"Qu'appelle-t-on "poétiser" à l'âge romantique? Telle est la question que cet essai philosophique sur Gérard de Nerval adopte comme fil conducteur pour interroger la puissance de l'art et le sens de la création au sein d'une modernité désenchantée. Tendue entre sublime et mélancolie, ruines et chimères, l'écriture nervalienne réfléchit son propre geste poétique en même temps qu'elle reconfigure nos représentations de l'existence. En philosophant avec la littérature, cet essai entend faire droit à la singularité d'une pensée qui se tisse (...) à même les formes, les tours et les détours des oeuvres de Gérard de Nerval."--Page 4 of cover. (shrink)

This paper examines the madness of Gerard de Nerval, the nineteenth-century French writer. It looks at his account of mental disturbance, how he responded to the psychiatric profession and how he reacted to being diagnosed as insane. It considers his autobiographical novella of madness, Aurelia, which he began at the suggestion of his alienist, Dr Emile Blanche, and while he was still an asylum inmate. Nerval's story raises important questions about the nature of madness. Is it, as he (...) contended, a mystical experience revealing truths about spiritual worlds inaccessible to the ‘sane’? Does psychiatry fail to understand it and inappropriately reduce it to the categories of scientific reason? Or are such notions of the spiritual value of madness guilty of the charge that they romanticise insanity? Do they make extravagant claims for an experience that is often disturbing and debilitating? What is the relationship between madness and recovery? Should an individual try to forget their experience of mental disturbance once they recover, or should they examine what the event reveals about themselves? Can the language of madness be decoded to unveil profound truths as Carl Jung and R.D. Laing have suggested, or is it, as the psychiatrist German Berrios maintains, merely a series of ‘empty speech acts’, signifying nothing? And finally, how does one avoid writing about madness, and instead write madness? (shrink)

ArgumentCultivated by a number of writers and studied by psychologists, the phenomenon of déjà vu is an invention of the nineteenth century and is part of a broader exploration of how the mind experiences memory and time. Thus this typically benign mental aberration provides an entry-point into the mechanisms that preside over the regulation of the flow of consciousness. The theories of the mind developed recently by neuroscientists help us understand, meanwhile, why investigations into this mental “event” necessarily invoke concepts (...) of representation and narrative. In fact, our increasingly sophisticated models for processes of memory and perception depend on literary representations. This article relies on the paramnesiac writings of Gérard de Nerval, seen through the lens of Proust's analysis, to argue that a consideration of the aesthetic and representational features of déjà-vu can bring us closer to solving the epistemological challenges we face in studying this phenomenon.For Gregory T. Polletta. (shrink)

Susan Neiman pointed out to this reviewer the danger that Carl Jung studies pose to contemporary scholars. It is keeping in mind Neiman's cautionary advice that this review establishes Jung's contributions to Romanticism. "[Craig] Stephenson’s analysis of Aurélia has now superseded Arthur Lovejoy’s (1873–1962) and Mario Praz’s (1896–1982) contributions to the definitions of Romanticism.".

It is often thought that the literature dealing with religion is nothing more than the expression of a thought elaborated by the theologian, which he struggles to express: the Bible, the primary text, is initially interpreted by theologians, and then writers gather their interpretations. But it is not always so, as the reception of Judas Iscariote testifies: from Klosptock to Kazantzakis through Victor Hugo and Gérard de Nerval, it is the people of letters who preceded the exegetes in the (...) interpretation of the figure of the one who betrayed Jesus. (shrink)

In _Black Sun_, Julia Kristeva addresses the subject of melancholia, examining this phenomenon in the context of art, literature, philosophy, the history of religion and culture, as well as psychoanalysis. She describes the depressive as one who perceives the sense of self as a crucial pursuit and a nearly unattainable goal and explains how the love of a lost identity of attachment lies at the very core of depression's dark heart. In her discussion she analyzes Holbein's controversial 1522 painting "The (...) Body of the Dead Christ in the Tomb," and has revealing comments on the works of Marguerite Duras, Dostoyevsky and Nerval. _Black Sun_ takes the view that depression is a discourse with a language to be learned, rather than strictly a pathology to be treated. (shrink)

