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Boiardo innamorato. Passione e fantasia in versi

Source : Unimore

Modena e Scandiano ricordano il Boiardo venerdì 12 e sabato 13 ottobre

Il Dipartimento di Studi Linguistici e Culturali di Unimore, in collaborazione con il Centro Studi Matteo Maria Boiardo di Scandiano (RE), promuove due giornate di studio su Matteo Maria Boiardo, il famoso letterato italiano del Quattrocento, dal titolo “ Boiardo Innamorato. Passione e fantasia in versi ”. I lavori inizieranno venerdì 12 ottobre, alle ore 10.00, presso l’Aula Magna del Dipartimento di Studi Linguistici e Culturali (Largo Sant’Eufemia, 19) a Modena e proseguiranno sabato 13 ottobre, alle ore 11.00, presso la Rocca dei Boiardo (Viale della Rocca) a Scandiano (RE).

Il titolo del convegno “Boiardo innamorato” è un gioco di parole che ricorda non soltanto il poema più conosciuto del poeta nativo di Scandiano (Orlando innamorato), ma allude anche alla dimensione fantastica e meravigliosa delle passioni amorose.  L’iniziativa si inserisce nel progetto di ricerca “Narrare le passioni in Europa”, coordinato dalla dott.ssa Elisabetta Menetti, ricercatrice di Unimore, e vuole essere un’occasione per riflettere sulla funzione sociale della lettura dei classici italiani nella nostra contemporaneità.

Il programma dei lavori prevede il saluto di apertura del prof. Lorenzo Bertucelli, prossimo Direttore del Dipartimento di Studi Linguistici e Culturali di Unimore, cui seguirà la prima sessione di attività introdotta e presieduta dalla dott.ssa Elisabetta Menetti, che spiegherà le ragioni del convegno. Interverrà il libraio antiquario Fabrizio Govi, che presenterà per la prima volta al pubblico la pregiatissima edizione a stampa di Nicolò Zoppino del 1521 (Libri tre de Orlando inamorato del Conte de Scandiano Mattheo Maria Boiardo) con la prosecuzione di Nicolò Degli Agostini ( Incomincia il quarto libro de lo innamoramento de Orlando). Seguiranno gli interventi di Maria Cristina Cabani (Università di Pisa) su Scene d’amore nell’ Inamoramento; Alessio Decaria (Università di Siena) su «Non è nel mondo magior passïone». Appunti sulla gelosia nell’ Inamoramento de Orlando; Tiziano Zanato (Università di Venezia) su Antonia, o del pensier fole; Sara Belotti (Università di Modena e Reggio Emilia) su Raccontare il territorio attraverso le mappe. La cartografia ai tempi del Boiardo. La seconda sessione, che avrà inizio alle ore 14.00, sarà presieduta dalla prof.ssa Cristina Montagnani dell’Università di Ferrara. Seguiranno le comunicazioni di Elisa Curti (Università di Venezia) su Boiardo furioso: rabbia e ira nell’ Inamoramento de Orlando; Giuseppe Ledda (Università di Bologna) su Boiardo e il bestiario delle passioni; Tina Matarrese (Università di Ferrara) su «Non è in somma amor, se non insania»: dall’ira furiosa alla pazzia; Andrea Severi (Università di Bologna) su «Deliberarno la lor passïone / cantando l’uno a l’altro far palese»: la bucolica “fervida e passionata” di Matteo Maria Boiardo.

Chiuderà i lavori di questa prima giornata il concerto del Collegium “In Armonia Salus”: danze e musiche amorose tra il XV e il XVI (Clara Fanticini, violino; Michele Gaddi, clavicembalo; Francesco Gibellini, cornetto; Flavio Spotti, percussioni).

La seconda giornata di studi si terrà sabato 13 ottobre a Scandiano (RE), presso la Rocca dei Boiardo, avrà inizio alle ore 11.00, con i saluti del Sindaco di Scandiano, Alessio Mammi, e dell’Assessore ai Saperi, Alberto Pighini. In questa sessione conclusiva, presieduta dalla professoressa Tina Matarrese dell’Università di Ferrara, si inseriscono gli interventi di Davide Dalmas (Università di Torino) su Le passioni raccontate; Cristina Montagnani (Università di Ferrara) su La magia del potere: Boiardo e le politiche estensi.

Le due giornate di Modena e di Scandiano, rivolte a studiosi e appassionati del Boiardo, agli studenti universitari e delle scuole superiori, sono riconosciute come aggiornamento scientifico degli insegnanti di letteratura italiana.

