Relevant bibliographies by topics / Auguste de Villiers de l'Isle-Adam

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Academic literature on the topic 'Auguste de Villiers de l'Isle-Adam'

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Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Auguste de Villiers de l'Isle-Adam"

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Shim, Hyowon. "Film Media as the Future Automata: An Analysis of L'Ève future by Auguste Villiers de L'Isle-Adam." Comparative Literature 72, no. 1 (June 30, 2017): 157–88. http://dx.doi.org/10.21720/complit72.06.

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Savina, Anfisa D. "Cherubina de Gabriak: French Sources of the Mystification." Studia Litterarum 6, no. 2 (2021): 164–83. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-164-183.

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The article shows what role M. Voloshin’s interest in the work of Auguste Villiers de l’Isle-Adam played in the creation of Cherubina de Gabriak. This famous mystification was planned by M. Voloshin and E. Dmitrieva in the summer of 1909 when the poet was translating Villiers’ philosophical drama Axel and writing an essay about the play and its author. Shared motifs and images that were discovered in Cherubina’s poems, Villiers’ drama and Voloshin’s essays, allow to treat the heroine of Axel (Sara de Maupers) as a literary prototype of the fictional poetess and to assert that Cherubina- Dmitrieva’s poetry was influenced by Villiers’ works and Voloshin’s interpretation of the former’s life. Also, it is important that Voloshin’s attention on Villiers’ novel Future Eve could serve as an impulse to creation of the ideal illusory poetess: an article about this work figured in Voloshin’s first projects for Apollon magazine, S. Makovsky wrote about the heroine of this novel in his memoirs of Cherubina.
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Savina, Anfisa D. "Cherubina de Gabriak: French Sources of the Mystification." Studia Litterarum 6, no. 2 (2021): 164–83. http://dx.doi.org/10.22455/2500-4247-2021-6-2-164-183.

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The article shows what role M. Voloshin’s interest in the work of Auguste Villiers de l’Isle-Adam played in the creation of Cherubina de Gabriak. This famous mystification was planned by M. Voloshin and E. Dmitrieva in the summer of 1909 when the poet was translating Villiers’ philosophical drama Axel and writing an essay about the play and its author. Shared motifs and images that were discovered in Cherubina’s poems, Villiers’ drama and Voloshin’s essays, allow to treat the heroine of Axel (Sara de Maupers) as a literary prototype of the fictional poetess and to assert that Cherubina- Dmitrieva’s poetry was influenced by Villiers’ works and Voloshin’s interpretation of the former’s life. Also, it is important that Voloshin’s attention on Villiers’ novel Future Eve could serve as an impulse to creation of the ideal illusory poetess: an article about this work figured in Voloshin’s first projects for Apollon magazine, S. Makovsky wrote about the heroine of this novel in his memoirs of Cherubina.
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Drummond, Ana Luíza Duarte de Brito. "O fantástico linguístico de 'É de confundir!' e sua relação com Robbe-Grillet." Em Tese 20, no. 2 (August 31, 2014): 115. http://dx.doi.org/10.17851/1982-0739.20.2.115-127.

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<p>Este trabalho analisa aspectos do fantástico no conto “É de confundir!”, de Auguste Villiers de l’Isle-Adam, e sua relação com o escritor contemporâneo Alain Robbe-Grillet. Para isso, trabalhamos com a ideia de que em Villiers o modo fantástico é constituído principalmente por aspectos linguísticos, entre os quais se destacam o procedimento de repetição – que reaparecerá em Robbe-Grillet com características semelhantes – e o procedimento de singularização. Utilizamos como arcabouço teórico os estudos de Remo Ceserani, Viktor Chklovski, Sigmund Freud e Gérard Genette com o intuito de apresentar que tanto em Villiers quanto em Robbe-Grillet o efeito fantástico está diretamente relacionado ao procedimento de repetição, o que torna, em ambos os escritores, o elemento fantástico quase puramente linguístico.</p>
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Petrovsky, Helen V. "The photogeny of revolution." Philosophy Journal 14, no. 2 (2021): 111–22. http://dx.doi.org/10.21146/2072-0726-2021-14-2-111-122.

