The aesthetics of XVIII century: reasons, limits and breaches of the rule Lecture Series LITERARY CONFRONTATIONS

The aesthetics of XVIII century: reasons, limits and breaches of the rule

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Guillermo Carnero

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  1. Guillermo CarneroGuillermo Carnero

    Licenciado en Ciencias Económicas y doctor en Filología Hispánica, es catedrático de Literatura Española en la Universidad de Alicante desde 1986. Ha coordinado los volúmenes 6, 7 y 8 (1700-1868) de la Historia de la Literatura Española fundada por Ramón Menéndez Pidal y dirigida por Víctor García de la Concha. Ha publicado 11 libros de poesía desde 1967, y ediciones de su obra poética completa en 1979, 1983 y 1998. Fue uno de los incluidos en la antología Nueve novísimos poetas españoles (1970) de José María Castellet. Ha recibido el Premio de la Crítica (2000), el Premio Nacional de Literatura (2000), el Premio de la Crítica Valenciana (2000 y 2003), el Premio Fastenrath de la Real Academia Española (2002), el Premio Internacional de Poesía Loewe (2005) y el Premio de las Letras Valencianas (2006). Es especialista en Literatura Española y Comparada del siglo XVIII, del siglo XIX y de la época vanguardista.

This is a discussion of the topic that considers the 18th century as a time not favorable for the light of creativity, due to an excessive confidence in universality and the infallibility of normative reason, and the imposition of rules and precepts. The 18th century conception of the aesthetic preceptive in obligatory combination with inspiration and the natural born genius. The sensibility trained by the culture of the connoisseurs, raison d'être of the "taste" given by the cult sociability. The normative extreme of the Neoclassicism as a consequence of and educating or reforming itch that considered literature as a school of traditions, whose message could reach those lacking intellectual and moral receptivity to the doctrinal rigor, in agreement with a helpful delight formula. Theatre, the main object of the didactic normative; the concept of theatrical illusion as the key concept. The transgression of the dogmatic rigor in its subjection to the sensorial pleasure and the free flight of imagination in the opera: the case of Tomás Iriarte. The overcoming of the distinction between tragedy and comedy, and the birth of dramatic modernity: the example of Diderot. The conflict between normative ecumenism and trait of the national literature. The Neoclassic opposition to profane and religious theatre in the Golden Age. The controversy about Shakespeare  and Le Tourneur's translation. The controversy between the Ancient and the Moderns. Their precedents in Renaissance and its hatching in the times of Louis XIV. Veneration and imitation of classicality in confrontation with historical relativism, and spiritual and aesthetic perfection. The attitudes of Nicolás Boileau and Charles Perrault. Conclusion and recapitulation: diversity and hue of the aesthetic thought of the Century of Lights.