Call for papers: Atmospheres of Shared Emotion

Social Ontology and Philosophy of Social Sciences

Research Group at the Department of Philosophy – University of Wien

Call for papers: Atmospheres of Shared Emotion

Workshop 25 – 26 April 2019

Over the last twenty years or so, the concept of atmosphere has flourished within phenomenological research. Inspired by the works of Hermann Schmitz, Gernot Böhme, and Tonino Griffero, the concept of atmosphere has played an influential role in contributing to debates in phenomenological psychopathology, philosophy of mind, and aesthetics. Despite this surge of interest, the role that atmospheres play in contributing to cases of shared emotions remains neglected. This oversight is all the more surprising given the potentially powerful explanatory role atmosphere can play in helping clarify the complex structure of shared emotion. The aim of this workshop is to explore the intersection between shared emotion and atmospheres by bringing together leading and emerging scholars in the field. Possible topics include:

  • Defining and conceptualizing atmospheres.
  • The methodology of studying atmospheres.
  • The relation between atmosphere, mood, and aura.
  • The role atmospheres play in the politics of emotion.
  • The spatial and embodied aspects of atmospheres.
  • The function of contagious emotions in atmospheres.
  • The relation between atmospheres and the “staging” of shared emotions.


Confirmed invited speakers:

  • Tonino Griffero (University of Rome)
  • Gernot Böhme (Technical University of Darmstadt)
  • Andreas Philippopoulos-Mihalopoulos (University of Westminster)
  • Joel Kruger (University of Exeter)
  • Thomas Szanto ( University of Jyväskylä)
  • Jan Slaby (Freie Universität Berlin)
  • Ingrid Vendrell Ferran (Friedrich-Schiller-University Jena)

Abstracts of 300 words should be sent by November 1st, 2018 to dylan.trigg@univie.ac.at. Notification of acceptance will be given by December 1st, 2018.

Organised by Dylan Trigg and Hans Bernhard Schmid as part of the FWF project “A Phenomenological Investigation Into Shared Anxiety” (M2300). Department of Philosophy, University of Vienna.

Contact: dylan.trigg@univie.ac.at

Le genre des émotions

Séminaire de présentation du dernier numéro de la revue Clio. Femmes, Genre, Histoire (47, 2018) consacré au Genre des émotions, le mercredi 10 octobre à la MMSH d’Aix-en-Provence, 10h-12h, salle Paul-Albert Février. Cette présentation sera suivie d’une communication d’Emmanuel Bain (AMU, CNRS TELEMMe) : “Le féminin, le voile et la honte dans le discours ecclésiastique (XIIe-XIIIe siècle)”.

Affection in ancient Greece and Rome

Source : IEA Paris

Table ronde autour de l’ouvrage de David Konstan (résident 2016-2017 de l’IEA de Paris), In the Orbit of Love. Affection in Ancient Greece and Rome (Oxford University Press, 2018), en présence de l’auteur et avec la participation de Pia Campeggiani (résidente 2018-2019 de l’IEA de Paris)  et Olivier Renaut (Université Paris Nanterre).

Présentation de l’ouvrage

This book is about love in the classical world – not erotic passion but the kind of love that binds together intimate members of a family and very close friends, but which may also be extended to include a wider range of individuals for whom we care deeply. The book begins with a discussion of friendship, focusing particularly on the Greek notion that in friendship the identities of two friends all but merge into one. The book then turns to the question of loyalty, and why loyalty seems not to have achieved the status of a virtue in classical thought. The next chapter considers love in relation to generosity, favors, and gratitude. There follows a discussion of grief, which is a symptom of the loss of a loved one. The final chapter treats love as the basis of civic solidarity. In each case, love is at the basis of the relations under examination. In this, the book departs from the more usual analysis of these affective ties in terms of reciprocity, which in one way or another involves an expectation of return. Seen this way, such relationships seem to have a selfish or at least self-centered dimension, as distinct from truly other-regarding attitudes. While it is true that the ancient sources sometimes describe these relations, including friendship, as forms of mutual obligation, there is also a counter strand that emphasizes genuine altruism, and it is this aspect that the book seeks to bring out. A close look at how love drew into its orbit the various relations examined in this book may shed light on some central features not only of ancient habits of thought but also, it is to be hoped, our own.

LA STRATÉGIE DE L’ÉMOTION

Anne-Cécile Robert

La stratégie de l’émotion

 

Collection : Lettres libres

176 pages

Parution en Amérique du Nord : 24 septembre 2018

Parution en Europe : 20 septembre 2018

Les émotions dévorent l’espace social et politique au détriment des autres modes de connaissance du monde, notamment la raison. Certes, comme le disait Hegel, «rien de grand ne se fait sans passion», mais l’empire des affects met la démocratie en péril. Il fait régresser la société sous nos yeux en transformant des humains broyés par les inégalités en bourreaux d’eux-mêmes, les incitant à pleurer plutôt qu’à agir.

À la «stratégie du choc» qui, comme l’a montré Naomi Klein, permet au capitalisme d’utiliser les catastrophes pour croître, Anne-Cécile Robert ajoute le contrôle social par l’émotion, dont elle analyse les manifestations les plus délétères : narcissisme compassionnel des réseaux sociaux, discours politiques réduits à des prêches, omniprésence médiatique des faits divers, mise en scène des marches blanches, etc. Une réflexion salutaire sur l’abrutissante extension du domaine de la larme et un plaidoyer civique pour un retour à la raison.

