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This article examines the trend towards the new sincerity and authenticity of novelistic testimony and the controversial recourse to romanticism in the novels of contemporary French writer Michel Houellebecq (* 1956). In the selected novels Extension du domaine de la lutte (1994, translated as Whatever by Paul Hammond in 1998), La carte et le territoire (2010, translated as The Map and the Territory by Gavin Bowd in 2011), Sérotonine (2019, translated as Serotonin by Shaun Whiteside in 2019) and Anéantir (2022, English translation titled Annihilation to be released 19/09/2024), it explores how Houellebecqian prose maintains a critical dialogue with subversion and how the image of an empathizing author emerges in his work. It also examines how Houellebecq's position can be compared with those of the philosophers Václav Bělohradský and Zygmunt Bauman. Finally, it examines how the author's narrative aesthetics adequately reflects the contemporary human condition through the irony of the irony, the subversion of the subversion. The author thus transcribes a specifically Houellebecquian notion of the new romanticism as a means of rediscovering the sense of life of the contemporary man and his bearings in the world.

This essay reviews Celso Furtado's intellectual legacy, highlighting his enormous importance for economic thought. It adopts the method of comparing Furtado to another great Brazilian economist, Mário Henrique Simonsen, emphasizing the superiority of the former over the latter in several essential aspects. It also discusses the relation of Furtado to Keynes and the Keynesian economic tradition, on the one hand, and to Marx and Marxism, on the other. It highlights, in conclusion, his links to nationalism and romanticism, expressed in his attachment to Brazil. [ABSTRACT FROM AUTHOR]

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Copyright of Building the way - Revista do Curso de Letras da UEG/Itapuranga is the property of Universidade Estadual de Goias and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract Walter Benjamin published his influential essay ‘Critique of Violence’/‘Zur Kritik der Gewalt’ in 1921, and the work has troubled and provoked thinkers across disciplines for over a century now. This Forum gathers a group of scholars in philosophy, political science, international relations and legal studies to reflect on the actuality of Benjamin’s essay for contemporary critical theory. In Part II of the Forum, Aggie Hirst, Tom Houseman, and Vinícius Armele draw on Benjamin to analyse what remains of European colonialism. Hirst and Houseman interrogate the extent to which Walter Benjamin’s notion of divine violence may be useful in the service of decolonial struggle. Insofar as it is antithetical to the colonial order – which is inaugurated and reproduced by the law making and law preserving functions of mythic violence – divine violence appears to open a space for conceptualising a far-reaching challenge to the violence encrypted in that order that is ‘lethal without spilling blood’. Because the exercise of such ‘power over all life’ is exercised ‘for the sake of living,’ Benjamin argues, its accompanying sacrifices are acceptable. Drawing on postcolonial and decolonial theory, Hirst and Houseman offer a critique of the ‘God’s-eye view’ inherent to any claim to divine violence. Benjamin’s text can generate powerful insights into the nature and limits of decolonial struggles, but it ultimately fails in providing an alternative to the mythic violence it criticises, by reproducing – at the heart of the emancipatory concept of divine violence – a problematic impersonation of a divine authorial voice that is already a trope of coloniality. Armele’s reflection seeks to recover ancient tragedy’s role of reluctance toward the previously unquestionable power of the violence of mythical destiny. Resume Benjamin’s contributions on (1) melancholy and Romanticism, which represents the revolt of repressed, channelled and deformed subjectivity and affectivity, and (2) the criticism of the violence that is established in the manifestation of its ethical relations between law [Recht] and justice [Gerechtigkeit], Armele reveals the intertwining of the experience of historical time and the orientation of current political struggles. Inspired by Benjamin, he examines the action of the Black Lives Matters movement in Bristol, UK, which toppled a statue of the slave trader Edward Colston, and threw it in the city’s harbour, reopening a historical wound of colonialism and national memory.

