Abstract
| Original language | English |
|---|---|
| Title of host publication | Internationalism and Cultural Exchange in the Arts at the Fin de Siecle |
| Editors | Grace Brockington |
| Place of Publication | Oxford, Vienna, Frankfurt am Main |
| Publisher | Peter Lang |
| ISBN (Print) | 978-3-03911-128-2 |
| Publication status | Published - 2016 |
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This chapter is currently in press. Full citation details will be uploaded when available.The full text is currently unavailable on the repository.
Scholarly article selected by peer review from AHRC-funded project, 'Internationalism and Cultural Exchange', 2012-2015
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Art as Cosmopoetics : Ferdinand Hodler, Mallarmé, and ‘La Revue de Gèneve’ – Cosmopolitanism, Nation and Creation. / Simpson, Juliet.
Internationalism and Cultural Exchange in the Arts at the Fin de Siecle. ed. / Grace Brockington. Oxford, Vienna, Frankfurt am Main : Peter Lang, 2016.Research output: Chapter in Book/Report/Conference proceeding › Chapter
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TY - CHAP
T1 - Art as Cosmopoetics : Ferdinand Hodler, Mallarmé, and ‘La Revue de Gèneve’ – Cosmopolitanism, Nation and Creation
AU - Simpson, Juliet
N1 - This chapter is currently in press. Full citation details will be uploaded when available. The full text is currently unavailable on the repository. Scholarly article selected by peer review from AHRC-funded project, 'Internationalism and Cultural Exchange', 2012-2015
PY - 2016
Y1 - 2016
N2 - In 1882, the French writer and cosmopolite, Paul Bourget, suggestively defined ‘cosmopolitanism’ as a new psychological mood, a state of multiple being, ‘flottante et composite’ [fluid and composite] as of travel, encounter or community. To experience the ‘cosmopolitan’ in art, literature and culture, is for Bourget, to adopt a ‘double’ view in which foreign-ness of country, culture and voice, becomes as much about enlarging boundaries of self and creation, as of communities and nations. This article takes Bourget’s cosmopolitan condition – as defined by its idea of psychological and cultural fluidity and indeterminacy – as a starting-point for exploring a neglected Franco-Swiss cosmopolitan set of connections and cultural projections. My focus is Ferdinand Hodler’s cosmopolitanism in art and as promoted in the avant-garde review as a site for extending interrelations of art, writing and new transcultural imaginaries. Two particular aspects are of especial interest here. First, is Hodler’s close, yet neglected involvement between 1886-7 with the poet Louis Duchosal and his Geneva-based, Revue de Gèneve as a vehicle for emerging transnational artistic exchanges. Such encounters were to communicate Stéphane Mallarmé’s aesthetics to new Swiss artistic contexts and stimulate their further transformations. Of second concern, is the pivotal importance of Duchosal’s group’s networks and cultural interconnections in shaping related transformations in Hodler’s artistic practices within a Swiss-inflected mystical naturalist aesthetics and politics, yet with resonances beyond its Genevois contexts. Built around a paradoxical fusion of ‘universalist’ and new nation-building mythologies, my purpose is to suggest this Franco-Swiss artistic traffic and Hodler’s place as pivotal. Itt offers a significant instance – a cas-limite that exposes both the possibilities and contradictions of a cosmopolitan vision at the European ‘tournant de siècle’ developed as a ‘cosmopoetics’ and as implicated in a broader dynamics of geo-cultural and political renewal and identity.
AB - In 1882, the French writer and cosmopolite, Paul Bourget, suggestively defined ‘cosmopolitanism’ as a new psychological mood, a state of multiple being, ‘flottante et composite’ [fluid and composite] as of travel, encounter or community. To experience the ‘cosmopolitan’ in art, literature and culture, is for Bourget, to adopt a ‘double’ view in which foreign-ness of country, culture and voice, becomes as much about enlarging boundaries of self and creation, as of communities and nations. This article takes Bourget’s cosmopolitan condition – as defined by its idea of psychological and cultural fluidity and indeterminacy – as a starting-point for exploring a neglected Franco-Swiss cosmopolitan set of connections and cultural projections. My focus is Ferdinand Hodler’s cosmopolitanism in art and as promoted in the avant-garde review as a site for extending interrelations of art, writing and new transcultural imaginaries. Two particular aspects are of especial interest here. First, is Hodler’s close, yet neglected involvement between 1886-7 with the poet Louis Duchosal and his Geneva-based, Revue de Gèneve as a vehicle for emerging transnational artistic exchanges. Such encounters were to communicate Stéphane Mallarmé’s aesthetics to new Swiss artistic contexts and stimulate their further transformations. Of second concern, is the pivotal importance of Duchosal’s group’s networks and cultural interconnections in shaping related transformations in Hodler’s artistic practices within a Swiss-inflected mystical naturalist aesthetics and politics, yet with resonances beyond its Genevois contexts. Built around a paradoxical fusion of ‘universalist’ and new nation-building mythologies, my purpose is to suggest this Franco-Swiss artistic traffic and Hodler’s place as pivotal. Itt offers a significant instance – a cas-limite that exposes both the possibilities and contradictions of a cosmopolitan vision at the European ‘tournant de siècle’ developed as a ‘cosmopoetics’ and as implicated in a broader dynamics of geo-cultural and political renewal and identity.
M3 - Chapter
SN - 978-3-03911-128-2
BT - Internationalism and Cultural Exchange in the Arts at the Fin de Siecle
A2 - Brockington, Grace
PB - Peter Lang
CY - Oxford, Vienna, Frankfurt am Main
ER -