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Drawing on the works of three authors, namely, Jean Epstein, Auguste Villiers de l’Isle-Adam and P.A. Kropotkin, the article attempts to lay the grounds for what might be called a semiotics of forces. Jean Epstein, a filmmaker and theorist of the new art form, is the au­thor of an original concept of photogénie where cinema is presented as an instru­ment re­vealing the transformations of matter itself. Erupting Etna stands for the trans­formations in question. Villiers de l’Isle-Adam is a symbolist writer, who also mentions Etna, associat­ing its explosive power with the chemical formulas of explosives. These formulas, inte­grated into his “least literary” novella, become special signs of social transformation: The writer, challenging the entire class of bourgeoisie that he deeply detests, makes use of the fear incited by the anarchists amongst it. Finally, P.A. Kropotkin, one of the leading theo­rists of anarchism but also an outstanding scientist and geographer, insists on the priority of transformative action over theory and every other speculation. In fact, he proposes his own version of the performative – of words changing the existing state of things – already at the end of the 19th century. In one way or another, all these writers are united by their understanding of the inherent connection between natural and social disasters (Kropotkin’s position is explicit). Described by Epstein and only once mentioned by Villiers de l’Isle-Adam, Etna becomes an element of a correlation, i.e., of a connection that is unapparent and necessary at the same time. What is implied is the relation between volcano and cin­ema as well as that between volcano and explosives. In both cases this relation becomes the designation of matter itself or, to be more exact, of matter in a state of flux and trans­formation. But this is also true of transformative action in the proper sense of the word (re­sulting in revolution, according to Kropotkin), whose verbal expressions always carry within themselves the energy of multidirectional forces. Etna is not merely a volcano and not just an element of a correlation; from the perspective of physics, it is synonymous with heat (scorching lava), which stands for changes in the properties of a substance, i.e., its transformation in purely physical terms. It is clear that transformation in cinema, literature as well as in social life cannot be represented directly; it is revealed only through a set of relations, namely, a semiotics of forces.
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PAKENHAM, M. "VERLAINE QUOTING VILLIERS DE L'ISLE-ADAM." French Studies Bulletin 20, no. 70 (January 1, 1999): 12–13. http://dx.doi.org/10.1093/frebul/20.70.12.

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Savina, Anfisa D. "“The riddle that the critic must solve”: V. Bryusov about Villiers de l’Isle-Adam." Literary Fact, no. 19 (2021): 268–85. http://dx.doi.org/10.22455/2541-8297-2021-19-268-285.

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This publication concerned with the problems of Valeriy Bryusov’s critical works and his interest in French culture. The aim of the paper is to introduce into scientific circulation the Bryusov’s text relating to the late French Romanticist Au. Villiers de l'Isle- Adam. Our introductory article gives a brief description of the literary relations between the Russian poet and the French writer. It is noted that for a quarter of a century Brusov turned to the work of Villiers de l'Isle-Adam as an editor, as a translator and as a novelist, attentive to the creative search of his predecessors. The published materials are a draft of Bryusov's article, made after 1910. In this text Bryusov expresses his attitude towards the French writer in detail and turns to the analysis of his short stories. The critic sums up literary fate in Russia of Villiers de L'Isle-Adam and other poètes maudits. In addition, Bryusov gives his vision of the level of the Russian readership and determines the degree of familiarity of the “average reader” with the French literature.
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Sylvos, Françoise. "L'essence cruelle du rire : Villiers de l'Isle-Adam." Romantisme 21, no. 74 (1991): 73–82. http://dx.doi.org/10.3406/roman.1991.5818.

