Art as Cosmopoetics : Ferdinand Hodler, Mallarmé, and ‘La Revue de Gèneve’
- Submitting institution
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Coventry University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 11596221
- Type
- C - Chapter in book
- DOI
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10.3726/b13225
- Book title
- Imagined Cosmopolis : Internationalism and Cultural Exchange, 1870s-1920s
- Publisher
- Peter Lang
- ISBN
- 978-3-0343-1870-9
- Open access status
- -
- Month of publication
- -
- Year of publication
- 2019
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- Yes
- Number of additional authors
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0
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This 7,000-word article arose from Simpson’s engagement with the AHRC-funded network, Internationalism and Cultural Exchange (ICE), 2012-2014, and is part of the subsequent anthology (eds Ashby, Brockington, Laqua and Turner), distilling the ICE-AHRC project major research outcomes. The volume comprises articles by twenty leading international scholars of modern art, design, visual culture and art criticism. Commended as ‘ambitious’, and ‘charting new interdisciplinary territory’, the volume collectively interrogates and reconceptualizes constructs and identities of ‘international’ and ‘internationalisms’ in the creative arts during a critical period for nation-making between 1870-1920. Within this collection, Simpson’s article takes Paul Bourget’s under-explored cosmopolitan condition of psychological and cultural fluidity to examine a neglected Franco-Swiss cosmopolitan cultural exchange. Drawing on overlooked primary sources from avant-garde art and literary periodicals, Simpson focuses on Ferdinand Hodler’s cosmopolitanism, in art and via the ‘avant-garde’ review, to develop a nexus of artistic and cultural interrelations pivotal in shaping new transcultural imaginaries. First, probing Hodler’s close, yet overlooked involvement with the poet Louis Duchosal and La Revue de Gèneve, the article illuminates these neglected cosmopolitan literary and artistic encounters as significant routes for communicating Stéphane Mallarmé’s aesthetics to Swiss artistic contexts, and for stimulating their further transnational transformations. Second, it sheds light on the salience of this Revue group’s close networks of Mallarméan interconnections, inspiring Hodler’s development of a mystical naturalist aesthetics with resonances beyond its Genèvois contexts. Indeed, as demonstrable in Hodler’s work from Night (1889-90) onwards, the article shows Hodler’s cosmopolitanism as central to his art’s projection of a multiple practice and creation. Yet, while Hodler’s is an evolved vision of the transcultural, cosmopoetic community, the conclusions reveal its hidden contradictions in Hodler’s art’s negotiations of a ‘cosmopolitan’ identity and its ‘other’ constructions.
- Author contribution statement
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- Non-English
- No
- English abstract
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