Living organisms are exposed to numerous influencing factors. This holds also true for their infrastructures that are processing and transducing information like endocrine networks or nerval channels. Therefore, the ability to compensate for noise is crucial for survival. An efficient mechanism to neutralise disturbances is instantiated in form of parallel complementary communication channels exerting antagonistic effects at their common receivers. Different signal processing types share the ability to suppress noise, to widen the system’s regulation capacity, and to provide for (...) variable gains while leaving the transferred signal to a large extent unchanged. (shrink)

Let us hypothesize that there are three main "registers" of writing: narrative, description and commentary. "Narrative" and "description" are by definition concerned with diachronic and synchronic relationships ; and it may be said that taken together, they therefore exhaust the inventory of all relationships constituting the "world" our language regards as possible. It is often remarked that there is such an affinity between narration and description that on occasion they are hard to distinguish: narration is the description of an action (...) or change, and description mimes the action of relating items one to the other, and hence may have a narrative function. This solidarity of narration and description justifies their being grouped together as constituting the "topic" of literary discourse. But the function of "commentary," which correlates the text with a context, is to create a different type of relationship, in which makes the narrative/descriptive topic "meaningful." We are thus distinguishing "meaning" and "meaningfulness" on the grounds that "meaning" can be understood as the object of semantic analysis , whereas "meaningfulness" is the meaning bestowed on a set of relationships by an act of interpretation . This type of meaningfulness is what the moral of a La Fontaine fable most characteristically seeks to create. Thus, the two-line commentary segment in Le Chat, la Belette et le petit Lapin: Ceci ressemble fort aux débats qu'ont parfoisLes petits souverains se rapportants aux rois1 designates the narrative/descriptive relationships established on the fable proper , designates the pragmatic context , but also specifies the analogy/homology between the two which makes the text meaningful . Meaningfulness in this sense is thus definable as the perception of a text/context relationship. · 1. "This greatly resembles the debates which petty sovereigns have when they refer to kings." [My translation] Ross Chambers, Marvin Felheim Distinguished University Professor of French and Comparative Literature at the University of Michigan, Ann Arbor, is the author of Gérard de Nerval et la poétique du voyage, La Comédie au château, L'Ange et l'automate, "Spirite" de Théophile Gautier, and Room for Maneuver: Reading Oppositional Narrative. (shrink)

This text probes the psychic and social roots of artistic scenarios of loss. Demonstrating that artistic activity is inextricably bonded to imaginary scripts of bereavement and these in turn to patterns of social dominance, the author argues in favor of an "aesthetics of lessness" that is, postmodern resistance to imaginary inscriptions of grief and their misogynist sequels. The book draws on psychoaesthetics, discourse theory and feminist social critiques to analyse literary visual figurations of loss. Included in its analysis of the (...) romantic and post-romantic imaginary are readings of Merimee, Nerval, Hoffmann, H.D., Anne Hebert, Proust and Beckett, and essays, among others, on Kollwitz, Glacometti, Bellmer, Klee, Gidal and Oulton. (shrink)

In _Black Sun_, Julia Kristeva addresses the subject of melancholia, examining this phenomenon in the context of art, literature, philosophy, the history of religion and culture, as well as psychoanalysis. She describes the depressive as one who perceives the sense of self as a crucial pursuit and a nearly unattainable goal and explains how the love of a lost identity of attachment lies at the very core of depression's dark heart. In her discussion she analyzes Holbein's controversial 1522 painting "The (...) Body of the Dead Christ in the Tomb," and has revealing comments on the works of Marguerite Duras, Dostoyevsky and Nerval. _Black Sun_ takes the view that depression is a discourse with a language to be learned, rather than strictly a pathology to be treated. (shrink)

