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

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Creasy, Matthew. "Villiers de l'Isle-Adam: le théâtre et ses imaginaires." French Studies 70, no. 2 (February 18, 2016): 272–73. http://dx.doi.org/10.1093/fs/knw061.

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12

Watthee-Delmotte, Myriam. "Nomination et projet sacré chez Villiers de l'Isle-Adam." Les Lettres Romanes 41, no. 4 (November 1987): 319–27. http://dx.doi.org/10.1484/j.llr.5.111660.

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13

Abbott, H. "Villiers de l'Isle-Adam: L'Amour, le temps, la mort." French Studies 63, no. 1 (January 1, 2009): 98–99. http://dx.doi.org/10.1093/fs/knn163.

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14

Vibert, Bertrand. "Villiers de l'Isle-Adam et « l'impossible théâtre » du XIXe siècle." Romantisme 28, no. 99 (1998): 71–87. http://dx.doi.org/10.3406/roman.1998.3374.

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15

RAITT, A. "AN EMENDATION TO A POEM BY VILLIERS DE L'ISLE-ADAM." French Studies Bulletin 19, no. 68 (January 1, 1998): 10–13. http://dx.doi.org/10.1093/frebul/19.68.10.

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16

Cogman, P. W. M., and Renzo Scarcella. "Surfaces et profondeurs dans l'univers imaginaire de Villiers de l'Isle-Adam." Modern Language Review 90, no. 1 (January 1995): 203. http://dx.doi.org/10.2307/3733328.

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17

Schuerewegen, Franc. "« Télétechnè» fin de siècle : Villiers de l'Isle-Adam et Jules Verne." Romantisme 20, no. 69 (1990): 79–88. http://dx.doi.org/10.3406/roman.1990.5670.

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18

Murphy, Kieran M. "Electromagnetic Thought in Balzac, Villiers de l'Isle-Adam and Joseph Breuer." SubStance 40, no. 2 (2011): 127–47. http://dx.doi.org/10.1353/sub.2011.0016.

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19

Watthee-Delmotte, Myriam. "La voix, clef du projet symboliste chez Villiers de l'Isle-Adam." Les Lettres Romanes 50, no. 3-4 (August 1996): 257–69. http://dx.doi.org/10.1484/j.llr.5.111647.

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20

Schnerb, Bertrand. "Jean de Villiers, seigneur de L'Isle-Adam, vu par les chroniqueurs bourguignons." Publications du Centre Européen d'Etudes Bourguignonnes 41 (January 2001): 105–21. http://dx.doi.org/10.1484/j.pceeb.2.302196.

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21

NOIRAY, J. "Review. Villiers de l'Isle-Adam. Edition critique par Alan Raitt. Mallarme, Stephane." French Studies 46, no. 3 (July 1, 1992): 345. http://dx.doi.org/10.1093/fs/46.3.345.

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22

Calvin, Ritch. "The French Dick: Villiers de l'Isle-Adam, Philip K. Dick, and the Android." Extrapolation 48, no. 2 (January 2007): 340–63. http://dx.doi.org/10.3828/extr.2007.48.2.9.

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23

De Wulf, Gauthier. "Le Poète aboli. Verbe et Contingence dans L'Annonciateur de Villiers de l'Isle-Adam." Les Lettres Romanes 48, no. 1-2 (February 1994): 59–63. http://dx.doi.org/10.1484/j.llr.4.00881.

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24

VINALL, S. "Review. Nuovi conti crudeli. A cura di Ivanna Rosi. Villiers de l'Isle Adam." French Studies 52, no. 4 (October 1, 1998): 479. http://dx.doi.org/10.1093/fs/52.4.479.

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25

MATSUSHIMA, Kozo. "A note on miss Hadaly's mechanism in "L'eve future" by Villiers de l'Isle-Adam." Journal of the Robotics Society of Japan 4, no. 3 (1986): 290–94. http://dx.doi.org/10.7210/jrsj.4.290.