Table des matières

  1. Avant-propos9
  2. Introduction11
  3. 1. EXTENSION DU DOMAINE DE LA LARME23
  4. Marches blanches26
  5. Psychologie de secours32
  6. Sensitivity readers36
  7. Devoir de mémoire40
  8. 2. DES MÉDIAS ULTRA-SENSIBLES47
  9. Invasion des faits divers50
  10. Contrôle social54
  11. Mécanique de l’empathie64
  12. 3. QUAND LA VICTIME SUPPLANTE LE HÉROS69
  13. Le Panthéon revisité71
  14. La justice déboussolée79
  15. Surenchère victimaire88
  16. 4. LES RESPONSABLES POLITIQUES ET LA MISE EN SCÈNE DE L’IMPUISSANCE93
  17. Des discours conçus comme des prêches97
  18. Fatalisme105
  19. Lutte des classes ou défense des minorités109
  20. Communication narrative115
  21. 5. CHIMÈRE DE L’AUTHENTICITÉ121
  22. «Il est authentique»123
  23. Engouement pour l’humanitaire127
  24. Philanthrocapitalisme134
  25. Figure de l’opprimé137
  26. 6. ÉMOTION CONTRE RAISON141
  27. Déclassement de la raison144
  28. Impossible dialogue civique153
  29. Un défi politique158
  30. Conclusion161

Vient de paraître : Christine Orobitg, Le Sang en Espagne

Source : PUP

Christine Orobitg, Le sang en Espagne. Trésor de vie, vecteur de l’être Ve-XVIIIe siècles, Aix-en-Provence, PUP, 2018.

Le sang fascine. Encore aujourd’hui, il renferme une charge d’émotion et de mystère, qui trouve ses racines dans les anciens systèmes de représentation, de la fin du Moyen Age au XVIIIe siècle. L’ancienne médecine inscrit le sang dans le système des quatre humeurs et en fait un véritable «trésor de vie». Elle l’associe aux «esprits» -qui constituent l’interface entre l’âme et le corps-, au cœur, aux émotions. Le sang est également relié aux questions de genre et d’identité sexuelle. Le sang féminin ne vaut pas le sang masculin. Le sang menstruel, objet d’une véritable mythologie, est associé la souillure, au déchet et au poison. Mais le sang est aussi à la base d’un aliment aussi essentiel que symbolique, le lait, évoqué dans les discours dédiés à l’allaitement et au choix des nourrices. Le sang ne relève pas uniquement du domaine sanitaire : sa représentation convoque des notions-clés comme l’articulation entre le corps et l’âme, la définition et la transmission de l’identité. Il intervient dans la construction d’un véritable « déterminisme hématologique » -dans lequel les caractéristiques physiques et morales se transmettent par le sang-, dans des pratiques d’exclusion, mais aussi dans des discours de tolérance et de la solidarité. Cette rapide évocation des perceptions et des enjeux du sang révèle la densité et la complexité des représentations qui y sont associées. C’est cet héritage ancien, mais jamais oublié, que cet ouvrage se propose d’explorer.

P. Maddern, J. McEwan, A. M. Scott (eds.), Performing Emotions in Early Europe

Source : Brepols

P. Maddern, J. McEwan, A. M. Scott (eds.), Performing Emotions in Early Europe, Brepols, 2018.

Drawing on a range of interdisciplinary approaches and innovative methodologies, this collection contributes ground-breaking new scholarship in the burgeoning field of emotions studies by examining how medieval and early modern Europeans communicated and ‘performed’ their emotions. Rejecting the notion that emotions are ‘essential’ or ‘natural’, this volume seeks to pay particular attention to cultural understandings of emotion by examining how they were expressed and conveyed in a wide range of historical situations. The contributors investigate the performance and reception of pre-modern emotions in a variety of contexts — in literature, art, and music, as well as through various social and religious performances — and in a variety of time periods ranging from the twelfth to the eighteenth centuries. These studies provide both case-studies of particular emotions and emotional negotiations, and examinations of how their categorisation, interpretation, and meaning has changed over time.

The contributors provide new insights into the expression and performance of pre-modern emotions from a wide range of disciplinary fields, including historical studies, literature, art history, musicology, gender studies, religious studies, and philosophy. Collectively, they theorise the performativity of medieval and early modern emotions and outline a new approach that takes fuller account of the historical specificity and cultural meanings of emotions at particular points in time.