La seducción que irradia el retrato adquiere nuevas significaciones con la llegada de la fotografía. El retrato fotográfico durante el siglo XIX, como imagen de exactitud radical, concretó diversos fenómenos entre el público, entre los cuales se encuentra la negación de la propia imagen. La experiencia de Gérard de Nerval respecto a sus dos retratos muestra su concepción de la fotografía en la última etapa de su vida, así mismo desvela problemas de orden estético en cuanto a la recepción (...) de una nueva forma de representación del cuerpo y la propia imagen. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Ornament, Fantasy, and Desire in Nineteenth-Century French LiteratureGeoffrey Galt HarphamOrnament, Fantasy, and Desire in Nineteenth-Century French Literature, by Rae Beth Gordon; xvii & 288pp. Princeton: Princeton University Press, 1992, $42.50.As Rae Beth Gordon notes in the introduction to her stimulating and original book, ornament, which is devoted to grace, charm, and attractiveness, becomes the object of suspicion and moralizing disdain when it exceeds what numerous commentators refer to (...) as “its proper limits.” The limits are set low by those who wish to maintain the integrity of the center—the melodic line, the text, the main image, the literal sense, the consensual meaning—against the disruptive and excessive forces of the margin. Transgress the margin to which ornament is properly confined, as artists in virtually every medium available in nineteenth-century France did, and a series of crucial binary distinctions collapses, threatening not only the center, but ornament itself, which is defined by its limits, its position on a well-defined edge.What distinguished nineteenth-century French literature was, from Gordon’s point of view, a sustained interest, among critics as well as artists, in cultivating the creative possibilities opened up by compromising the boundary between ornament and its other. So fertile and successful has this project proven to be that today’s postmodernity has not come to an end of it, continuing to discover its most interesting possibilities on the margin. And within the field of art history, we see that ornament, once widely denigrated as the source of confusion, has become virtually orthodox; as the title of Ernst Gombrich’s book on the subject indicates, ornament is now held to appeal to and gratify The Sense of Order.Gordon takes advantage of the posthistory of her subject, applying to studies of Nerval, Mallarmé, Gautier, Huysmans a theoretical armature drawn from the psychoanalytic theories of Freud, Winnicott, and Lacan. Drawing attention to a dimension of meaning or intention that has been “suppressed or excluded from the central field,” ornament, she argues, “anticipates the way psychiatry, perceptual psychology, and aesthetics converge in the fin de siècle.” Ornament, in other words, is cognate with the unconscious, and its prevalence in fin de siècle art and literature may be considered a sign of a certain cultural receptivity to the discoveries Freud was about to make, the “French” modality of a phenomenon to which Freud would give a “Viennese” formulation. [End Page 364]It is fashionable, especially in medieval studies, to focus on the disruptively counter-doctrinal potential of marginal elements such as gargoyles or textual illuminations. But Gordon generally argues another kind of case altogether, one that has, perhaps, even greater contemporary interest. Ornament, she claims, discloses the essential principles of aesthetic production. The expressive power of line, the “sense of order” to which it appeals, the subordination of literal depiction to design, the primacy of relationships over individual figures—all these reflect, as Wilhelm Worringer was explicitly to claim in 1908, energies deriving from the very beginnings of art itself.Thus, when principles and figures of ornament began to invade the “sense” or “business” of the text itself, as they did in nineteenth-century French literature, what is happening is not only a radical adjustment of a certain conception of ornament, but a large movement of return. Art becomes under these circumstances both decadent and primordial, devoting itself to both meaningless proliferation and to “pure art.” Gordon tracks this ambivalent movement with very considerable assurance and learning in an argument as sinuous as the ornamental line itself. The chapters on Nerval (“Lace as Textual Metaphor”) and Gautier (“Trills, Frills, and Decorative Frames for the Object of Desire”) are particularly illuminating, inspired by a kind of theoretical wit that does justice to their objects. Gordon is somewhat less successful in communicating the relevance to Mallarmé of Lacan, the exposition of whom—of which?—is laborious. But the responsibility probably lies more heavily with Lacan than with Gordon. Labored accounts of Lacan may even be considered as a species of ornament, a refinement and a new barbarism, peculiar to critical discourse in the fin of our own siècle.Geoffrey Galt HarphamTulane UniversityCopyright... (shrink)