Pétrus Borel: Background, Reception and Interpretation  

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''[[Pétrus Borel: Background, Reception and Interpretation]]''[https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&ved=0CCsQFjAA&url=http%3A%2F%2Fora.ox.ac.uk%2Fobjects%2Fuuid%253A58dfc887-df51-4cfb-98ef-4ec9fe711ffe%2Fdatastreams%2FATTACHMENT1&ei=tp2-UpKfNOaCyQO5h4HgBA&usg=AFQjCNHcQB7a8TVUeu0vFZ6vOs33xwpR6w&sig2=Ve5VOu1sdQBOkvRHy0ppBg&bvm=bv.58187178,d.bGQ] (1999) is a thesis on [[Petrus Borel]] and his involvement with the ''[[bousingo]]'' and the ''[[jeune-France]]'' by [[Erik S. Bovee]]. ''[[Pétrus Borel: Background, Reception and Interpretation]]''[https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&ved=0CCsQFjAA&url=http%3A%2F%2Fora.ox.ac.uk%2Fobjects%2Fuuid%253A58dfc887-df51-4cfb-98ef-4ec9fe711ffe%2Fdatastreams%2FATTACHMENT1&ei=tp2-UpKfNOaCyQO5h4HgBA&usg=AFQjCNHcQB7a8TVUeu0vFZ6vOs33xwpR6w&sig2=Ve5VOu1sdQBOkvRHy0ppBg&bvm=bv.58187178,d.bGQ] (1999) is a thesis on [[Petrus Borel]] and his involvement with the ''[[bousingo]]'' and the ''[[jeune-France]]'' by [[Erik S. Bovee]].
 +
 +Mentions the contemporary [[bohemianism]] only four times.
 +
 +Incipit:
 +
 +:Petrus Borel was a minor, French Romantic author who was involved with a small group of artists, the '[[Petit cénacle]]', writing and working in early 1830s Paris. They styled themselves on the more famous '[[Cénacle]]', but were more than imitators of the great names of the Romantic movemement. Members of the 'Petit cénacle', which included the young Gautier and Nerval, took their cues from the major figures of the movement, but often pushed the enthusiasm for aesthetic reform, the colorful exoticism and the rebelliousness of Romanticism far beyond what the major figures were willing to attempt. The 'Petit cénacle' became associated in the mind of the public with a small number of groups of political and artistic [[militant]]s, whose period of greatest activity coincided with the upheaval in the few years following the [[July Revolution]], and with the Romantic battles in the theatre. Borel's group was often confused with the ''[[bousingos]]'', a species of young political conspirator, and was at times synonymous with the ''[[jeunes-France]]'', young men whose Romantic and medievalist literary pretensions were often nuanced with Utopian socialism or [[republicanism]].
Excerpts: Excerpts:
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:[[Saint-Cheron]]'s diagnosis of the artistic schizophrenia that is epidemic in the 1830s refers directly to the artists of the jeune-France group, and to the proponents of the ''[[roman charogne]]'': :[[Saint-Cheron]]'s diagnosis of the artistic schizophrenia that is epidemic in the 1830s refers directly to the artists of the jeune-France group, and to the proponents of the ''[[roman charogne]]'':
-:Alors, qu'est-ce done que leur art? un art de caprice et de fantaisie qui affecte de ne suivre aucunes regies, de ne representer aucune pensee grave, aucune emotion elevee, qui affecte de derouter le public sur Fintention et le but de l'oeuvre; un art de cauchemars, de debauches, d'orgies, d'assassinats +::Alors, qu'est-ce done que leur art? un art de caprice et de fantaisie qui affecte de ne suivre aucunes regies, de ne representer aucune pensee grave, aucune emotion elevee, qui affecte de derouter le public sur Fintention et le but de l'oeuvre; un art de cauchemars, de debauches, d'orgies, d'assassinats

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Pétrus Borel: Background, Reception and Interpretation[1] (1999) is a thesis on Petrus Borel and his involvement with the bousingo and the jeune-France by Erik S. Bovee.

Mentions the contemporary bohemianism only four times.

Incipit:

Petrus Borel was a minor, French Romantic author who was involved with a small group of artists, the 'Petit cénacle', writing and working in early 1830s Paris. They styled themselves on the more famous 'Cénacle', but were more than imitators of the great names of the Romantic movemement. Members of the 'Petit cénacle', which included the young Gautier and Nerval, took their cues from the major figures of the movement, but often pushed the enthusiasm for aesthetic reform, the colorful exoticism and the rebelliousness of Romanticism far beyond what the major figures were willing to attempt. The 'Petit cénacle' became associated in the mind of the public with a small number of groups of political and artistic militants, whose period of greatest activity coincided with the upheaval in the few years following the July Revolution, and with the Romantic battles in the theatre. Borel's group was often confused with the bousingos, a species of young political conspirator, and was at times synonymous with the jeunes-France, young men whose Romantic and medievalist literary pretensions were often nuanced with Utopian socialism or republicanism.

Excerpts:

Saint-Cheron's diagnosis of the artistic schizophrenia that is epidemic in the 1830s refers directly to the artists of the jeune-France group, and to the proponents of the roman charogne:
Alors, qu'est-ce done que leur art? un art de caprice et de fantaisie qui affecte de ne suivre aucunes regies, de ne representer aucune pensee grave, aucune emotion elevee, qui affecte de derouter le public sur Fintention et le but de l'oeuvre; un art de cauchemars, de debauches, d'orgies, d'assassinats


"The bousingo, or the more political offspring of the jeune-France, participated heavily in the recurrent riots of the period, culminating in the massacre of Saint-Merri."
"The bousingo was, as Asselineau described him, a less refined, more politically active, and certainly more dangerous cousin of the jeune-France."
Unlike the jeune-France, the bousingo had little to do in reality with Borel and his group, but because of the similarity in dress and apparent political conviction, was again closely associated with it.
Petrus Borel marque une phase, ou plutot une deviation du Romantisme, produite par l'invasion de la politique dans la litterature, apres la revolution de Juillet. Cette phase a eu son symbole, son type, le Bousingo (ou Bousingot) [...], avec son gilet a la Robespierre, sa grosse canne, sa longue barbe et ses longs cheveux, coiffee tantot de la casquette rouge a chainette, tantot du chapeau cire. Le Bousingot transporta dans la vie politique le style et les allures de l'ecole Romantique. Ce fut une variete du genre Jeune-France, mais aussi rude, aussi cynique que les autres etaient dandies et raffinés. En véritable artiste, il trouva tout de suite et avec genie la plastique de son idee. La passion de la couleur et de la localité avait pousse les ecrivains romantiques vers le luxe et l'eclat. Le Bousingot plongea dans la crapule et affecta les habitudes populacieres. II opposa le brule-gueule et le petit bleu aux narguilehs et aux hanaps. Des memes fusees, des memes soleils de metaphores qui se tiraient ailleurs en l'honneur des marchesines et des cathedrales, il fit des cartouches pour tirer sur le roi et sur les sergents de la ville; mais c'etait bien au fond le meme precede et la meme poetique. Romantiques et bousingots se rattachaient d'ailleurs par un point commun: la haine du bourgeois et l'horreur de la platitude. Les esprits les plus distingues de l'ecole subirent cette epidemic de la politique. --Charles Asselineau, Bibliographie Romantique via Bovee.




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