This volume forms a companion to Understanding Emotions in Early Europe, edited by Michael Champion and Andrew Lynch (2015); http://www.brepols.net/Pages/ShowProduct.aspx?prod_id=IS-9782503552644-1

Table of Contents

Introduction: Performing Emotions in Medieval and Early Modern Worlds — PHILIPPA MADDERN, JOANNE MCEWAN and ANNE M. SCOTT

Part I: Emotional Performativity in Music, Literature and the Visual Arts

Emotion, Time and Music at Cambrai Cathedral — MATTHEW CHAMPION

‘Affecting glory from vices’: Negotiating Shame in Prostitution Texts, 1660–1750 — EMILY COCK

Pageant, Spectacle, Dread and Love in Piers Plowman, Brueghel’s Triumph of Death and the Good Samaritan Window of Bourges Cathedral — ANNE M. SCOTT

Affected Bodies and Bodily Affect: Visualizing Emotion in Renaissance Plague Images — LOUISE MARSHALL

Part II: Social Performance

The ‘Slime of Vice’ and the ‘Passions of the Mind’: Emotional Histories in the Anglo-Norman World — LINDSAY DIGGELMANN

Courting Nassau Affections: Performing Love in Orange-Nassau Marriage Negotiations — SUSAN BROOMHALL and JACQUELINE VAN GENT

‘[D]id ringe at oure parish churche… for joye that the Queene of Skotts … was beheaded’: Public Performances of Early Modern English Emotions — DOLLY MACKINNON

Part III: Religious Performance

Emotion, Place and Memory at the Royal Abbey of St Denis — MEGAN CASSIDY-WELCH

Boosting the Emotional Power of New Liturgy: The Hidden Sides of Things in Giotto’s Crib at Greccio — RICHARD READ

Discursive Affect and Emotional Prescriptiveness: On the ‘Man of Sorrows’ in Fourteenth-Century Italian Painting — LACHLAN TURNBULL

Martin Luther’s Heart — SUSAN C. KARANT-NUNN

Part IV: Recreating Emotional Performance

‘Laughing at Death’: Emotional Excess in The Duchess of Malfi in Performance — STEVE CHINNA

Index

Colloque – « De bone amour vient science et bonté »

Source :

Colloque – « De bone amour vient science et bonté ». Le contact liminaire entre savoirs éthico-scientifiques et doctrine amoureuse au Moyen Âge

L’organisation interne des manuscrits-recueils suscite des nombreuses questions ainsi qu’un intérêt constant auprès de la critique. Le critère de composition de ces supports échappe cependant très souvent à la logique du lecteur contemporain, qui ne trouve pas davantage d’explications dans les éditions critiques. Visant le texte dans son unité, le risque encouru de l’extraire du contexte de sa transmission est inévitable.

Cette Journée d’études s’interroge sur les liens entre la doctrine amoureuse et la matière scientifique dans les recueils médiévaux, cherchant à saisir le rôle liminaire de certains textes à la nature floue et proposant une approche d’enquête du texte dans son contexte.

Programme :

10:00 Anna Maria Babbi, Università degli Studi di Verona – Ouverture

10:30 Christopher Lucken, Université Paris VIII – Université de Genève – Entre amour et savoir: le Bestiaire d’amour à la croisée des discours d’après la tradition manuscrite
11:00 Nicolò Premi, Università degli Studi di Verona / EPHE – Médecine, dévotion et morale: le Régime du corps et ses transformations dans la tradition
manuscrite
11:30 Valeria Russo, Università degli Studi di Padova / Université Paris-Sorbonne – Un amour idéal et une science sentimentale: Dou vrai chiment d’amours
12:00 Discussion
12:30 Pause déjeuner

14:30 Marco Maulu, Università degli Studi di Sassari – Les Sept sages de Rome:
histoire d’une oeuvre et de sa réception en Occident à travers sa tradition manuscrite
15:00 Nicole Bergk Pinto, Université Libre de Bruxelles / École Nationale des Chartes – Le Tournoiement Antecrist dans ses contextes manuscrits. Organisation
et dialogues des œuvres au sein des recueils
15:30 Discussion

16:00 Sylvie Lefèvre, Université Paris-Sorbonne – Conclusions

Informations pratiques :

Venerdì 11 maggio 2018

Aula Seminari, terzo piano • Palazzo di Lettere
via San Francesco, 22 – Verona

Emotion in Action: Thucydides and the Tragic Chorus

Source : Bryn Mawr Classical Review 2018.04.32

Compte rendu de lecture


Eirene Visvardi, Emotion in Action: Thucydides and the Tragic Chorus. Mnemosyne supplements. Monographs on Greek and Roman language and literature, 377.   Leiden; Boston:  Brill, 2015.  Pp. x, 287.  ISBN 9789004269293.  $149.00.

Reviewed by J. L. Rosenberg, Academy of Art University (jrosenbe4@i.art.edu)

 

Visvardi has developed her 2007 Stanford doctoral dissertation into an analysis of collective emotion as conveyed by Thucydides and by the surviving fifth-century tragedians. The former is confined to chapter 2, the latter to chapters 3 and 4; chapter 1 is the theoretical frame for the book. There is a brief coda at the end. Despite the subtitle, Thucydides is second in Visvardi’s mind; indeed, he is a lens on the tragic chorus rather than a focus in his own right (35). Ultimately, this disparity leaves the most robust questions—inter alia, how did Thucydides’ description and characterization of collective civic emotion interact with tragic instances of “choral emotion”?—unanswered.