The book "The Roots of Romanticism" by Isaiah Berlin discusses the Romantic movement in Europe, especially in Germany, between the years 1760 and 1830. The author highlights that Romanticism was one of the greatest movements that transformed the life and thought of the Western world. The book addresses the new characteristic attitude of Romanticism, based on values such as integrity, sincerity, and dedication to ideals. Romanticism is characterized by its plurality and can be both progressive and reactionary, depending on the perspective. Isaiah Berlin emphasizes that we owe to Romanticism the notion of freedom of expression, the appreciation of human imperfection, and the appreciation of the contradictions of life. [Extracted from the article]

This essay comes from reflections made during the study of the curricular component Religion and Literature at the Federal University of Juiz de Fora, under the guidance of teacher Jimmy Sudário Cabral, the concept of nihilism and its impact on the reformulation of the concept of religion in 19th century Russian literature. The present study is justified by the historical-critical need to recognize how the terms nihilism and religion appear in novels such as "Parents and Children" by Ivan Turgenev, written between 1860 and 1862, although it was already a concept present in Russia in secondary literatures in a period marked by the end of serfdom and the emergence of political movements aimed at defeating the autocratic regime. It is in this work that the Russian writer launches the term nihilist through the protagonist Yevgeni Bazárov, positivist materialist, opponent of the 1840 generation - the idealistic Slavs defenders of romanticism - representing the generation of the 1860s, critique of social values and conventions. The problem in question is to see how the nihilist and religious perspective is situated in the plot. The hypothesis is that the novel researched addresses enough elements to make such an analysis. We worked with the exploratory methodology of interpretative bibliographic character, whose sources are original and qualitative analysis would identify the theses "Nihilism" and "Religion" in the work in question. It is indicated, as a result, to expand the academic debate surrounding this writer. [ABSTRACT FROM AUTHOR]

El terror se utilizó históricamente para legitimar el poder de la monarquía frente al pueblo. En un contexto liberal, especialmente con el Romanticismo, la literatura recuperó ciertos mitos del pasado que tenían un valor simbólico en el presente para poder afianzar el Estado-nación. A través de géneros como la novela gótica o la narrativa de misterios, aquella idea del terror histórico, cargado de elementos tétricos, fantasmagóricos, sombríos y lúgubres, permitía impresionar, enseñar y/o conmover al lector de su época con una intención claramente política, en consonancia con los intereses del liberalismo. El objetivo de este trabajo es analizar la novela Los Misterios del Escorial (1845), de Gabino Leonor, como ejemplo de literatura política. En una clara línea antiaustracista y vinculada a los intereses ideológicos progresistas y republicanos, esta obra representa la angustia y la opresión de la sociedad decimonónica. La institución regia y su entorno cortesano, ambos encarnados en la idea de la «monarquía del miedo», fueron responsables de ello a partir de la «arquitectura terrorífica», recreada en torno al Real Sitio construido por Felipe II. A partir de la ejemplificación de esta novela –y los recursos estéticos, históricos e ideológicos que utiliza– se pretende estudiar los procesos de deslegitimación que se produjeron durante el periodo de las revoluciones liberales en torno a la Corona como institución válida en los resortes del Estado-nación que se quería construir. Se recupera una obra olvidada por parte del canon que se sitúa dentro de la politización que experimentarían la literatura y determinados géneros literarios durante el siglo XIX, especialmente en el contexto de la Década Moderada, momento de la publicación de la novela.

When we understand that history can be written and constructed from hegemonic narratives, the need arises to think about the other voices that were possibly silenced in the writing process. The linearity and romanticism that is sometimes present in history start to be questioned, as is the case of the colonization process, which reflects in silencing and exclusions until nowaday. The “Making history” is not a neutral operation, and can segregate people or social groups, in addition to representing a form of appropriation of the other, which is named, classified and hierarchized through historical discourse. Michel de Certeau is an author who criticizes attempts to constitute the other, realized mainly by the historiographical discourse. In the same way, post-colonial thinking brings up the reflection reflection about the need for a decentered rewriting of the great imperial narratives of the past and of the deconstruction of that taken as universal, linear, different, of the reclassification of alterity. Based on this context, this essay seeks to evidence approximations of the Michel de Certeau, mainly about the work "The writing of history", with the postcolonial approach. [ABSTRACT FROM AUTHOR]

