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O0000287992 IRECS.RIEDS.Vol.3.Pdf LUMIÈRES ET CLASSICISME ENLIGHTENMENT AND CLASSICISM AUFKLÄRUNG UND KLASSIZISMUS The International Review of Eighteenth-Century Studies (IRECS) is an electronic series published by the International Society for Eighteenth-Century Studies (ISECS) and its member societies. It contains papers presented at various ISECS colloquia, as well as thematic dossiers. The Executive Committee of the ISECS acts as the Editorial Board of the IRECS. * * * La Revue internationale d’étude du dix-huitième siècle (RIEDS) est une série électronique publiée par la Société internationale d’étude du dix-huitième siècle (SIEDS) et ses sociétés membres. Elle contient des communications présentées lors de divers colloques de la SIEDS et des dossiers thématiques. Le Comité Exécutif de la SIEDS forme le comité de rédaction de la RIEDS. Lumières et classicisme Enlightenment and classicism Aufklärung und Klassizismus edited by / sous la direction de Jean-Christophe Abramovici (Université Paris IV–Sorbonne) Daniel Fulda (Universität Halle–Wittenberg) International Review of Eighteenth-Century Studies (IRECS) Revue internationale d’étude du dix-huitième siècle (RIEDS) Vol. 3 International Society for Eighteenth Century Studies (ISECS) Société international d’étude du dix-huitième siècle (SIEDS) www.isecs.org 2017 © International Society for Eighteenth-Century Studies, and the authors. This work is protected by copyright. Readers are free to use the ideas expressed in it but may not copy, distribute or publish the work or part of it, in any form, printed, electronic or otherwise, except for brief quoting, clearly indicating the source. Readers are permitted to make copies, electronically or printed, for personal and classroom use. All rights to commercial reproduction of the volume as a whole are reserved. For separate articles only, these right are owned by the authors. Graphic design and cover by Francis Turgeon. Layout and electronic edition by Nelson Guilbert. All rights reserved. © Société internationale d’étude du dix-huitième siècle et les auteurs. Cette œuvre est protégée par le copyright. Les lecteurs sont libres de faire usage des idées qui y sont exprimées mais ne peuvent copier, distribuer ou publier l’œuvre en intégralité ou en partie sous aucune forme, ni imprimée, ni électronique ou autre, à l’exception de citations brèves indiquant clairement la source. Il est permis aux lecteurs de faire des copies électroniques ou imprimées pour un usage personnel et pédagogique. Tous les droits de reproduction commerciale du volume dans son intégralité sont réservés. Pour des articles isolés uniquement, ces droits sont la propriété des auteurs. Couverture par Francis Turgeon ; mise en page et édition électronique par Nelson Guilbert. Tous droits réservés. ISSN 1797-0091 Table des matières Table of contents Introduction : Lumières et classicisme Jean-Christophe Abramovici & Daniel Fulda 9 Introduction: Enlightenment and classicism Jean-Christophe Abramovici & Daniel Fulda 15 Einleitung: Aufklärung und Klassizismus Jean-Christophe Abramovici & Daniel Fulda 19 Portrait de l’auteur en classique indifférent : Marivaux au carrefour des âges Robert Fajen (Halle) 25 Classicism and Musical Theatre in Eighteenth-Century France: The tragédies lyriques of Jean-Philippe Rameau Filippo Annunziata (Milano) 43 Winckelmann and the Roman Art Market Suzanne Marchand (Baton Rouge) 55 Mémoires concurrentes autour du séjour de Bougainville à Tahiti Erik Stout (Montréal) 75 Vittorio Alfieri – A Self-Made Classic of the Enlightenment Konstanze Baron (Tübingen) 87 Sade et le fantasme du grand écrivain Jean-Christophe Abramovici (Paris IV-Sorbonne) 107 Le parcours littéraire de Charles de Villers : du libertinage français au classicime allemand Gilles Schebat (Paris IV-Sorbonne) 115 Tugend, Kraft und die Wonnen des Lebens. Semantischer Klassizismus und Visionen energischer Lebensführung in der Literatur der Spätaufklärung Guglielmo Gabbiadini (Bergamo) 127 Désir de classicisme. Comment les auteurs des Lumières allemandes ont, par anticipation, créé la Klassik allemande Daniel Fulda (Halle) 153 L’esprit de controverse : comment Goethe et Schiller ont inventé la « Weimarer Klassik » Rainer Godel (Halle) 169 Enlightenment and Classicism: Public Building Politics in Swedish Rural Areas Ella Viitaniemi (Tampere) 185 Existe-t-il une théorie « classique » de l’art ? Essai de réponse à partir de l’exemple des arts visuels Elisabeth Décultot (Halle) 201 La Mettrie vu d’Allemagne. La construction d’un classique paradoxal des Lumières Cécile Lambert (Paris IV-Sorbonne / Humboldt-Universität zu Berlin) 227 Esthétique, épistème et politique : le classicisme et les Lumières dans l’histoire littéraire Heinz Thoma (Halle) 245 Jean-Christophe Abramovici Daniel Fulda