The first chapter begins by acknowledging the groundswell of publications on emotion in the ancient world.1 Visvardi characterizes fifth-century Athens as “a culture of emotions” (2) or “a culture of passions…Athenians explicitly give emotion a prominent place in their public discourses and decisions” (3). Aristotle is adduced as a heuristic, despite, as Visvardi acknowledges (17), largely bypassing the chorus’ role in his Poetics.2 A special focus is placed on “choral otherness” (22 and n. 58)—building on the work of Helene Foley—as in the chorus of the Hippolytus (and later in the monograph, on the Supplices and on the Bacchae). The crux of the work and the justification for the title is the claim that “tragedy has the power to move the audience not as ‘rationalistic spectators’ who individually pick apart ambiguities in the plays’ civic discourse but as a body that responds emotionally en masse” (30).3 This is the explicit form of link between tragedy and our understanding of the Athenian δῆμος acting formally qua civic institution and informally as a crowd of voices or, in Thucydides’ sharper moods, an ὄχλος. The chorus is both exemplar and preceptor of collective behavior—an extension of the role of μίμησις in the Poetics (1448b passim).

This framework is flawed, and so tarnishes many of Visvardi’s sensitive readings of the plays, notably an excellent sustained analysis of δείνον in the Bacchae (213–38). The concept of “choral otherness” assumes a homogenous audience, and really one composed of citizen men only, but this is a fantasy long abandoned.4 It is difficult to construe otherness in a play such as Persians, in which Other and Self commingle. It is difficult to accept that “a lot of Athenian citizens in the audience were experienced in choral dancing” (29). Were that true, how should that affect our understanding of choral otherness? This is not explored. Visvardi further claims (ibid.) that, regarding the chorus, “otherness does not forestall empathy”, though this seems a near-perfect oxymoron. Visvardi splits tragic choruses into “active” and “passive”—this is indeed the means of dividing chapters 3 and 4—though this seems less to be an operative variation within the genre than a chronological development of it.5 In short, these contradictions compromise the very premise of the study.

Chapter 2 addresses some of the rich dramatic subtext in Thucydides: demos-as-chorus, Pericles-as-choregos, the treatments of the Plague and of the debates over Mytilene and Sicily as essentially tragic, and so on. This is the strongest chapter in the book, as it gathers together several strands of Thucydidean scholarship from the past twenty years or so. The most characteristic section is perhaps the treatment of the Mytilenean debate (73–83). Thucydides takes us swiftly from the hasty decision of the Athenians (καὶ ὑπὸ ὀργῆς ἔδοξεν αὐτοῖς, and in anger they decided III.36.2) to kill or to enslave the Mytilineans, to their regret (καὶ τῇ ὑστεραίᾳ μετάνοιά τις εὐθὺς ἦν αὐτοῖς, and straightaway the next day there was a change of their mind III.36.4), through the speeches of Diodotus and Cleon (III.38.4) and finally to the Athenians’ final decision, following Diodotus, to reverse their initial death-sentence (III.49.1). The second trireme, goaded by the cakes and prayers of the Mytilinean ambassadors, overtakes the first just barely and happily ever after. This is nothing if not staged.

Visvardi focuses on the rhetoric of the two orators (here the work of Ed Sanders would have been particularly illuminating), rightly summarizing that Cleon advocates the virtue of the gut reaction (ὀργή in its broader sense), Diodotus the virtue of deliberation (γνώμη). Consider, however, the dramatic rhetoric of the author. Thucydides skips the debate and speeches in the first instance (at III.36.2), which we might assume to have taken place, in order to characterize the initial decision as spontaneous and emotional (ὑπὸ ὀργῆς). He isolates the speeches of Diodotus and Cleon, being unusually transparent in his characterization of them—ῥηθεισῶν δὲ τῶν γνωμῶν τούτων μάλιστα ἀντιπάλων πρὸς ἀλλήλας, since these were the opinions spoken that were most opposed to one another (III.49.1)—as merely those best suited to pit heart against head, as it were, and caps the whole thing with a fairytale ending. In all, Thucydides acts as the chorus: warning, moralistic, seemingly-omniscient and yet constrained by the deeds of the actors. This is not to dismiss the content of the orators’ speeches, but only to propose that higher-level analysis might have yielded more powerful and intriguing conclusions. Indeed, there is little in the way of acknowledgement of the efflorescence of scholarship on Thucydides’ dramaturgy.

By Chapter 3 (“Emotion in Aeschylus’ Active Choruses”) Thucydides has been largely left aside. What follows is an ‘emotional reading’ of the choruses of the Eumenides, Supplices and Septem. Visvardi summarizes her reading of the Eumenidesthus: “the transition to a still passionate but authoritative judicial system also overlaps with a transition to a new type of fear” (99). This type is characterized as “more rational” and qualified as “an ideal emotional disposition”. This is an intriguing means of exploring the origins of the Areopagus, although it is the very opposite of the choral argument. Thucydides is brought in for a brief comparison some fifty pages into the chapter (153), and only for his presentation of Pericles as an adept gardener of fear (II.65.9).6 Reading Pericles’ skillful playing of his audience through the rhetorical lens of the Eumenides, for example, would have been illuminating.