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Thomas, D. H. "A REDISCOVERED LETTER OF VILLIERS DE L'ISLE-ADAM." French Studies Bulletin 30, no. 110 (March 1, 2009): 8–9. http://dx.doi.org/10.1093/frebul/ktp004.

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Goujon, Jean-Paul. "Villiers de L'Isle-Adam, Lettre, Fragments et Documents inédits." Littératures 16, no. 1 (1987): 153–74. http://dx.doi.org/10.3406/litts.1987.1404.

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Dissertations / Theses on the topic "Auguste de Villiers de l'Isle-Adam"

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Jolly, Geneviève. "Dramaturgie de Villiers de L'Isle-Adam /." Paris ; Budapest ; Torino : l'Harmattan, 2002. http://catalogue.bnf.fr/ark:/12148/cb388905421.

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Klinkenberg, Michael F. "Das idealistische Theater Villiers de l'Isle-Adams /." Münster ; Hamburg ; London : Lit, 2002. http://catalogue.bnf.fr/ark:/12148/cb38996046n.

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Kimoto, Yuataka. "L'univers passionnel de Villiers de l'Isle-Adam." Paris 4, 2001. http://www.theses.fr/2000PA040286.

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Nous ne visons pas une étude psychologique des passions chez Villiers. Nous envisageons, en tant que problème fondamental de son écriture, les deux passions qui sont constamment mises en cause dans son œuvre : la passion de la puissance et la passion amoureuse. Noble de naissance, Villiers a cherché à prouver sa noblesse par son écriture. Celle-ci est donc fondamentalement déterminée par sa volonté de puissance. Or, chez lui, être puissant et noble, c'est, avant tout, pouvoir être soi-même. Mais, puisque l'usage du langage introduit inévitablement l'autre dans l'écriture de soi, celui qui écrit risque toujours d'être dépossédé. Pour devenir soi-même par l'écriture, il faut expulser l'autre du langage dont on use. Le problème est le même en amour, car la femme peut être à la fois l'être et l'autre de l'homme chez Villiers. De même que l'écriture poétique de soi, l'amour ne se réalise que par une lutte contre l'autre. Or, l'amour est une illusion chez Villiers. L'autre de l'homme en amour consiste donc dans la vérité. De même, l'autre qui s'exprime constamment dans la parole consiste dans sa vérité immuable, dans le sens qui se constitue par la répétition. L'amour ou la poésie dont rêve Villiers ne se réalise donc qu'en un instant illusoire, mais unique. Et pour ne pas tomber dans la répétition, il faut mourir à l'instant même où se manifeste l'idéal. L'éthique du poète chez Villiers est une éthique suicidaire. Mais l'écriture en tant que texte se donne irrémédiablement à la répétition. De là résulte l'ambiguïté fondamentale de l'écriture villierienne.
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Koutini, Sihem. "Texte et intertexte dans l'oeuvre de Villiers de L'Isle-Adam /." Villeneuve-d'Ascq : Presses universitaires du septentrion, 2001. http://catalogue.bnf.fr/ark:/12148/cb37224323j.

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Tian, Qingshen. "Rêverie et raillerie dans l'oeuvre de Villiers de L'Isle-Adam." Bordeaux 3, 1996. http://www.theses.fr/1996BOR30060.

