A good understanding of the grotesque necessitates not only an account of the historical development of the word “grotesque” and its usage, but also the various concepts with which it has often been associated, and the different theories and opinions expressed about it. We begin, first of all, by giving a brief examination of the history of the term, its origin, derivation, and semantic evolution.
It is widely agreed that the word “grotesque originated to describe the murals which were discovered, in the course of excavation, beneath the baths of Titus in Rome at the end of the 15th century”. These paintings present a style of art which was completely unknown at the time. It is mainly characterized by its heterogeneous nature; it combines many different and ambivalent elements: human, animal, and vegetable.
In English the word “grotesque” was introduced around 1640 to replace other previous forms, which came either from the Italian, like grotesco or crotesco, or the French like, crotesque. In fact, according to the O.E.D. the French form was the first to be recorded in the language. In French, crotesque occurred in 1532 and continued to prevail until the end of the 17th century.
As early as the 16th century, the word “grotesque extended in French to non artistic things and literature. In his Essai, Montaigne wrote: “Que sont ce icy aussi (Les Essais) a la vérité que crotesques et corps monstrueux”. And Rabelais used it to refer to parts of the body in "Gargantua et Pantagruel" (1535), (“Couillon crotesque”). From the late 17th century, the word as an adjective knew a large usage. But in both England and Germany, it remained restricted to its early original usage until the 18th century when it got a wide application. It was associated with caricature which provoked too much emphasis on the ridiculous and a neglect of the terrible and terrifying side of the grotesque.
Inhaltsverzeichnis (Table of Contents)
- I- The term "grotesque":
- II- The concept "grotesque":
- 1- The grotesque from the Renaissance to the second half of the eighteenth century:
- a- Vasari:
- b- Justus Moser and Johann Christoph Flogel:
- 2- The Romantic grotesque:
- a- Friedrich Schlegel:
- b- Jean-Paul:
- c- Victor Hugo:
- 3- The grotesque in the nineteenth century:
- a- F. Th. Vischer:
- b- Heinrich Schneegans:
- c- Thomas Wright:
- d- John Addington Symonds:
- e- Walter Bagehot:
- f- John Ruskin:
- 4- The grotesque in the twentieth century:
- a- G. K. Chesterton:
- b- Wolfgang Kayser:
- c- Mikhail Bakhtin:
- d- Arthur Clayborough:
- III- Conclusion:
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This work aims to provide a historical and conceptual analysis of the term and artistic mode of the "grotesque." It traces the evolution of the word "grotesque" from its etymological origins to its diverse applications in art, literature, and critical discourse. * The historical evolution of the term "grotesque." * The diverse conceptualizations of the grotesque across different historical periods. * The application of the grotesque in various art forms and literary genres. * The relationship between the grotesque and caricature. * The changing critical interpretations and evaluations of the grotesque.Zusammenfassung der Kapitel (Chapter Summaries)
I- The term "grotesque": This chapter explores the etymology and semantic evolution of the word "grotesque," tracing its origins to the murals discovered beneath the Baths of Titus in Rome. It examines the word's adoption into Italian, French, and English, highlighting its initial association with these ancient paintings and its subsequent broadening of meaning to encompass various incongruous or bizarre elements in art and life. The chapter details how the term transitioned from a purely artistic descriptor to a more general adjective used to describe things as ridiculous or eerie. It emphasizes the changing connotations of the word, initially relating to a specific artistic style, later expanding to include moral judgments of incongruity with accepted norms. Key figures like Théophile Gautier and the Oxford English Dictionary are referenced to illuminate the linguistic evolution and changing perceptions of the grotesque. II- The concept "grotesque": This chapter delves into the broader artistic and conceptual history of the grotesque. It challenges the notion of the grotesque as solely a Renaissance or modern phenomenon, citing arguments from scholars like Leo Spitzer, Mikhail Bakhtin, and Thomas Wright who trace its presence across various cultures and historical periods, including antiquity and ancient Egypt. This chapter lays the groundwork for a deeper understanding of the grotesque's enduring presence and adaptability within different artistic and cultural contexts, before moving on to a detailed examination of specific periods and artists’ engagements with the concept. The significant point here is that the grotesque predates and transcends specific eras or movements within art.Frequently Asked Questions: A Comprehensive Language Preview
What is the overall topic of this text?
This text provides a historical and conceptual analysis of the term and artistic mode of the "grotesque." It traces the evolution of the word "grotesque" and its diverse applications in art, literature, and critical discourse across various historical periods and artistic movements.
What are the main sections covered in this text?
The text is structured into three main sections: I. The term "grotesque," which explores the etymology and semantic evolution of the word; II. The concept "grotesque," which delves into the broader artistic and conceptual history of the grotesque across different periods and cultures; and III. A Conclusion (content not detailed in the preview).
What historical periods are discussed in relation to the grotesque?
The text examines the concept of the grotesque from the Renaissance to the 20th century, covering periods such as the Renaissance, Romanticism, and the 19th and 20th centuries. It also suggests the grotesque's presence in even earlier periods, including antiquity and ancient Egypt.
Which key figures and scholars are mentioned in the text?
The text references numerous significant figures, including: Vasari, Justus Moser, Johann Christoph Flogel, Friedrich Schlegel, Jean-Paul, Victor Hugo, F. Th. Vischer, Heinrich Schneegans, Thomas Wright, John Addington Symonds, Walter Bagehot, John Ruskin, G. K. Chesterton, Wolfgang Kayser, Mikhail Bakhtin, Arthur Clayborough, Théophile Gautier, Leo Spitzer, and those contributing to the Oxford English Dictionary.
What are the key themes explored in the text?
Key themes include the historical evolution of the term "grotesque," diverse conceptualizations across historical periods, applications in various art forms and literary genres, the relationship between the grotesque and caricature, and the changing critical interpretations and evaluations of the grotesque.
What is the purpose of Chapter I ("The term 'grotesque'")?
Chapter I traces the etymology and semantic evolution of the word "grotesque," from its origins in the murals of the Baths of Titus to its adoption into various languages and its broadening meaning in art and life. It highlights the shift from a purely artistic descriptor to a more general adjective with changing connotations and moral judgments.
What is the purpose of Chapter II ("The concept 'grotesque'")?
Chapter II delves into the broader artistic and conceptual history of the grotesque, challenging the idea of it as solely a Renaissance or modern phenomenon. It explores the grotesque's presence across various cultures and historical periods, emphasizing its enduring presence and adaptability within different artistic and cultural contexts.
What type of analysis does this text offer?
This text offers a historical and conceptual analysis, examining both the linguistic evolution of the term "grotesque" and its diverse artistic and literary applications across different historical periods and cultural contexts.
- Quote paper
- Kébir Sandy (Author), 2015, The Concept of the Grotesque from the Reneissance to the Twentieth Century. A Critical Study, Munich, GRIN Verlag, https://www.grin.com/document/320257