Thucydides hardly appears in Chapter 4, which takes as its material the Philoctetes and the Bacchae, and so the reader is left with a fairly straightforward and often excellent close reading of parts of these plays. A fascinating discussion of the role of maenadism in the framework of polis cult (via Seaford, 230f.) could fruitfully link back to Thucydides. How, moreover, does this relate to the Eumenidean “transition to a new type of fear” for which Visvardi argues above? The chorus of bacchantes exemplifies both the wisdom of Pericles’ fear-gardening and the broader rhetorical acknowledgement that appeals to γνώμη must be matched with appeals to ὀργή—but this is not a novel conclusion. Why should the chorus be the chosen body for conveying such wisdom? In the coda, Visvardi proposes “one aspect of choral expression that is unvarying and points to the performative power of the chorus within the plays: it is a collectivity that remains cohesive” (242). The obvious counter-argument—division into semi-choruses—is acknowledged in a note (242 n. 2), but this is dismissed without explanation: it does “not seem to undermine the characteristics of collectivity and cohesiveness”. Surely the case of the split vote of the chorus of the Eumenides begs the question of further examples.

In sum, the promise and premise of the book—to take two principal Athenian fifth-century sources of different genres and to see how they relate vis à vis collective emotion—are unfulfilled. In looking at only five tragedies in any detail, the rich array of choral emotion in the other twenty-odd that survive complete is collapsed. Reducing Thucydides to a lever is a pity both because the History is much more a beneficiary of the tragic art (published as it was toward the close of the era of surviving Attic tragedy) than vice-versa, and because Thucydides is far too rich a source to be a tool. Yet even as conceived the study disappoints. Vast and unsupportable assertions—to name but one: “strong and especially disruptive emotion tends to be associated with femininity and barbarism” (23)—consistently undermine the argument as constructed. The book is well produced, though not without a few errors.7

Bibliography

Aristotle, ed. Leonardo Tarán and Raphael Gutas. Aristotle Poetics. Leiden: Brill, 2012.
Athanassaki, Lucia. Ἀείδετο πὰν τέμενος: οι χορικές παραστάσεις και το κοινό τους στην αρχαική και πρώιμη κλασική περίοδο. (Choral Performances and Their Audience in the Archaic and Early Classical Periods). (reviewed BMCR 2010.09.21) Herakleio:  Panepistemiakes Ekdoseis Kretes, 2009.
Chaniotis, Angelos (ed.). Unveiling emotions : sources and methods for the study of emotions in the Greek world. Stuttgart: Franz Steiner Verlag, 2012.
Csapo, Eric and William J. Slater. The Context of Ancient Drama. Ann Arbor: University of Michigan Press, 1995.
Sanders, Ed and Matthew Johncock (edd.). Emotion and Persuasion in Classical Antiquity. Stuttgart: Franz Steiner, 2016.


Notes:
1.   Visvardi does not cite the work of the 2009-2013 project “The Social and Cultural Construction of Emotions: The Greek Paradigm”, whose principal investigator, Angelos Chaniotis, sits on the editorial board of the series in which this monograph appears (I was a research assistant on the project). Chaniotis, who from 2006 has published extensively on collective emotion in the civic and theatrical spaces, is not cited at all. Indeed, the bibliography has notable omissions, from Lucia Athanassaki’s 2009 monograph (cited above) to Peter Meineck’s body of work on emotion in Greek theatrical performance.
2.   The longest continuous discussion of the chorus in the Poetics (1452b14-27) is excised by some editors, though Tarán ultimately accepts it in his 2012 editio maior. That said, nothing in the description of the functioning and function of κάθαρσις (49b26-8) excludes the chorus.
3.   This is a central precept of ancient (and modern) rhetoric; here the study might benefit from engagement with ancient rhetoricians and scholarship on forensic oratory. See now Sanders and Johncock 2016 (cited above).
4.   Csapo and Slater (cited above), 286ff. dispel Pickard-Cambridge’s old assertion that there were no foreigners at some dramatic festivals. Csapo and Slater also include women, children, metics and slaves in the audience.
5.   One Aristotle may well acknowledge in his proviso to the definition of tragedy, δρώντων καὶ οὐ δι᾽ ἀπαγγελίας (“with people doing things and not by means of narrative”, 49b26–7).
6.   ὁπότε γοῦν αἴσθοιτό τι αὐτοὺς παρὰ καιρὸν ὕβρει θαρσοῦντας, λέγων κατέπλησσεν ἐπὶ τὸ φοβεῖσθαι, καὶ δεδιότας αὖ ἀλόγως ἀντικαθίσθη πάλιν ἐπὶ τὸ θαρσεῖν, “whenever he sensed they [the demos] were disproportionately emboldened to arrogance, by speaking he bullied them into fear; and when on the other hand he saw that they were senselessly fearful he set them back to being bold.”
7.  