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This article approaches the transformation of music's meaning and social insertion between the end of the 18th century and the beginning of the 19th century. Bearing in mind that the meaning of everything we now call Art was “invented” during this period, its central thesis is that this “invention” in music, beyond technical issues, had a deep relationship with new ways of representing knowledge by post-Kantian idealism and early German romanticism. The epistemic transformations proposed by these movements implied understanding certain artistic practices beyond the mere technical domain, thus placing them at the center of a knowledge model that refuses to be reduced to the pure mechanical manipulation of matter. In this manner, it faces the problem of a truth beyond the pure instrumental application of our comprehension. This question will determine the social and epistemic meaning that music begins to have from that period onwards. In this context, the word music begins to mean something very different from what said word meant for a large part of the 18th century and previous ones and, as a practice, earns its place as a crucial form of access to a highly significant type of knowledge for Modernity.

Landscape painting became an artistic expression of a budding national identity in Cuba during the second half of the nineteenth century. A “Cuban style” of painting emerged as the island experienced three major wars of independence from Spain (1868–98), as well as the maturation of the sugar plantation economy and the abolition of slavery in 1886. The Romantic representation of the local physical environment as an allegory of Cubanness became a leading genre in the island’s painting. Emblematic features of the Cuban countryside, such as the royal palm tree, the peasant hut, and the small independent farmer, became entrenched in landscape paintings between 1850 and 1920.

In Brazil, Romanticism had its rise in the bourgeoisie, in the nineteenth century; funk, in turn, emerged in the periphery, at the end of the 20th century, increasing in the 19th century. Both movements, however, started from a social group that was not included in the current forms of representation of the literate culture, suffered prejudices at the beginning and, little by little, became marketable products, until they left their places of origin and reached the entire Brazilian society. The objective of this research is to bring together the historiography of Romanticism with that of Brazilian funk, from an interdisciplinary approach, bringing together Literature and Media Studies. For this, a historiographical discussion of the two movements is carried out, based on authors such as Candido (2002), Moisés (1989), Lopes (2010), and Pedro (2015), to provoke intersections between two movements from different times and with different goals, but with similar characteristics. [ABSTRACT FROM AUTHOR]

Initially understood as a literary category, Romanticism also became a political category, influencing the men who would make Brazil in the 19th century. Occasional poets devoted a good part of their writing to building a new sensibility for a new nation that was wanted in the tropics. To analyze this situation, we used the evidentiary method, searching in those bad poems and poets, which were registered in the periodicals from 1808 to 1850, desires for a new homeland and bearers of a thought and an attitude that we can consider pre-romantic. [ABSTRACT FROM AUTHOR]

Considering that form becomes a crucial issue for the modernity discourse, attached with notions of rhythm, community and criticism, this article seeks to analyze the dismantling tradition and historical revision project that the poet Edimilson de Almeida Pereira carries out to propose his conception of antiform. In dialogue with the Afro-diaspora heritage, among other modern and archaic poetic expressions, the poet's constant interruption verse ends up including in the discourse of the poetry crisis issues related to origin, survival and dissemination, in order to undo any permanent and positive reading of the notion of form. This article questions some theories of verse, such as those of Mallarmé, Giorgio Agamben and Marcos Siscar, in addition to the important contributions of Jacques Derrida to the problem of style and to the task of deconstruction, which are central to the approximation of a poetics notoriously inclined to learning how to disassemble, while also working for continuity, infinity and justice. [ABSTRACT FROM AUTHOR]

This article analyzes the interlocutions between the George Orwell’s work and two exponents of the English left, E. P. Thompson and Raymond Williams. Although these authors had denied the George Orwell’s importance for the left critical thought, we believe that his ideas intercross through praxis and romanticism. Relying on the studys of Michael Löwy and Robert Sayre about the romanticism as a worldview, we intend to highlight how much the George Orwell’s political project dialogues with the thought of the renowned authors by marxist tradition. As well as Walter Benjamin and Antonio Gramsci, the English literate had responded to the call of his time, committing hisself politically and socially to the fight against fascism. Even his political perspective had alternated, throughout the 30s and 40s, between the revolution and the reformism, George Orwell would reaffirm his compromise with the democratic socialism until his death. [ABSTRACT FROM AUTHOR]

