

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Adinolfi, Pierangela. Passione e virtù: L'idea di felicità nella prima stagione del romanticismo francese. Alessandria: Edizioni dell'Orso, 1999.

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Scavalla, Stefano. Dal Romanticismo tedesco all'Impressionismo francese: L'evoluzione stilistica e formale del linguaggio musicale nella letteratura pianistica. Rome]: Stamen, 2019.

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Book chapters on the topic "Romanticismo francese"

1

Steiner, Enit K. "Romantic Education, Concealment, and Orchestrated Desire in Rousseau’s Emile and Frances Brooke’s Julia Mandeville." In Romanticism, Rousseau, Switzerland, 21–37. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137475862_2.

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Fiore, Arianna. "«Francisca de Rímini» di Vicente Colorado: una rilettura drammatica del tardo romanticismo iberico." In L'illustre volgare, 89–110. Firenze: Società Editrice Fiorentina, 2022. http://dx.doi.org/10.35948/dilef/978-88-6032-685-0.06.

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Il saggio si concentra sulla Francisca de Rímini (episodio dramático), tragedia in tre atti e in verso pubblicata nel 1897 da Vicente Colorado, un drammaturgo spagnolo della seconda metà dell’Ottocento, e sul debito che tale opera dimostra di avere con la Francesca da Rimini (1815) di Silvio Pellico, che nel 1857 venne messa in scena al Teatro de la Zarzuela di Madrid, tanto da sembrarne una riscrittura.
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Coeckelbergh, Mark. "Romanticism." In New Romantic Cyborgs. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035460.003.0002.

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In chapter 2 historical Romanticism is outlined as it emerged and thrived in Germany, Britain, and France around 1800 and as it reached deep into the nineteenth century. The works and lives of Rousseau, Novalis, Morris, and others are discussed for this purpose. Moreover, he social and political side of Romanticism (Ruskin, Morris, and Marx) and romantic Gothic are discussed. Historical Romanticism is then linked to romanticism more broadly defined. The author argues that in many ways romanticism still persists today and that there is a line to be drawn start from Rousseau in the late eighteenth century to twentieth century counterculture and beyond. Even in the early twenty-first century forms of subjectivity are very much shaped by Romanticism - mainly in the form of our heritage from 1960s and 1970s romantic counterculture.
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DUGGAN, CHRISTOPHER. "Childhood, Youth, and Romanticism." In Francesco Crispi 1818-1901, 9–34. Oxford University Press, 2002. http://dx.doi.org/10.1093/acprof:oso/9780198206118.003.0002.

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"What Happens When Jane Austen and Frances Burney Enter the Romantic Canon?" In Lessons of Romanticism, 376–91. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822399100-019.

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Galperin, William. "What Happens When Jane Austen and Frances Burney Enter the Romantic Canon?" In Lessons of Romanticism, 376–91. Duke University Press, 1998. http://dx.doi.org/10.1215/9780822399100-018.

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GALPERIN, WILLIAM. "What Happens When Jane Austen and Frances Burney Enter the Romantic Canon?" In Lessons of Romanticism, 376–91. Duke University Press, 1998. http://dx.doi.org/10.2307/j.ctv11cw5nd.21.

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Flynn, Christopher. "Frances Trollope’s America: From Enlightenment Aesthetics to Victorian Class." In Enlightening Romanticism, Romancing the Enlightenment, 163–78. Routledge, 2016. http://dx.doi.org/10.4324/9781315579832-10.

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"2. La ocupación francesa y el teatro." In El teatro español entre la Ilustración y el Romanticismo, 45–70. Vervuert Verlagsgesellschaft, 2009. http://dx.doi.org/10.31819/9783954879106-004.

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Morales Peco, Montserrat. "Napoleón, leyenda negra y dorada en la literatura francesa del Romanticismo." In Literatura, crítica, libertad. Estudios en homenaje a Juan Bravo Castillo. Ediciones de la Universidad de Castilla-La Mancha, 2021. http://dx.doi.org/10.18239/homenajes_2020.13.10.

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