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La rêverie et la raillerie, deux mouvements qui marquent constamment l'œuvre de Villiers de L’Isle-Adam, entretiennent deux types de rapports dynamiques. Le premier, d'ordre "diachronique", témoigne d'une évolution générale de l'une vers l'autre dans la création littéraire de l'écrivain. Le deuxième, d'ordre "synchronique", montre un champ de tensions, une ambiguïté qui existe entre les deux aspects chez Villiers. Notre travail a pour objectif de mettre en lumière ces deux types de relations a travers d'une part, l'ensemble des écrits de l'auteur, et une seule œuvre particulière -l'Eve future, d'autre part
Musing and mockering, two trends that stamp Villiers de l'Isle-Adam’s work constantly, keep up two kinds of dynamic links. The first one, of "diachronic" order, testifies to a general evolution from the one to the other in the author's literary creation. The second one, of "synchronic" oder, reveals a field of tensions, an ambiguity between the two aspects in Villiers’s work. Our study aims at highlighting these two kinds of links, on the one hand, through all of Villiers’s writings, and, on the other hand, through a single work - l'Eve future
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Joubert-Fouillade, Véronique. "L'insolite dans les Contes de Villiers de l'Isle-Adam." Paris 4, 1998. http://www.theses.fr/1998PA040017.

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Notre sujet, « l'insolite », est une notion malaisée à définir : l'insolite est un regard décalé sur la réalité, à la fois curieux de la modernité et la refusant, traquant le merveilleux du quotidien tout en dénonçant les abus d'une époque tout entière tournée vers le progrès et le profit. Villiers, le témoin : loin de se réfugier dans le rêve, le conteur est attentif à la modernité et joue le rôle d'un Daumier littéraire. Nombre de contes ont pour cadre la société contemporaine et mettent en scène deux de ses composantes : la bourgeoisie et le demi-monde. Villiers part d'une observation minutieuse de ses contemporains pour en brosser un tableau au vitriol. En donnant à voir un autre aspect de la réalité, les contes insolites créent, à partir de tableaux quotidiens, une nouvelle image des lieux de la modernité : les rues et les cafés. Villiers, le peintre : Villiers est avant tout un visuel. Il s'attache aux objets, leur donnant une signification particulière et les détournant de leur usage banal. L'utilisation des couleurs chez Villiers n'a pas, à notre connaissance, fait l'objet d'une étude approfondie. Or la présence de certaines couleurs, essentiellement le noir, le rouge et le blanc, contribue à la création d'un univers symbolique. Villiers bouscule certains codes traditionnels en inversant le sens attribué à chaque teinte. L'insolite fondateur ; la typographie particulière des contes. Il s'agit pour Villiers de produire par la typographie ou l'agencement du paragraphe un effet instantané dont la soudaineté même provoque un choc chez le lecteur. L'insolite est le trait d'union entre rêve, ironie et pensée. Le décalage insolite permet au rêveur la fantaisie de l'imagination, la liberté verbale et au railleur la satire, l'humour noir. L'humour insolite de Villiers dénonce les erreurs de son époque et sa décadence mais dépasse largement le cadre d'une satire datée, celle de la société du XIXe siècle. En contestant le règne de la masse par la pensée d'un seul individu créateur, il nous prouve la force des idées - et des mots dans un monde de plus en plus tourné vers la matière. Le regard insolite nous trace le chemin de la liberté de pensée : Auguste Villiers de L’Isle-Adam est un auteur étrangement moderne
We hold our interest for Villiers' tales from the genuine and personal sense of humor, made of scathing mockery and imaginativeness which confers to the short texts all their flavor and modem character. The “insolite” approach means looking at reality from aside, both by showing some interest for modernity and refusing it, on the look for the presence of the fabulous in our daily routine while, at the same time, denouncing the abuses of an era that is entirely turned towards progress and profit. Villiers is a close witness of modernity and plays the part of a literary Daumier. By presenting a different aspect of reality, the “insolite” tales built from daily scenes tend to present a new picture of such places of modernity as the streets and cafes. Villiers is a painter who grows fond of objects by giving them a singular meaning and by distracting them from their current one. To our knowledge, the in-depth study of Villiers' use of colors remains to be done; yet, the presence of such colors as black, red and white contribute to his creation of a symbolic universe. Thus Villiers shakes up certain traditional codes and plays on the blending of colors. The founding “insolite” the typography of the tales is peculiar : Villiers wants to create an instant impact on the reader who will thus be kept in a state of shock. We qualify Villiers' language as “insolite” because of its constant way of going a bit overboard when he imitates the style of a fossilized speech in order to denounce the excesses that can be found in advertising, journalism or scientific exposes. The insolite is at the junction of dream, irony and thought; it enables the dreamer to use imagination, to speak freely and the mocker to use satire and black humor. By challenging the reign of the masses with the thought of the single, creative individual, “insolite” humor shows the strength and importance of ideas and words in a world which is turning more and more towards matter. The insolite approach opens the way to the freedom of thought; indeed, Villiers is a surprisingly modem author
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Jolly, Geneviève. "Dramaturgie de Villiers de L'Isle-Adam ou la théâtralité paradoxale." Paris 3, 2000. http://www.theses.fr/2000PA030139.