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Copyright of Conexão Letras is the property of Conexao Letras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From the Archive is a special section of Compendium dedicated to republishing texts from the Centre for Comparative Studies’ two-decade history of academic publishing in book form, giving them a new visibility and easier international outreach online. The choice of book chapters and articles to include in this section is based on the way they directly or indirectly communicate with the Issue, thus reconnecting previous and present debates on a common topic. Hans Ulrich Gumbrecht’s “Flaubert’s Landscapes” was originally published in Helena Carvalhão Buescu, João Ferreira Duarte and Fátima Fernandes da Silva, eds. (2004). Corpo e Paisagem Românticos. Lisbon: Centre for Comparative Studies/Colibri, pp. 55-70.

Mary Shelley’s Frankenstein (1818) narrativizes exile and displacement by enacting these thematically and formally at almost every level of the text. Exploring human movement and the possibility of human community, it constitutes Shelley’s response not only to her personal circumstances, but also to a Europe riven by twenty-three years of war. This essay considers the novel’s philosophical project of hospitality and friendship through the movements of Victor Frankenstein and his “Creature”, tracking their attempts to forge social and emotional bonds in the face of successive displacements from family, nation, and humanity generally. This article is part of the special theme section on Mobility and Displacement in and around the Mediterranean: A Historical Approach, guest-edited by Cátia Antunes and Giedrė Blažytė.

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In this paper we propose the notion of "romanticism of artifice" to designate fabulation modes which are noticeable in contemporary Brazilian queer films that are marked, in its narrative and aesthetics, by traits such as the use of the cliché, intertextuality, mannerism, visual exaggeration and the appropriation of popular and hegemonic audiovisual repertoires. We work with the short films Os últimos românticos do mundo (2020) and Looping (2019), with the aim of situating the romanticism of artifice, partly legible and partly unnamable, as a kind of blur in the consensual order of the ideal of romantic love, producing a hiatus for the political which is built as an action of microrresistence capable to indicate a space beyond the violence against queer bodies. [ABSTRACT FROM AUTHOR]

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The text aims to indicate the peculiar reception of Kany's philosophy undertaken by Heinrich von Kleist. Full of deviations and intensifications, Kleist's impressions of the Copernican revolution as understood by Kant is forceful and tragically aware of the spirit of his time. With Kleist, Kant's philosophy is branded with the most singular contours, marking the extraordinary place of the author of Michael Kohlhaas in his peculiar relation to Romanticism. [ABSTRACT FROM AUTHOR]

Luisa Carnés was one of the Spanish intellectuals who, like many others, had to go into exile after the Civil War and the victory of Franco's troops in 1939. Carnés had published several works in Spain, continuing to write in Mexico. However, her texts were forgotten even after the return of democracy in 1975. In the 21st century the academic and publishing universes rescue this important figure in Spanish literature, integrating her or at least bringing her closer to the Nuevo Romanticismo or Generación del 27, seeking to properly highlight it in contemporary culture. I approach this mediation process in this paper, analyzing the relevance today of Carnés' perspective on the condition of women. [ABSTRACT FROM AUTHOR]

The current work demonstrates how the genesis of musical landscapes was highly influenced by the landscape pictorial design of renaissance artists and sound landscapes. Hearing as an important means of apprehension of reality captures feelings inscribed in space and performs, a constant complex exchange between who emits the sound and who receives. Music, therefore, as a sensitive and sentimental manifestation of artists, reveals a past and a condition that link with the present. Vivaldi's The Four Seasons (1723) had brought an imitation of nature, conceived as a programmatic song, and treated it as a great provider mother in a playful and innocent view of the world. German Romanticism, on the other hand, moved away from the outside environment, was enclosed in concert halls and abandoned the character of musical fun. Composers such as Beethoven, Schumann and Schubert had favored landscape poetics, through the lied musical genre, and began to describe a known world, lived world close to the listener. No more mythical landscapes or religious events, German Romanticism and its radicalism marked the beginning of a conception of musical landscape of inestimable value for Geography. [ABSTRACT FROM AUTHOR]