18 n. 43: for “Aristotle, is not” read “Aristotle is not”.
23 n. 61: for “vary between different audience members” read “vary among…”.
30: in “the set of choruses that I focus on take on…” read “takes on…”.
35: in “the relationship between reason and emotion…posit questions” read “posits questions”.
73: for “Megarian degree” read “Megarian decree”.
117 n. 59: for “the citizens fear” read “the citizens’ fear”.
132: for “better than say” read “better than to say”.
183: for “lies that result to safety” read “lies that result in safety”.
189: close quote after “ ‘…got you as a friend (671).”
193: for “not only…isolation entails. They also…” read “not only…isolation entails, they also”.
240: for “such culture of trust” read “such a culture of trust”.
247: for “common in both genres” read “common to both genres”.
264: for “Shorey (1993)” read “Shorey (1893)”.

Rire et sourire dans la littérature latine au Moyen Age et à la Renaissance

Source : Centre Michel de Boüard – CRAHAM

Ve Congrès SEMEN-L 2018

Rire et sourire dans la littérature latine au Moyen Age et à la Renaissance

Université de Caen Normandie, 30 mai-1er juin 2018,
MRSH (Campus 1), Salle des Actes (SH027)

La littérature latine du Moyen Âge et de la Renaissance, dans sa richesse et sa variété, a souvent fait la part belle au divertissement, qu’il s’agisse d’amuser purement et simplement le lecteur ou de lui transmettre un enseignement sérieux par le biais d’une œuvre plaisante. Des Facéties du Pogge aux dialogues satiriques de l’époque de la Réforme en passant par les ysopets et les éloges paradoxaux, nombre d’œuvres médiévales et renaissantes fournissent l’occasion de se divertir en langue latine. Autour de ce motif, nos réflexions pourront prendre bien des chemins au cœur desquels le thème de la transmission jouera inévitablement un rôle central. On sera ainsi amené à s’intéresser à l’influence qu’ont eue certains auteurs antiques sur la littérature médiévale et renaissante ainsi qu’à leur réception. Plus largement, le congrès sera aussi l’occasion d’aborder le sujet du rire par le biais des genres littéraires ou les auteurs qui se sont intéressés au rire sous un angle théorique. On pourra enfin s’interroger sur les modalités, les fonctions et les sens du rire dans les œuvres du Moyen Âge et de la Renaissance : qui rit ? De quoi ou de qui rit-on ? Et comment ?

Renseignements : Brigitte Gauvin et Catherine Jacquemard

Programme

Mercredi 30 mai

13h30 Accueil des participants (hall MRSH)
14h début du congrès

Mot de bienvenue de C. Delaplace, directrice du CRAHAM.
Mot de bienvenue de P. Buléon, Directeur de la MRSH.
Mot de L. Boulègue (UPJV, EA 4284 TrAme), Présidente de la Semen-L.

Rire et polémique

14h15 Aline Smeesters (Université Catholique de Louvain)
La scolastique comme objet de moquerie de la Renaissance aux Lumières
14h45 Nicolas Casellato (Sorbonne Université Lettres)
O qualis facies, quae mutatio Romae : quelques aspects de la satire anticléricale dans les Amores de Conrad Celtis (1502)

Discussion
Pause
15h45 Sylvie Laigneau-Fontaine (Université de Bourgogne)
Le rire du sodalitium : entre grossièreté et culture littéraire
Discussion
Pause
16h15 M-G Grossel (Université de Valenciennes)
Nugae curialium, humour et dérision dans l’œuvre de Gautier Map
16h45 P. Bourgain (Ecole Nationale des Chartes)
Rire d’inversion, rire de subversion dans la poésie lyrique médiévale
Discussion

Jeudi 31 mai
Rire et éduquer

9h15 Luca Core (Université de Padoue)
Les ambitions du rire de l’âne Brunellus
9h45 Julien Maudoux (Université Bordeaux Montaigne, EA 4593 CLARE)
Le rire dans la veine satirique animalière latine du XIIe siècle
Discussion
Pause
10h45 Samuel Molin (Université Bordeaux Montaigne, EA 4593 CLARE)
Ovide travesti. Stylistique de la materia iocosa dans la branche de l’Ysengrimus : lecture des comparaisons et des métaphores
11h15 Lucilla Spetia (Université dell’Aquila (Italie))
La pastourelle médiolatine : parodie ou ironie ?
Discussion
Déjeuner
14h15 Alice Lamy (EA 4081 Rome et ses renaissances)
Homo risibilis, Les affres du rire dans le Roman de la Rose, de la joie au désespoir amoureux