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Une premiere coherence est envisagee entre le theatre de villiers et l'evolution du drame moderne. Cela concerne la remise en cause d'une theorie de la representation fondee sur le realisme et l'illusion. Le personnage n'est plus une entite psychologique coherente ; l'intrigue est in♭ vraisemblable et repetitive ; le dialogue peut refuser l'echange entre les personnages. Le refus de l'illusion tient au commentaire de l'action par les personnages, a la theatralisation des evenements, et a la reference subversive au melodrame et au theatre realiste. Le drame s'ouvre aux autres genres litteraires. La romanisation est liee aux recits ou aux songes contribuant a la subjectivite et au monologisme du dialogue, et aux didascalies descriptives ou narratives. La contamination avec le domaine poetique tient a l'ecriture et au lyrisme du drame et de la representation. Est encore installee au coeur du texte dramatique une figure centrale, multiforme et instable, situee dans le texte didascalique. La seconde partie presente la modernite d'une ecriture privilegiant le rythme de la parole. Ce theatre multiplie les formes de prises de parole. Le dialogue travaille dans le dit et le non-dit, les actes de langage (meme dans la ponctuation ou la typographie), et la polyphonie. Les didascalies injonctives, subjectives, et autant polyphoniques que les voix du dialogue, revelent un sujet de l'ecriture traversant tout le texte, envisage theoriquement puis pratiquement, dans ses manifestations semantiques et infrasemantiques. Le texte << respire >> et impose un rythme qui fait la theatralite du drame. Il s'agit d'un tempo induisant le mouvement de la fiction (temporalite et decoupage narratif), et la circulation de la parole, et comprenant des << pauses >> et des << silences >>. Il s'agit ensuite du rythme du langage, reperable dans la mise en pages du texte, ainsi que dans les phenomenes d'accentuation syntaxique ou prosodique du texte ecrit.
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Domingos, Norma [UNESP]. "A tradução poética: Contes cruels de Villiers de L'Isle-Adam." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/102381.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Esta pesquisa tem o objetivo de apresentar a tradução crítica de alguns contos da obra Contes cruels (1883) de Villiers de l’Isle-Adam (1838-1889). Os textos selecionados compreendem os contos “Véra”, “L’Intersigne” e “Souvenirs occultes” que estão traduzidos para o português em duas edições (VILLIERS DE L’ISLE_ADAM, 1971, 1987) e cujas análises foram desenvolvidas na dissertação de mestrado – “O universo simbólico em Contes cruels de Villiers de l’Isle-Adam” (DOMINGOS, 2004); e, visando um dos objetivos específicos da tese, ou seja, a tradução de alguns textos da coletânea, em sua maioria inéditos em língua portuguesa, os contos: “Vox Populi”, “Fleurs de ténèbres”, “La Machine à Gloire”, “Sentimentalisme”, “A s’y méprendre” e “L’Inconnue”. A definição dos contos está, ainda, fundamentada nos pilares mais significativos da obra villieriana, a saber: a prosa poética, a narrativa fantástica e o discurso irônico. As análises efetuadas no decorrer desta pesquisa indicaram caminhos para refletir, no processo tradutório, sobre as especificidades dos procedimentos narrativos, discursivos e poéticos empregados pelo autor. Foi possível destacar procedimentos estilísticos riquíssimos do discurso villieriano que concernem, sobretudo, à concentração característica do conto e da prosa poética e à ironia. Foi importante que tais procedimentos tenham sido bem caracterizados visto que este estudo, ao debruçar-se sobre a tradução de um texto literário poético, apóia-se em pressupostos da teoria e crítica da tradução, bem como da crítica literária, que entendem que existem diferenças entre traduzir e interpretar, que o tradutor deve encontrar maneiras adequadas de traduzir, de modo a satisfazer os critérios de manutenção do efeito produzido pelo texto de partida, na língua de chegada...
The objective of this study is to present a critical translation of some short histories from the book Contes cruels (1883) by Villiers de l’Isle-Adam (1838-1889). The texts chosen are divided into two groups: the first is composed by the short histories “Véra”, “L’Intersigne” and “Souvenirs occultes”, translated into Portuguese in two editions (VILLIERS DE L’ISLE_ADAM, 1971, 1987) and whose analyses were developed in the Master Dissertation – “O universo simbólico em Contes cruels de Villiers de l’Isle-Adam” (DOMINGOS, 2004); the second group was chosen considering one of the specific objectives in this thesis, that is, the translation of some short stories that had never been translated into Portuguese: “Vox Populi”, “Fleurs de ténèbres”, “La Machine à Gloire”, “Sentimentalisme”, “A s’y méprendre” and “L’Inconnue”. In this research, the analyses pointed to ways of reflecting about the translation process which involves specific, discursive, poetic narrative procedures used by the author. It was possible to highlight some stylistic procedures found in Villiers’ discourse, which are extremely productive and are especially concerned with the condensed characteristic of the short story, its poetic prose and irony. It was very important to characterize those procedures because this study, devoted to the translation of a poetic literary text, is based on the assumptions of the translation theory and criticism, as well as on the literary criticism. These studies show differences between the act of translating and that of interpreting, and the translator should find adequate forms of translation as a way to fulfill the criterion that involves the production of the same effect, found in the departure text, in the target text. In general, the proposed critical edition is intended to present illuminating notes about... (Complete abstract click electronic access below)
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Collion, Diérickx Chantal. "La femme, la parole et la mort dans Axël et l'Eve future de Villiers de L' Isle-Adam." Paris : H. Champion, 2001. http://catalogue.bnf.fr/ark:/12148/cb377073420.

