L’Italie chez E.T.A. Hoffmann

At the turn of the Enlightenment, the Italian language represented one of the topoi of German musical literature. While most philosophers and men of letters of the Romantic era were reluctant to consider Italy as the promised land of art, E.T.A. Hoffmann obviously represents an exception. The ‘yearn...

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Main Author: Alberto Caprioli
Format: Article
Language:deu
Published: Presses universitaires de Strasbourg 2023-12-01
Series:Recherches Germaniques
Subjects:
Online Access:http://journals.openedition.org/rg/10066
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author Alberto Caprioli
author_facet Alberto Caprioli
author_sort Alberto Caprioli
collection DOAJ
description At the turn of the Enlightenment, the Italian language represented one of the topoi of German musical literature. While most philosophers and men of letters of the Romantic era were reluctant to consider Italy as the promised land of art, E.T.A. Hoffmann obviously represents an exception. The ‘yearning for the musical’ demonstrated in his literary language is the fruit of an incessant sound quest, a ‘search for a musical language’ with unexpected results. This study is largely centered on the Italian language, which represents for Hoffmann the language of music par excellence, and on the opposition between the delirium of the imagination and the reality of the Alltägliche. While using an intermedial comparative approach, which considers the texts in the Italian language used by Hoffmann as music-generating texts, we analyze here not only the relationship between music and language, but also the relationship between music and what one could define as the textus receptus of the Italian language in the Germanic context.
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spelling doaj.art-13be33b935e3425b8eb24c8d29d252642024-01-09T15:19:43ZdeuPresses universitaires de StrasbourgRecherches Germaniques0399-19892649-860X2023-12-015362210.4000/rg.10066L’Italie chez E.T.A. HoffmannAlberto CaprioliAt the turn of the Enlightenment, the Italian language represented one of the topoi of German musical literature. While most philosophers and men of letters of the Romantic era were reluctant to consider Italy as the promised land of art, E.T.A. Hoffmann obviously represents an exception. The ‘yearning for the musical’ demonstrated in his literary language is the fruit of an incessant sound quest, a ‘search for a musical language’ with unexpected results. This study is largely centered on the Italian language, which represents for Hoffmann the language of music par excellence, and on the opposition between the delirium of the imagination and the reality of the Alltägliche. While using an intermedial comparative approach, which considers the texts in the Italian language used by Hoffmann as music-generating texts, we analyze here not only the relationship between music and language, but also the relationship between music and what one could define as the textus receptus of the Italian language in the Germanic context.http://journals.openedition.org/rg/10066Hoffmann (E.T.A.)German romanticismmusical languagemusicmusical lexiconItalian language
spellingShingle Alberto Caprioli
L’Italie chez E.T.A. Hoffmann
Recherches Germaniques
Hoffmann (E.T.A.)
German romanticism
musical language
music
musical lexicon
Italian language
title L’Italie chez E.T.A. Hoffmann
title_full L’Italie chez E.T.A. Hoffmann
title_fullStr L’Italie chez E.T.A. Hoffmann
title_full_unstemmed L’Italie chez E.T.A. Hoffmann
title_short L’Italie chez E.T.A. Hoffmann
title_sort l italie chez e t a hoffmann
topic Hoffmann (E.T.A.)
German romanticism
musical language
music
musical lexicon
Italian language
url http://journals.openedition.org/rg/10066
work_keys_str_mv AT albertocaprioli litaliechezetahoffmann