In various collections of Cieza we can find newspapers which give us a vision of the poetry of the end of the XIX century in this town. The study of these poems provide an interesting view about the expression of late Romanticism and the early stage of Modernism in this place. By extension, this analysis complete the historiographical gaps about the development of poetry in the murcian literature which, from an intertextual perspective, allow us to know the connexion between the Cieza and the rest of the region poetry and, of course, its connexion with the Spanish literature. [ABSTRACT FROM AUTHOR]

This article analyzes Ferdinand Denis’ book Scenes of nature in the tropics and their influence on poetry (1824) focusing on the relationship between the book’s postulate and its main theoretical references. This analysis, aiming to understand the place and importance of that publication for the Franco-Brazilian literary history, also compares Ferdinand Denis’ call for an awakening of the French literature to the landscapes of the tropics and the reaction of the most prominent French critics of the time to the author’s ideas. Based on this analysis, we observe that, unlike in Brazil, where Scenes of Nature in the Tropics served as a tenet for the creation of a Brazilian romanticism, the book, as well as Ferdinand Denis as a public figure, were rejected by most French literati due to the limitations of its theoretical arguments. [ABSTRACT FROM AUTHOR]

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This article studies the creation process of El final de don Álvaro, a lyric drama in one act and two tableaus with a libretto by Carlos Fernández Shaw and music by Conrado del Campo. To do so, I use the concept of “mediation”, which allows me to analyze, not only the tools employed by the authors during the creation of the piece, but also the influence of the cultural, aesthetic and ideological features of the historical period in which this opera is inserted. The starting point is the delimitation and the personal adaptation of a preexisting theatrical plot: Don Álvaro o La fuerza del sino (1835), by the Duque of Rivas. After that, I analyze the reasons that led the composer to select only the final part of the original argument: the musical potential of its romantic essence. Then, I show how the librettist wrote a text taking into account the necessities of the composer; and, finally, I explore the incidence of the principal musical influence of the moment: Wagnerism, a language that is hybridized with popular chant in order to elaborate a new model of Spanish opera: the national lyric drama.

The ancient and classical tradition assume the memoria, which reproduces a stable and hierarchical order, able to base the exemplary and topical value of stories. This “onto-theological” model (Kant) is radically overthrown by the one that prevails in modernity — since the end of the eighteenth century: forgetting the metaphysical foundation is becoming a paradoxical matrix of memory. Discontinuity becomes the condition of our relation to the past, which can no longer be sustained on an identifiable origin, but must be invented. Modern literature becomes a question of ignorance, and is condemned to construct optimistic (Novalis, Michon, Perec) or pessimistic (Senancour, Tieck, Conrad) answers to this question.

The gestuality present in gestural painting is often read as the result of the artist's emotional discharge. Faced with this reading of criticism, such works are seen by the association of the mark of gestuality with the idea of an attitude of the artist committed to art. In this article, I propose to present a commentary on this discourse that merges artist and work as a place of contemporary art criticism in Brazil, whenever it is faced with works that present an obvious gesture. I also aim to demonstrate certain genealogies of this reading, supported by ideas promoted by romanticism, expressionism and action painting. [ABSTRACT FROM AUTHOR]

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Jules Verne’s Le Rayon vert (1882) is at the same time a scientific novel and a love story, a repertory of knowledge and a criticism of clichés. Telling the amusing attempts of a little group of travelers that tries in vain to catch sight of the “green ray” – the last impression of sunset – on the horizon from the Scottish coast, the author confronts in an ironical way different stereotypical discourses about weather phenomena which coexist in the bourgeois society of the late 19th century. Verne mocks equally scientific, folkloristic and romantic ideas about meteorological observations and uses these opposite explications of the mysteries of nature to characterize his protagonists and to develop the suspense of the narration.