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Anselmo, Beatriz Moreira [UNESP]. "L'Amour dácadent em dramas de Villiers de L'Isle-Adam e Maurice Maeterlinck." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/103489.

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Cette thèse vise à tracer les lignes principales d'une image représentative de la pertinence du thème de l'amour décadent dans les oeuvres dramatiques de la fin du XIX siècle et du début du XXe siècle, à partir de la localisation des éléments caractéristiques de l'expression de l'amour par les poète-dramaturges qui en quelque sorte ont été liés à la littérature symbolistedécadentiste. Pour cela, on prend comme point de départ l’analyse du drame lyrique Axël (1986), du poète et dramaturge français Comte de Villiers de L'Isle-Adam (1840-1889), qui a marqué la littérature moderne avec le personnage emblématique Axël d’Auërsperg, le prince des décadents, connu pour avoir rejeté non seulement la vie, mais aussi les plaisirs de l'amour en faveur de l’Absolu et de l’Amour Éternel. Villiers de l'Isle-Adam partage avec les poètes symbolistes-décadentistes le sentiment de mépris pour les valeurs bourgeoises de la société moderne. D’un regard critique et avec l'amertume du poète maudit, ce Français, contrairement à la tendance romanesque réaliste-naturaliste, a imprimé dans l'amour tragique de Sara et d’Axël l’expression du désir de l'Amour Idéal: un sentiment sublime, éloigné des intérêts socio-économiques de leur temps. Pas même la belle et séduisante Ève Sara a réussi à persuader le jeune prince de se réjouir des plaisirs de la vie réelle. La décision d’Axël de quitter la vie et ses plaisirs et de ne pas consommer l'amour charnel est consciente et prouve son incapacité d'adaptation à la réalité qui l'entoure. Une autre oeuvre littéraire, aussi importante par rapport à l'expression du sentiment amoureux dans la littérature symbolistedécadentiste, est la pièce Pelléas et Mélisande (1904) du poète dramatique belge Maurice Maeterlinck (1862-1949), un adepte de l’écriture de....(Résumé complet accès életronique ci-dessous)
Esta tese pretende traçar as linhas principais de um quadro representativo da relevância do tema do amour décadent em obras dramáticas do fin-de-siècle, a partir do rastreamento de elementos característicos da expressão do amor em poetas-dramaturgos que, de alguma forma, estiveram vinculados à literatura simbolista-decadentista. Para isso, toma-se como ponto de partida a análise do drama lírico Axël (1986), do poeta-dramaturgo francês Conde de Villiers de L’Isle- Adam (1840-1889), que marcou a literatura moderna com a emblemática personagem Axël de Auërsperg, o príncipe dos decadentes, conhecido por rejeitar não só a vida real, mas também os prazeres do amor em favor do Absoluto e do Amor Eterno. Villiers de L’Isle-Adam partilha com os poetas simbolistas-decadentistas o sentimento de desprezo dos valores burgueses da sociedade moderna. Foi com o olhar crítico e com a amargura do poeta maldito que esse