Introduction Lumières et classicisme Le XVIIIe siècle est sans doute le siècle néoclassique par excellence. Dans le domaine de l’architecture, de la littérature et des beaux-arts, l’Antiquité sert à la fois de modèle formel et de référence normative ; elle joue un rôle éminent dans les discours et dans l’iconographie politiques. Même la mode, en particulier à l’époque révolutionnaire, est profondément marquée par le clas- sicisme. S’ajoute à cela la volonté, constamment réaffirmée tout au long du siècle, de produire des œuvres « classiques » ou encore de découvrir, dans l’histoire de sa propre nation, des œuvres, des artistes, des auteurs « classiques », parfois même des périodes entières présentées comme autant de modèles normatifs. En France, ce rôle revint au « siècle de Louis XIV », célébré de façon rétrospective comme l’un des sommets de l’histoire culturelle européenne ; de l’autre côté du Rhin, l’évocation de l’âge clas- sique de la littérature allemande avait une orientation temporelle contraire : le classicisme allemand était encore en germe, pensait- on, et adviendrait dans un futur proche. Il s’agissait de préparer l’avènement d’un nouveau classicisme, résolument moderne – d’un classicisme qui se distinguerait de tous les classicismes pré- existants. Dans le présent volume, cette thématique se trouve au centre de la contribution de Daniel Fulda, consacrée à la volonté des auteurs allemands de se mesurer aux auteurs de l’Antiquité et aux Français, ou encore dans la contribution de Rainer Godel qui analyse la réception de la poétique d’Aristote chez Goethe et Schiller. L’article de Konstanze Baron consacré au célèbre drama- turge et mémorialiste Vittorio Alfieri montre à quel point la 10 JEAN-CHRISTOPHE ABRAMOVICI, DANIEL FULDA volonté de composer des œuvres classiques est l’une des ten- dances fondamentales de la littérature européenne du siècle des Lumières. La manière dont un auteur programme l’édition de ses « œuvres complètes » est toujours révélatrice d’un certain mode d’inscription dans une histoire littéraire présente ou à venir – cas de Sade étudié par Jean-Christophe Abramovici. À l’origine du présent numéro, une journée d’études avait réuni à la Sorbonne, en octobre 2014, des dix-huitièmistes fran- çais et allemands autour de la question « Comment devient-on classique ? » Il s’agissait alors de réfléchir au processus complexe par lequel un écrivain est « élu » comme « classique », le plus souvent après sa mort, même si Voltaire et Goethe connurent un tel honneur en partie de leur vivant.1 Dès cette première ren- contre, il était apparu que de telles interrogations débouchaient naturellement sur la question du rapport des écrivains à un « ca- non », une norme ou un idéal très souvent désigné du terme très polysémique de « classicisme ». On devient « classique » toujours en référence à ou contre des « modèles » reconnus tels, qu’ils se situent dans l’Antiquité, au XVIIe siècle français ou dans l’Allemagne contemporaine. Exemplaire est à ce titre le parcours de Charles de Villers, étudié par Gilles Schebat, trouvant dans le nouveau « classicisme » d’outre-Rhin un moyen de rompre avec le libertinage français qui l’avait modelé. Autre cas tout aussi surprenant étudié ici par Cécile Lambert : la « stylisation » du penseur matérialiste La Mettrie comme représentant « classique » (un « classicisme » qui n’est pas toujours positivement conno- té…) de la philosophie des Lumières, dans ses conséquences les plus radicales – une présentation du mouvement Lumières née non pas dans le pays de l’auteur même, mais dans les critiques des Lumières formulées en Allemagne au XIXe siècle. Si le « classicisme » des Lumières n’est pas un phénomène inconnu, il soulève cependant toute une série de questions essen- 1 Pierre Frantz s’était ainsi intéressé à « L’élection des classiques : la ré- férence aux tragédies de Voltaire dans l’esthétique théâtrale de Diderot et de Rousseau » (communication non reprise dans le présent volume), concernant la canonisation de Goethe comme auteur classique voir la contribution de Daniel Fulda. Michel Delon s’était ainsi penché sur l’entrée de Laclos dans le canon scolaire, Élisabeth Décultot sur l’élaboration éditoriale de l’œuvre de Winckelmann à Weimar. Ces communications ne sont pas reprises dans le présent volume. LUMIÈRES ET CLASSICISME 11 tielles qu’il convient d’élucider. Comment concilier par exemple le goût du classique (qu’il s’agisse de la prédilection pour les modèles anciens, de celle pour les prescriptions normatives ou encore de la conjonction de ces deux préférences) et le mouve- ment qui porte les auteurs des Lumières à se projeter vers un avenir meilleur et à critiquer toute autorité ? Ces deux orienta- tions sont-elles contradictoires, ou faut-il au contraire souligner la complémentarité
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