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Journal articles on the topic 'Fêtes galantes'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Meghelli, Fethi. "Fêtes Galantes." Rethinking Marxism 1, no. 1 (March 1988): 73. http://dx.doi.org/10.1080/08935698808657786.

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2

Mullier, Sébastien. "Un singe à Cythère : Verlaine et la fête galante." Études françaises 51, no. 3 (November 30, 2015): 53–75. http://dx.doi.org/10.7202/1034131ar.

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Banville déclarait dans Odes funambulesques : « Il ne serait pas impossible d’imaginer une nouvelle langue comique versifiée, appropriée à nos moeurs et à notre poésie actuelle, et qui procéderait du véritable génie de la versification française en cherchant dans la rime elle-même ses principaux moyens comiques. » De la peinture de Watteau à sa critique d’art, notre ambition est de montrer comment, pour Verlaine, cette entreprise anachronique et donc ironique qu’est la composition d’une fête galante en plein xixe siècle s’inscrit dans la continuité d’un art identifié comme spécifiquement français et spirituel, mais aussi d’un genre humoristique des arts décoratifs : de Watteau et du xviiie siècle, Verlaine a peut-être moins pris pour modèle la fête galante que la singerie, cette peinture grotesque et rocaille où abondent singes musiciens, singes peintres et singes funambules. En plaçant le singe lascif de « Cortège » au centre d’une étude de Fêtes galantes, nous tentons d’étudier comment Verlaine a rêvé la pratique de la versification française comme la gestuelle comique, équivoque et sensuelle d’un singe funambule. Nous nous efforçons de définir les enjeux secrets de pratiques chères à un poète dont Lepelletier notait la physionomie « babouinesque » : certes la rime mais aussi l’autoparodie, cette manière de se singer soi-même. Nous inscrivons le parti rocaille de Fêtes galantes dans un débat historique contre le modèle hugolien et romantique des héritiers de 1793 : nous érigeons ainsi le singe verlainien en figure du fondement de l’Art pour l’Art, ce qu’Edgar Poe avait appelé « principe poétique ».

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3

KIM, Sunn-Hyung. "Fêtes galantes: l’harmonie de nature et d’artificiel." ASSOCIATION CULTURELLE FRANC0-COREENNE 38, no. 1 (September 2018): 285–314. http://dx.doi.org/10.18022/acfco.2018.38.1.011.

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4

Figueiredo, Vinicius. "Watteau e a irrupção da pintura moderna na França do século XVIII." Viso: Cadernos de estética aplicada 10, no. 19 (November 8, 2016): 178–97. http://dx.doi.org/10.22409/1981-4062/v19i/239.

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Antoine Watteau, conhecido como pintor das “fêtes galantes”, foi usualmente considerado um partidário poético da superfície, dos divertimentos e da frivolidade. Argumento nesse texto que por meio dessas opções poéticas, ele descobriu a dimensão dramática da vida moderna na França setecentista.

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5

Zayed, Georges. "La tradition des fêtes galantes et le lyrisme verlainien." Cahiers de l'Association internationale des études francaises 43, no. 1 (1991): 281–99. http://dx.doi.org/10.3406/caief.1991.1768.

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6

Mölk, Ulrich. "Paul Verlaines Colombine und das Ende der Fêtes galantes." Romanistisches Jahrbuch 56, no. 1 (November 16, 2006): 141–62. http://dx.doi.org/10.1515/9783110186529.141.

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7

Doquet-Lacoste, Claire, and Élisabeth Richard. "La galanterie des fêtes : Décrochements énonciatifs et syntagmatiques dans les Fêtes galantes." L'Information Grammaticale 116, no. 1 (2008): 41–45. http://dx.doi.org/10.3406/igram.2008.3947.

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8

Richter, Mario. "Steve Murphy et Georges Kliebenstein, Verlaine. Poëmes saturniens, Fêtes galantes, Romances sans paroles." Studi Francesi, no. 155 (LII | II) (October 1, 2008): 483. http://dx.doi.org/10.4000/studifrancesi.9001.

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9

Sadler, Graham. "Patrons and Pasquinades: Rameau in the 1730s." Journal of the Royal Musical Association 113, no. 2 (1988): 314–37. http://dx.doi.org/10.1093/jrma/113.2.314.

