This study in comparative literature contributes to the understanding of the myth of the artist as a European cultural construct and investigates the processes of personal mythmaking. The construction of romantic identity is studied in an interdisciplinary perspective, insisting on the strategies employed to produce a typology of the artist
This study in comparative literature contributes to the understanding of the myth of the artist as a European cultural construct and investigates the processes of personal mythmaking. The construction of romantic identity is studied in an interdisciplinary perspective, insisting on the strategies employed to produce a typology of the artist
Elena Anastasaki is Assistant Professor of Comparative Literature at the Department of Language and Intercultural Studies at the University of Thessaly (Greece). She holds a PhD in Comparative Literature from the Universities of Kent and Paris 8.
Inhaltsangabe
Acknowledgments Notes on Translation Introduction * Overview of the Background Scene * Outline of Approach, Key Concepts and Methodology * Book Structure Part One Chapter 1, Forming Identity: An Interdisciplinary Approach 1. Ethos and the Image of the Author 2. Narrative and Identity Theories: Narrating the Self, an Ontological Dilemma 3. Identity and Aesthetics * Kant, Schiller, and Romantic Aesthetics Chapter 2, The Making of Artistic Genius 4. A philosophical Concept 5. The Figure of Chatterton * Coleridge's Chatterton: A Life-long Companion * Alfred de Vigny's Chatterton: The Emblem of a Social Cause Chapter 3, Goethe's Prometheus, Rousseau's Pygmalion, and their Progeny 6. "Here sit I, forming mortals / After my image": The Promethean Artist * Johann Wolfgang von Goethe, "Prometheus" * Lord Byron, "Ode to Prometheus" * Percy Bysshe Shelley, Prometheus Unbound * Victor Hugo, "Genius," "The grieving poem weeps" * Théophile Gautier, "On the Prometheus of Madrid" 7. Pygmalion and the Ontological Status of the Work of Art * Jean-Jacques Rousseau, Pygmalion * Thomas Lovell Beddoes, "Pygmalion, or the Cyprian Statuary" Part Two Chapter 4, "Now, if I know myself, I should say, that I have no character at all"-Byron's Mythmaking Strategies * The Quest for a Personal Voice * The Poet's Physical Appearance * The Poet as Pilgrim: Childe Harold's Pilgrimage * Poetic Ventriloquism: The Lament of Tasso and The Prophecy of Dante * Byron's Public Persona Chapter 5, Percy Shelley and the Metaphysical Authenticity of the Poet * Alastor, or The Adventures of the Poetic Mind * From Aesthetic Experience to the Aesthetic Self * Adonais, or the Self from Without - Pivotal Moments of Self Awareness * From Poet to Poet: "To Wordsworth" and "Lines to __" ("Sonnet to Byron") Chapter 6, Honoré de Balzac, the Napoleon of Letters 8. "[L]a tête dans le ciel et les pieds sur cette terre" - Balzac's Fictional Artists * The Portrait of the Artist as an Old Man * The Artist as Martyr 9. Sympathetic Parody: Grotesque and Sublime Identities * The Bourgeois Artist Chapter 7, Théophile Gautier, Stylistic Identity and Poetic Time * The Negation of the Self: Les Jeunes-France * The Golden Fleece: A Quest for Rubens' Blonds, or How Art Spoils Reality * Autobiographic Sketches and the Poet as Shapeshifter Conclusion, A Sociopoetical Approach to Genius * Materialistic Representations of Genius * The Poet's Two Bodies * Napoleon * Artistic Identity as a Narrative Construct in a European Context Works Cited and Consulted
Acknowledgments Notes on Translation Introduction * Overview of the Background Scene * Outline of Approach, Key Concepts and Methodology * Book Structure Part One Chapter 1, Forming Identity: An Interdisciplinary Approach 1. Ethos and the Image of the Author 2. Narrative and Identity Theories: Narrating the Self, an Ontological Dilemma 3. Identity and Aesthetics * Kant, Schiller, and Romantic Aesthetics Chapter 2, The Making of Artistic Genius 4. A philosophical Concept 5. The Figure of Chatterton * Coleridge's Chatterton: A Life-long Companion * Alfred de Vigny's Chatterton: The Emblem of a Social Cause Chapter 3, Goethe's Prometheus, Rousseau's Pygmalion, and their Progeny 6. "Here sit I, forming mortals / After my image": The Promethean Artist * Johann Wolfgang von Goethe, "Prometheus" * Lord Byron, "Ode to Prometheus" * Percy Bysshe Shelley, Prometheus Unbound * Victor Hugo, "Genius," "The grieving poem weeps" * Théophile Gautier, "On the Prometheus of Madrid" 7. Pygmalion and the Ontological Status of the Work of Art * Jean-Jacques Rousseau, Pygmalion * Thomas Lovell Beddoes, "Pygmalion, or the Cyprian Statuary" Part Two Chapter 4, "Now, if I know myself, I should say, that I have no character at all"-Byron's Mythmaking Strategies * The Quest for a Personal Voice * The Poet's Physical Appearance * The Poet as Pilgrim: Childe Harold's Pilgrimage * Poetic Ventriloquism: The Lament of Tasso and The Prophecy of Dante * Byron's Public Persona Chapter 5, Percy Shelley and the Metaphysical Authenticity of the Poet * Alastor, or The Adventures of the Poetic Mind * From Aesthetic Experience to the Aesthetic Self * Adonais, or the Self from Without - Pivotal Moments of Self Awareness * From Poet to Poet: "To Wordsworth" and "Lines to __" ("Sonnet to Byron") Chapter 6, Honoré de Balzac, the Napoleon of Letters 8. "[L]a tête dans le ciel et les pieds sur cette terre" - Balzac's Fictional Artists * The Portrait of the Artist as an Old Man * The Artist as Martyr 9. Sympathetic Parody: Grotesque and Sublime Identities * The Bourgeois Artist Chapter 7, Théophile Gautier, Stylistic Identity and Poetic Time * The Negation of the Self: Les Jeunes-France * The Golden Fleece: A Quest for Rubens' Blonds, or How Art Spoils Reality * Autobiographic Sketches and the Poet as Shapeshifter Conclusion, A Sociopoetical Approach to Genius * Materialistic Representations of Genius * The Poet's Two Bodies * Napoleon * Artistic Identity as a Narrative Construct in a European Context Works Cited and Consulted
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