Rire au théâtre

14h45 Mathieu Ferrand (Université Grenoble Alpes, UMR 5316 Litt&Arts)
La comédie néo-latine à Paris : un comique de la connivence
Discussion
Pause
15h45 Christiane Louette (Université de Grenoble-Alpes, UMR 5316 Litt&Arts)
Térence fait-il rire Mélanchton ? Faceta et ridicula dans les commentaires aux comédies de Térence
16h15 Thomas Penguilly (EA 7289 CECJI)
Huiusmodi, hercle, Aristophanes si cerneret… : La première traduction latine des Nuées d’Aristophane par André Alciat
Discussion

1er juin (matin) : Rire et poésie

9h00 Deborah Boijoux (Université de Nantes, EA 4276 L’AMo)
« Ahahe ! »1 ou l’éclat de rire miroitant et diffracté d’Antonio Urceo Codro, poète philologue à la cour des Bentivoglio (Bologne, fin du XVe siècle)
9h 30 Emilie Séris (Sorbonne Université Lettres)
Mi ioca, mi risus, placuit mihi uterque Cupido : les épigrammes latines d’Ange Politien, entre rire et sourire
Discussion et pause

Théoriser le rire

10h30 Lucie Claire (UPJV, EA 4284 TrAme)
« À propos de quelques commentaires humanistes au chapitre De risu de Quintilien : de Lorenzo Valla à Adrien Turnèbe ».
11h00 Virginie Leroux (EPHE)
Poétiques du rire et du sourire dans les traités néo-latins de la Renaissance
Conclusion du colloque
Déjeuner

La Démocratie des émotions

Source : Presses  de Sciences Po

La Démocratie des émotions

Loïc Blondiaux, Christophe Traïni, Presses de Sciences Po, 2018

Introduction – Les émotions, angle mort et dimension essentielle de la participation politique 
Loïc Blondiaux et Christophe Traïni
L’étude de la démocratie participative et la mise à distance des émotions

Première partie – DÉMOCRATIE ÉMOTIVE, DÉMOCRATIE INCLUSIVE ?

Chapitre 1 – Modulation des émotions et médiation en faveur des exclus : une audience publique à Delhi
Stéphanie Tawa Lama-Rewal
Le jan sunwai : contexte, enjeux, déroulement
Pratique chorale et coordination affective
Témoignage des victimes et contention des émotions
Moduler plutôt que modérer : le travail émotionnel du jury
Bibliographie

Chapitre 2 – Le Parlons-en comme espace de circulation
Laure Brayer et Anthony Pecqueux
Le Parlons-en, un espace de parole au style expressiviste
Exprimer des émotions et faire surgir des solutions collectives
L’épaisseur sensible et temporelle de la participation
Présence débordante et réactions
Bibliographie

Chapitre 3 – Émotions, délibération et pouvoir d’agir
Les assemblées des Indignés à Madrid
Héloïse Nez
Une mobilisation traversée par les émotions
Les émotions dans les assemblées
Un processus de montée en singularité
Un pouvoir d’agir par la délibération et l’action collective
Bibliographie

Deuxième partie – LE FAÇONNAGE INSTITUTIONNEL DES SENSIBILITÉS CITOYENNES

Chapitre 4 – L’instruction des émotions
Le jury populaire dans l’institution judiciaire
Célia Gissinger-Bosse
Des émotions prescrites et circonscrites
Des émotions proscrites pour bien maîtriser les corps
Les émotions dans la balance de la Justice
Bibliographie

Chapitre 5 – L’institutionnalisation de la sensibilité indigène
La participation des autochtones au Chili
Matilde Spoerer
Une Table de consensus visant à défaire les ressentiments du passé
Des représentants indigènes professionnels et compétents
Judiciarisation des débats et mise à distance des passions
Une indignation immémoriale comme outil tactique
Bibliographie

Troisième partie – INGÉNIERIE PARTICIPATIVE ET MAÎTRISE DES ÉMOTIONS

Chapitre 6 – Composer avec les affects en enquête publique
Le travail émotionnel dans les conflits autour de projets éoliens terrestres en France
Stéphanie Dechézelles
Le travail émotionnel des commissaires-enquêteurs : une injonction institutionnelle floue
Observer in situ l’application des règles de sentiments en vigueur
La colère des opposants à l’épreuve du formalisme de l’enquête publique
La rédaction à distance des avis et la retranscription sélective des états affectifs
Bibliographie

Chapitre 7 – Gérer les émotions en amont des dispositifs participatifs
Surfrider Foundation Europe et ses Gardiens de la côte
Julien Weisbein
Les élans contestataires des Gardiens de la côte
Tempérer les émotions, s’apprêter à la concertation
Un travail de sélection et de contrôle à distance
Des experts du surf prêts à surmonter les vagues du débat public
Bibliographie

Chapitre 8 – L’expression et la gestion des émotions dans les projets urbains
Les dispositifs participatifs à l’épreuve des affects
Benoît Feildel et Jérôme Le Jeloux
Projet d’urbanisme, dispositions affectives et participation des habitants
Un projet d’aménagement confronté aux émotions des riverains
Des dispositifs visant à mobiliser les sensibilités spatiales des citoyens
Bibliographie