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Dans la seconde moitié du xviiie siècle, en Grande-Bretagne, sous l’influence des travaux des philosophes empiristes et des théoriciens du sublime, une partie de l’ancienne rhétorique se recompose, à travers le questionnement des figures, en une nouvelle « poétique des passions » de laquelle sortira le « premier romantisme ». Pour comprendre cette évolution, Catherine Bois nous fait voir les connexions denses et complexes qui, dans les textes littéraires et critiques, lient langage, raison et passion en un réseau où se réarticulent des enjeux rhétoriques essentiels depuis l’Antiquité. Pour elle, le langage lyrique investi par l’affect conserve, tout en les modifiant, certains usages et principes de la rhétorique générale. Organisé chronologiquement, l’ouvrage présente les sources théoriques de l’analyse, puis les confronte aux œuvres poétiques de Thomas Gray, William Collins, William Blake, William Wordsworth, et de plusieurs poétesses britanniques du XVIIIe siècle.

Literature, British Isles --- lyrisme --- romantisme --- empirisme --- Aristote --- rhétorique --- langage --- passions --- affect --- Longin --- Edmund Burke --- William Wordsworth --- Thomas Gray --- William Blake --- William Collins --- Anne Finch --- Lady Montaigu

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This text considers William Wordsworth's use of iconography in his long poem The Excursion (1814). Through this iconographical approach, it steers a middle course between The Excursion's two very different interpretative traditions, the one focusing upon the poem's abstraction, the other upon its touristic realism. The author explores Wordsworth's iconography in The Excursion by tracing cultural and political allusions and correspondences in an abundance of post-1789 and earlier verbal and pictorial sources, as well as in Wordsworth's own prose and poetry, especially The Prelude. Particular attention is paid to the complex ways in which The Excursion's iconographical images contribute to - and also impose limitations upon - the overarching preoccupations of Wordsworth's writings: the themes of paradise lost and paradise regained in the post-revolutionary context.

Allusions in literature. --- Symbolism in literature. --- English poetry --- Romanticism --- Imagery (Psychology) in literature. --- History and criticism. --- Wordsworth, William, --- Criticism and interpretation. --- William Wordsworth --- Romantic poetry --- landscape imagery --- political iconography --- French Revolution

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Do killers, artists, and terrorists need one another? In Crimes of Art and Terror, Frank Lentricchia and Jody McAuliffe explore the disturbing adjacency of literary creativity to violence and even political terror. Lentricchia and McAuliffe begin by anchoring their penetrating discussions in the events of 9/11 and the scandal provoked by composer Karlheinz Stockhausen's reference to the destruction of the World Trade Center as a great work of art, and they go on to show how political extremism and avant-garde artistic movements have fed upon each other for at least two centuries. Crimes of Art and Terror reveals how the desire beneath many romantic literary visions is that of a terrifying awakening that would undo the West's economic and cultural order. This is also the desire, of course, of what is called terrorism. As the authority of writers and artists recedes, it is criminals and terrorists, Lentricchia and McAuliffe suggest, who inherit this romantic, destructive tradition. Moving freely between the realms of high and popular culture, and fictional and actual criminals, the authors describe a web of impulses that catches an unnerving spirit. Lentricchia and McAuliffe's unorthodox approach pairs Dostoevsky's Crime and Punishment with Martin Scorsese's King of Comedy and connects the real-life Unabomber to the surrealist Joseph Cornell and to the hero of Bret Easton Ellis's bestselling novel American Psycho. They evoke a desperate culture of art through thematic dialogues among authors and filmmakers as varied as Don DeLillo, Joseph Conrad, Francis Ford Coppola, Jean Genet, Frederick Douglass, Hermann Melville, and J. M. Synge, among others. And they conclude provocatively with an imagined conversation between Heinrich von Kleist and Mohamed Atta. The result is a brilliant and unflinching reckoning with the perilous proximity of the impulse to create transgressive art and the impulse to commit violence.

82-312.9 --- 82.09 --- Fantastische literatuur --- Literaire kritiek --- Avant-garde (Aesthetics) --- Literature, Experimental --- Literature, Modern --- History and criticism. --- Avant-garde (Aesthetics). --- Literature, Experimental. --- Literature, Experimental - History and criticism. --- Literature, Modern - 19th century - History and criticism. --- Literature, Modern - 20th century - History and criticism. --- Literature, Modern. --- Literature - General --- Languages & Literatures --- History and criticism --- 82.09 Literaire kritiek --- 82-312.9 Fantastische literatuur --- Aesthetics --- Modernism (Art) --- literature, literary studies, art, artwork, terror, creativity, violence, violent, political extremism, cultural study, politics, criminals, terrorism, terrorists, fear, j m synge, hermann melville, frederick douglass, jean genet, francis ford coppola, joseph conrad, don delillo, aesthetics, william wordsworth, bret easton ellis, martin scorsese, fyodor dostoevsky, john cassavetes, thomas mann, social order.