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26

RAITT, A. W. "Review. Villiers de l'Isle-Adam et l'hegelianisme. Etude textuelle de 'Vera'. Watthee-Delmotte, Myriam." French Studies 41, no. 2 (April 1, 1987): 222. http://dx.doi.org/10.1093/fs/41.2.222.

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27

GOUJON, J. P. "Review. Villiers de l'Isle-Adam: L'home, la realitat, la ficcio. Gine Janer, Marta (ed.)." French Studies 45, no. 3 (July 1, 1991): 340. http://dx.doi.org/10.1093/fs/45.3.340.

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28

Grauby, Françoise. "De l'antithèse à la métaphore : les femmes de L'Ève Future de Villiers de L'Isle-Adam." Littératures 38, no. 1 (1998): 57–74. http://dx.doi.org/10.3406/litts.1998.1764.

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29

Kason, N. "Société et mécanisation : L'Eve future de Villiers de l'Isle Adam et XYZ de Clemente Palma." Bulletin Hispanique 89, no. 1 (1987): 359–65. http://dx.doi.org/10.3406/hispa.1987.4627.

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30

NOIRAY, J. "Review. L'Eve future. Edition presentee, etablie et annotee par Alan Raitt. Villiers de l'Isle-Adam." French Studies 49, no. 3 (July 1, 1995): 346. http://dx.doi.org/10.1093/fs/49.3.346.

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31

ANZALONE, J. "Review. Le Chretien malgre lui ou la religion de Villiers de L'Isle-Adam. Simon, Sylvain." French Studies 51, no. 2 (April 1, 1997): 219. http://dx.doi.org/10.1093/fs/51.2.219.

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32

PAKENHAM, M. C. "Review. OEuvres completes. Edition etablie par Alan Raitt et Pierre-Georges Castex. Villiers de l'Isle-Adam." French Studies 44, no. 2 (April 1, 1990): 232. http://dx.doi.org/10.1093/fs/44.2.232.

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33

Howat, Roy, and Emily Kilpatrick. "Gabriel Fauré's Middle-Period Songs, Editorial Quandaries and the Chimera of the ‘Original Key’." Journal of the Royal Musical Association 139, no. 2 (2014): 303–37. http://dx.doi.org/10.1080/02690403.2014.944822.

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ABSTRACTThe years 1886–91 saw Gabriel Fauré developing a new boldness and intensity in his composition of mélodies, prompted in part by the discovery of new poets (notably including Villiers de l'Isle Adam and Verlaine), and arguably also by his acquaintance with the excellent tenor Maurice Bagès. In particular, the songs of this period (spanning the opus groups 43–58) reveal an intriguingly exploratory approach to transposition, tessitura, timbre and texture. These songs are also remarkable for the seriousness and complexity of their pre- and post-publication revisions. The present study considers these revisions in relation to what is known of Fauré's habits and performing preferences, and in the light of his relationship with Bagès. It explores the practical and conceptual challenges the songs pose for the critical editor: how do we balance the logical principle of Fassung letzter Hand against the occasional musical compromise that appears to have ensued?

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34

Stepaništševa, Tatjana. "Johannes Aavik ja vene kirjandus: biograafiline ja kultuurilis-ideoloogiline kontekst / Johannes Aavik and Russian Literature: Biographical, Cultural and Ideological Contexts." Methis. Studia humaniora Estonica 20, no. 25 (June 15, 2020). http://dx.doi.org/10.7592/methis.v20i25.16566.