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Rameau's late entry into the world of opera is one of the best-known features of his biography. When Hippolyte et Aricie, his first tragédie, burst upon an unsuspecting public at the Académie royale de musique in October 1733, the composer had just turned 50. Of his earlier music, only the second and third books of harpsichord pieces and the cantata Le Berger fidèle would have been at all well known. Yet by the end of the decade, with the appearance of two further tragédies, Castor et Pollux (1737) and Dardanus (1739), and two opéra-ballets, Les Indes galantes (1735) and Les Fêtes d'Hébé (1739), the middle-aged newcomer had established himself as the foremost, if also the most controversial, French composer of his day.

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10

Bernadet, Arnaud. "« Des propos fades » : Grammaire et poétique de la conversation dans « les indolents » (Fêtes galantes)." L'Information Grammaticale 116, no. 1 (2008): 46–50. http://dx.doi.org/10.3406/igram.2008.3948.

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11

Richter, Mario. "Lectures de Verlaine, Poèmes saturniens, Fêtes galantes, Romances sans paroles, sous la direction de Steve Murphy." Studi Francesi, no. 155 (LII | II) (October 1, 2008): 483. http://dx.doi.org/10.4000/studifrancesi.9000.

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12

Johnson, Julian. "Present Absence: Debussy, Song, and the Art of (Dis)appearing." 19th-Century Music 40, no. 3 (2017): 239–56. http://dx.doi.org/10.1525/ncm.2017.40.3.239.

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Debussy's early song settings of Théodore de Banville and Paul Bourget foreground the Romantic topic by which the singing voice revokes lost presence. The closed aesthetic space of music becomes, in these songs, the space of the nocturnal garden in which the souls of lovers merge with the containing landscape. But Debussy's fascination with the poetry of Paul Verlaine, over a period of twenty-two years from 1882 to 1904, juxtaposes such evocations of intense sensuous presence with songs of alienated absence and ironic distance. The poems Debussy set from Verlaine's Fêtes galantes (1869) provoke both kinds of song, the latter embodied through the shadowy figures of the commedia dell'arte. In the case of two such poems, “En sourdine” and “Clair de lune,” Debussy produced two different settings of the same text, ten years apart. The usual account is that these show the composer's progression from Romantic lyricism to a more sophisticated but withdrawn style, a development paralleled by a biographical story moving from his youthful passion for the dedicatee of the early songs, Marie-Blanche Vasnier, to the breakdown of his first marriage in 1904. But neither the stylistic nor the biographical narrative provides an adequate account of the Verlaine songs, and both miss their exploration of the economy of desire at the heart of the piano song.

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13

Leclercq, Guy. "Une fête galante revisitée." Palimpsestes, no. 2 (January 1, 1990): 29–82. http://dx.doi.org/10.4000/palimpsestes.720.

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14

Edgington, Erin E. "Re-Orienting the fête galante in Mallarmé’s éventails." Nineteenth-Century French Studies 44, no. 1-2 (2015): 128–43. http://dx.doi.org/10.1353/ncf.2015.0014.

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15

Cowart, Georgia, and Guy Spielmann. "De la fête monarchique à la fête galante dans Les Plaisirs du bal de Watteau." Dix-huitième siècle 49, no. 1 (2017): 247. http://dx.doi.org/10.3917/dhs.049.0247.

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16

Chuchvaha, Hanna. "The Rococo Revival in Alexandre Benois’s Versailles: Fête galantes and Louis XIV in the Early Twentieth-Century Russian Art." Canadian-American Slavic Studies 46, no. 4 (January 1, 2012): 409–38. http://dx.doi.org/10.1163/221023912x642682.

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17

CARVALHO, VÂNIA CARNEIRO DE. "Cinderelas, bailarinas e a vida longa das galanterias." Anais do Museu Paulista: História e Cultura Material 27 (2019). http://dx.doi.org/10.1590/1982-02672019v27e27.

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RESUMO O artigo discute a constituição da identidade feminina associada à exibição do corpo. A sexualização da questão deixou esquecida uma matriz de longa tradição, a etiqueta aristocrática francesa do século XVIII. Uma das estratégias sociais de conservação desse repertório cenográfico se deu com a produção de esculturas representando cenas da aristocracia que ficaram conhecidas como fêtes galantes. Tais objetos estão associados a uma rede de representações que abrangem o balé clássico e os filmes e desenhos animados presentes no imaginário de crianças e adultos.2

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18

Weretka, John. "The Guitar, the Musette and Meaning in the fêtes galantes of Watteau." Electronic Melbourne Art Journal, no. 3 (2008). http://dx.doi.org/10.38030/emaj.2008.3.3.

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