This essay analyzes the international reception of José de Alencar in the nineteenth century. The essay also explores how O guarani's first translation into Italian in 1864 influenced Carlos Gomes's opera Il Guarany. Finally, I analyze how Alencar's international trajectory can shed light on the debates on Brazilian literature outside of Brazil, particularly the discussion around Machado de Assis's international reception. [ABSTRACT FROM AUTHOR]

This paper advances an aesthetic approach of brazilian romanticism. We have been demonstrating that the sublime is a fundamental component not only in the establishment of European romantic movements but also in the development of its manifestation in Brazil. With that in mind, this essay aims at analyzing Gonçalves Dias' Indianism, with the intention to demonstrate that the poet exposed a more obscure facet of Brazilian Indianism, especially if compared to the work of José de Alencar, and, in order to do so, employed a wide range of key elements of the aesthetics of the sublime. [ABSTRACT FROM AUTHOR]

Two hundred years after the publication of the first edition of the novel Frankenstein; or, The Modern Prometheus, several studies have revisited the text and explored different aspects, such as its scientific background. These approaches, however, scarcely contextualize the scientific debates that influenced Mary W. Shelley’s best-known work. Moreover, they don’t analyse the influence and consequences that the novel had as regards to the advancement of scientific knowledge. This article intends to provide some light into these issues. [ABSTRACT FROM AUTHOR]

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The present paper aims to understand in which way Religion was an important element in the politics of the eighteenth century Prussia and, in special, as a background to some of the debates that Kant and Herder were integrated. By means of a detailed analysis of the dialogues with Pietism and political power of the Hohenzollern and also of the Pantheistic controversy in the transition between Enlightenment and Romanticism, the paper, as a article on history and philosophy of ideas, tends to evidence the impossibility of a solid segregation, even in the Aufklarung, of the religious confluences in politics and in philosophy making of authors as Kant and Herder. [ABSTRACT FROM AUTHOR]

IT IS POSSIBLE TO ATTEST A RELATIVELY RECENT RESUMPTION OF LANDSCAPE STUDIES, ESPECIALLY IN CULTURAL GEOGRAPHY. HOWEVER, IN ADDITION TO THE IMPORTANCE OF THIS AREA FOR GEOGRAPHIC SCIENCES, THE LANDSCAPE WAS ONCE A KEY CONCEPT FOR UNDERSTANDING THE NATURE AND THE MAN'S GEOGRAPHY. AS RICHARD HARTSHORNE STATES IN PERSPECTIVE ON THE NATURE OF GEOGRAPHY (1959), HOWEVER THERE IS A HISTORICAL PROBLEM WITH THE CONCEPT OF LANDSCAPE IN GERMAN ETYMOLOGY - LANDSCHAFT - WHICH, ALTHOUGH IN ENGLISH TRANSLATIONS TAKE ON THE WORD LANDSCAPE, BOTH WORDS HAVE DISTINCT MEANINGS. THE PRESENT ARTICLE, THEREFORE, AIMS TO REOPEN DISCUSSIONS REGARDING THESE FUNDAMENTAL DIFFERENCES, WHICH ARE THE REASON FOR SOME MISCONCEPTION, ESPECIALLY WHEN IT COMES TO THE PORTUGUESE LANGUAGE, WHEN THE GERMAN TERM WAS NOT USUALLY TRANSLATED FROM THE ORIGINAL, BUT FROM ITS ENGLISH AND FRENCH VERSIONS. HAVING THIS INITIAL QUESTION IN MIND, THE PRELIMINARILY PURPOSE IS TO ESTABLISH SOME DIFFERENCES BETWEEN THE ENGLISH LANDSCAPE AND THE GERMAN LANDSCHAFT IN THE VIEW OF THE PHILOSOPHICAL SCIENTIFIC THINKING REGARDING THE 18TH AND FIRST HALF OF THE 19TH CENTURIES. [ABSTRACT FROM AUTHOR]

This article intends to analyze the literary composing of Cruz e Sousa during the 1880 decade, when the poet lived in Desterro, his hometown. It intends to understand how this society was shown in his work, inspiring a production which criticized the Brazilian Empire, the Romanticism and the slavery, elements that configured Desterro's life and that were harmful to him. The objective is to understand his composing in this period as a critic to this society, using literature as an historical source and understanding the way that the social relations in Desterro influenced his texts, marked by the scientism, the search for the progress and also for the modernity. [ABSTRACT FROM AUTHOR]