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Johannes Aaviku ilukirjanduslikud tõlked täitsid tema jaoks eelkõige rahvuskeele uuendamise rolli, seetõttu jäid originaali stiil ning autori väljendusvahendid tema enda keeleuuenduste taustal tagaplaanile. Ent tõlgitavate teoste valik oli tingitud eluloolistest ning kultuurilis-ideelistest teguritest, mille rekonstrueerimine ongi siinse artikli uurimisobjektiks. Eesti ja vene kultuuri vahekorra spetsiifika 20. sajandi esimesel veerandil tingis Aaviku pöördumise nimelt vene kirjanduse retseptsiooni poole. Nagu artiklis näidatud, oli see komplitseeritud seostes tolleaegse kultuuri ja poliitilise olukorraga Eestis. This article examines Johannes Aavik’s relationship with Russian literature as a translator and as a reader. It provides a description of the general traits of Aavik’s literary translations: for Aavik, they served primarily as a tool for the renewal of his first language – Estonian, so he was less concerned with the style and poetics of the originals than with his own linguistic innovations. However, his selection of texts for translation was conditioned by biographical, cultural and ideological factors, which this article attempts to reconstruct. The specific relevance of the relationship of the Estonian and Russian cultures in the first quarter of the 20th century prompted Aavik to choose Russian literature. As the article demonstrates, this had complex ties with the cultural and political situation in Estonia at the time. Aavik was highly critical of Estonian literature’s contemporary status and considered renewal of the literature to be one of the tasks of linguistic renewal. He was certain that his linguistic work and translations would set Estonian literature on the right path and contribute to the development of national self-consciousness. As part of Aavik’s linguistic utopia, he published the book series “Hirmu ja õuduse jutud” (Tales of Fear and Terror, 1914–1928) which included translations from various literatures, including Russian. Aavik became familiar with Russian culture at the time of Estonia’s forced Russification when all schools had to adopt Russian as the language of instruction. After a short period of studying ancient languages at the University of Tartu, Aavik was obliged to continue his education at the Nizhyn Pedagogical Institute (Ukraine), which did not contribute to the development of his interest in Russian culture. To the contrary: in those years and in those following, he was most interested in French and Finnish culture, although he was also familiar with both classic and contemporary (modernist) Russian literature. After Estonia gained independence in 1920, the time arrived for a re-assessment of the national intelligentsia’s relationship with Russian culture. Aavik was consumed by his project of large-scale renewal of the Estonian language, and he saw literature in general as a tool for the promotion of his ideas. He loved thrillers and assumed that these would attract a mass readership – thus, he chose works by authors such as E. T. A. Hoffmann, Friedrich Schiller, Gustav Meyrink, Ambrose Bierce, Arthur Conan Doyle, Guy de Maupassant, Prosper Mérimée, Auguste Villiers de l’Isle-Adam, Juhani Aho and Rodolf Toepffer for translation and publication in the “Tales of Fear and Horror” series. The Russian authors included in the series were primarily classics such as Alexander Pushkin, Nikolay Gogol, Mikhail Lermontov, Ivan Turgenev, Fyodor Dostoyevsky, and Aleksei Kuprin, but the texts chosen were not those traditionally represented in school curricula. The majority of the translations were done not by Aavik himself, but rather by his students (he taught at a school for several years), while Aavik was responsible for choosing the texts, editing the translations as per the programme of “linguistic renewal”, and preparing afterwords and commentaries. This article examines in closer detail a translation made by Aavik himself and, in part, by his former classmate, the priest Vladimir Paivel – several fragments from Fyodor Dostoyevsky’s novel Crime and Punishment. It argues that Aavik’s translation does not fit into the classification of “domestication vs. foreignization” in translation, as the translator was mostly concerned with the linguistic and stylistic aspects of the Estonian text, not with the original. In the process of translation, the “language machine” (as Aavik termed it) reworked foreign material, making it “its own” – a part of its own mechanism. Thus, the national origin of literary material became a factor of little importance. This is especially notable in view of the fact that Aavik considered literature to have a direct link with political processes. He held the opinion that the level and main vectors of literary development served as indicators of the status of national sentiment and directly influenced the political life of the nation. The article provides numerous examples of such judgements which are first and foremost based on Russian material. Aavik saw a direct link between the work of Dostoyevsky and the formation of revolutionary sentiments in Russia, and between Russian modernist poetry and the social explosion in the late 1910s. It can be claimed that he considered Russian “literature-centredness” to be among the causes of the revolution. However, this did not keep Aavik from holding Ivan Turgenev’s literary work in the highest regard, and he even worked on translations of Turgenev in Tallinn during the Soviet occupation in 1942–1943, as well as in his later years of emigration in Sweden.

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