francês, contrariando a tendência romanesca realista-naturalista de histórias de amor bem sucedidas, imprimiu ao amor trágico entre Sara e Axël a expressão do desejo do Amor Ideal: um sentimento sublime, distante da vulgarização dos interesses sócio-econômicos de sua época. Nem mesmo a bela e atraente Ève Sara foi capaz de persuadir o jovem príncipe a regozijar-se com os prazeres da vida real. A decisão de Axël de deixar a vida e seus prazeres e de não consumar o amor carnal é consciente e prova a sua impossibilidade de se adequar à vil realidade circundante. Outra obra, também importante no que concerne à expressão do sentimento amoroso na literatura simbolista-decadentista, é a peça Pélleas et Mélisande (1904) do poeta dramático belga, Maurice Maeterlinck (1862-1949), seguidor dos passos de Villiers de L’Isle- Adam. Essa obra, apesar de aparentar um certo apego à tradicional temática trágico-amorosa romântica,...
This thesis intends to sketch the outlines of a representative picture of the relevance of the theme amour décadente (decadent love) in plays of the fin-de-siécle and beginning of the 20th century. It starts by tracing the elements that are characteristic of the expression of love in poet-playwrights who were, somehow, tied to the decadent symbolist literature. In order to achieve its aim, this project departs from the analysis of the lyric drama Axël (1986), by the French poet-playwright Conde de Villiers de L’Isle-Adam (1840-1889), which marked modern literature with its emblematic character Axël de Auërsperg, the prince of the decadents, known for rejecting not only social life, but also the pleasures of love in favor of the Absolute and the Eternal Love. Villiers de L’Isle-Adam shares with the decadentsymbolist poets the feeling of contempt for all the bourgeois values of modern society. It was with his accursed poet’s bitterness and critical eye that, against the realist-naturalist Romanesque tendency of successful love stories, this Frenchman inscribed the tragic love between Sara and Axël with the expression of desire for the Ideal Love: a sublime feeling, away from the trivialization of social and economic interests of his time. Not even the beautiful and attractive young lady Ève Sara was able to persuade the young prince to derive pleasure from the joys of real life. Axël’s decision to give up social life and its pleasures and not to consummate carnal love is conscious and it proves that it’s impossible for him to fit the vile reality surrounding him. Another work which is important regarding the expression of love in the decadent-symbolist literature is the drama Pélleas et Mélisande (1904), by the Belgian dramatic poet Maurice Maeterlinck (1862-1949), who followed the steps of ...(Complete abstract electronic access below)
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Books on the topic "Auguste de Villiers de l'Isle-Adam"

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Mallarmé, Stéphane. Villiers de L'Isle-Adam. Paris: Editions Ivrea, 1995.

