Wordsworth et Constable : la représentation du paysage
Institution:
Paris 3Disciplines:
Directors:
Abstract EN:
As opposed to the academic debate upon ut pictura poesis, wordsworth and constable's representation of landscape initiates an original approach to visible reality. This scientific process, combined with pure subjective aperception, goes beyond the limits of objectivity and subjectivity, and invalidates the question of the correspondence between arts. Both poet and painter had the same patron and were indebted to the picturesque tradition, which taught them how to look at humble objects. Their mode of perception, influenced by english empiricism, varied from the tyranny of the external eye to the submission to inner vision, and reached a kind of dualism in which the subject is saved, and monist immediate perception tentatively recaptured : in tintern abbey and similar poems and in the canal scenes, plastic elements, dynamic treatment of space, unifying light, stand against the principles of mimesis. As the subjectivity grows more and more isolated in their romantic landscapes, places of inclusion and exclusion become significant of how happy or unhappy the ego feels : it keeps trying to identify mystically with atmospheric elements. Human figures, mostly solitaries or wanderers, also tend to adjust the topos of their subjectivities to external space by gradually turning into natural elements. The castrating, schizomorphic structures of anxiety and death that stand out in a number of scenes are neutralized when the landscape becomes moralized
Abstract FR:
Face au debat esthetique academique du ut pictura poesis, la representation du paysage, chez wordsworth et constable, inaugure une apprehension originale du visible, demarche scientifique doublee d'une aperception entierement subjective de la realite, visant a depasser les limites de l'objectif et du subjectif vers une totale integration, et a abolir la question de la correspondance entre les arts. Peintre et poete partagent, avec le meme mecene, une dette envers le pittoresque, qui leur ouvrit les yeux sur les objets humbles. Leur mode de perception, herite de l'empirisme anglais, oscille dialectiquement entre tyrannie de l'oeil, externe et soumission a une vision interne ; il aboutit a un dualisme qui preserve le sujet en cherchant a ressaisir le monisme de la perception immediate, dans les poemes autour de tintern abbey et les scenes de canaux, ouplasticite des elements, dynamique vibratoire de l'espace, et jeu unifiant de la lumiere, battent en breche les principes de la mimesis. L'isolement de la subjectivite definit au sein du paysage romantique des lieux d'inclusion et d'exclusion symptomatiques du bonheur et du malheur de la conscience, qui tend a se fondre dans les elements aeriens. Cette attitude adaptatrice et mystique insere au paysage un humain solitaire ou errant voue a se naturaliser, faisant coincider espace exterieur et topos de la subjectivite. La presence des schemes castrateurs et schizomorphes de l'angoisse et de la mort se resoud par la moralisation du paysage ; sa spiritualite immanente traverse les etapes de la revelation cathartique jusqu'a la hierophanie apocalyptique des oeuvres fina