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W, Raitt A., ed. Villiers de L'Isle-Adam. Exeter, UK: University of Exeter, 1991.

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Jolly, Geneviève. Dramaturgie de Villiers de L'Isle-Adam. Paris, France: L'Harmattan, 2002.

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Raitt, A. W. Villiers de L'Isle-Adam: Exorciste du réel. [Paris]: Librairie J. Corti, 1986.

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Cipriani, Fernanda. Villiers de l'Isle-Adam: Tra simbolismo e decadentismo. Chieti: Metis, 1991.

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Bornecque, Jacques-Henry. Villiers de l'Isle-Adam & Le Theatre de l'ame. Paris: Association a Rebours, 1988.

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Grandmaster Philippe Villiers de L'Isle Adam, 1521-1534. SanĠwann, Malta: Publishers Enterprises Group, 1997.

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Raitt, A. W. Villiers de l'Isle-Adam et le mouvement symboliste. 2nd ed. Paris: J. Corti, 1986.

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Scanno, Teresa Di. Villiers de l'Isle-Adam e i limiti dell'umano. Fasano (Br-Italia): Schena, 1994.

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Villiers de l'Isle-Adam: L'amour, le temps, la mort. Paris: Harmattan, 2007.

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Book chapters on the topic "Auguste de Villiers de l'Isle-Adam"

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Wild, Gerhard. "Villiers de L'Isle-Adam, Auguste, Comte de." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18354-1.

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Prill, Ulrich. "Villiers de L'Isle-Adam, Auguste, Comte de: Axël." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18357-1.

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KLL. "Villiers de L'Isle-Adam, Auguste, Comte de: Contes cruels." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18355-1.

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Kemp, Friedhelm. "Villiers de L'Isle-Adam, Auguste, Comte de: L'Ève future." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18356-1.

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Kemp, Friedhelm, and KLL. "Auguste, Comte de Villiers de L’Isle-Adam." In Kindler Kompakt: Horrorliteratur, 121–24. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04502-7_22.

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O’Donnell, William H. "Preface (1924) to Jean Marie Matthias Philippe Auguste Count de Villiers de l’Isle-Adam, Axel, tr. H. P. R. Finberg (1925)." In Prefaces and Introductions, 156–58. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-06236-2_24.

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"52. Philippe-Auguste de Villiers de l’Isle Adam, L’Ève future, Paris, M. de Brunhoff, 1886." In Savants et écrivains, 303–5. Artois Presses Université, 2015. http://dx.doi.org/10.4000/books.apu.17638.

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"9. Philippe-Auguste de Villiers de l’Isle-Adam, « Le secret de l’échafaud », Le Figaro, 23 octobre 1883." In Savants et écrivains, 67–72. Artois Presses Université, 2015. http://dx.doi.org/10.4000/books.apu.17403.

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"30. Philippe-Auguste de Villiers de l’Isle-Adam, Claire Lenoir, dans Tribulat Bonhomet, Paris, Tresse et Stock, 1887." In Savants et écrivains, 185–88. Artois Presses Université, 2015. http://dx.doi.org/10.4000/books.apu.17518.

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Néry, Alain. "Profession nouvelles et métiers de toujours dans l'œuvre de Villiers de l'Isle-Adam." In Métiers et marginalité dans la littérature, 211–19. Presses universitaires de Rennes, 2004. http://dx.doi.org/10.4000/books.pur.28171.

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