Relevant bibliographies by topics / Baudelaire’s poetry

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  2. Dissertations / Theses
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  4. Book chapters
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Academic literature on the topic 'Baudelaire’s poetry'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Baudelaire’s poetry"

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Rolland, Nina. "When the poet becomes the muse." Journal of Romance Studies 21, no. 3 (December 1, 2021): 351–74. http://dx.doi.org/10.3828/jrs.2021.20.

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Women are ubiquitous in Charles Baudelaire’s poetry, presented either as ideal, unattainable figures, or as earthly, abominable creatures. Instead of examining the gaze of the poet on women, it is interesting to reverse the roles and to explore the gaze of women on Baudelaire, or more precisely what women hear in Baudelaire’s poetry: what happens when the poet becomes the muse? While the most famous musical settings of Baudelaire’s poems have been composed by men (Duparc, Fauré, Debussy), this article aims to uncover musical settings of Baudelaire’s poetry by twentieth-century female composers. In a first instance, this article offers an overview of twentieth-century songs by female composers; from the mélodies of Marie Jaëll to the contemporary settings of Camille Pépin, what do song settings of Baudelaire tell us about the visibility of female composers? Secondly, the article provides a detailed analysis of L’Albatros (1987), a music-theatre piece by Adrienne Clostre. By deconstructing Baudelaire’s poems, Clostre offers a reflection on creativity that cannot be separated from a general understanding of the place of female composers in society.
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Siwiec, Magdalena. "Znaki na czarnym płótnie, czyli o estetyce przemijającego piękna i o twórczej melancholii Charles’a Baudelaire’a." Wielogłos, no. 1 (47) (July 2021): 25–46. http://dx.doi.org/10.4467/2084395xwi.21.002.13577.

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[Signs on Black Canvas, or Charles Baudelaire’s Aesthetics of Transient Beauty and Creative Melancholy] This article focuses on Charles Baudelaire’s poetics of negativity which exploits absence, blackness, negation, defectiveness, associated by the poet in a paradigmatic way with melancholy and the aesthetics of transient beauty. The basis of the proposed interpretation is the paradoxical metaphor of luminous blackness (a black sun, a radiance without source, a black star, a black canvas), which the poet exploits in his metatextual works. The paper focuses on poems in which Baudelaire approaches that which is beyond the limits of expressibility and is symbolised by blackness and emptiness. Baudelaire’s melancholic poetry appears as a poetry about poetry, a poetry that is paradoxical in the sense that it contradicts stillness, acedia, and creative stagnation, while retaining its negative dimension, rising up against itself.
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Wilson, Clare. "Two artists and two mélodies." Journal of Romance Studies 21, no. 3 (December 1, 2021): 375–98. http://dx.doi.org/10.3828/jrs.2021.21.

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André Caplet (1878-1925) set just two of Baudelaire’s poems: La Cloche fêlée [‘The Cracked Bell’] and La Mort des pauvres [‘The Death of the Poor’]. These mélodies were composed in 1922, just three years before the artist’s death. For a composer with a tendency to shy away from setting poetry of the French giants of literature, the questions of how and why Caplet chose to translate Baudelaire’s poetry into the mélodie are intriguing. This exploration of La Cloche fêlée and La Mort des pauvres considers the ways in which Caplet reflects the poetic imagery of Baudelaire’s texts within musical structures. Caplet’s compositional language is distinctive, and his artistic approach to musically illuminating poetic meaning is perceptive and sensitive. Through viewing the creative intersection of these two artists, this article offers an interpretation that presents a perspective on Caplet’s musical character and reveals insight into his connection to Baudelaire’s poetic language.
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Migeon-Lambert, Camile. "Translations, adaptations, quotations from Baudelaire’s poetry into metal music: an anti-alchemy?" Punctum. International Journal of Semiotics 06, no. 01 (October 16, 2020): 221–42. http://dx.doi.org/10.18680/hss.2020.0011.

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This study examines how metal musicians appropriate Baudelaire’s poetry, one of the favorite sources of metal lyrics’ intersemiosis. We will consider several levels of intersemiosis, from the reference to the literal quotation, including the music inspired by Baudelaire’s life, inquiring what metal music, which is both counter-cultural and popular, does to a great classic of French poetry. Moreover, we intend to look closer at Baudelairean intersemiosis in the work of non-French-speaking metal musicians. When they retain the original French text, the lyrics reflect the vocalist’s relation to the foreign language. Eventually, the translation processes are all brought together in those cases involving an adaptation into the band’s own language. Some of the songs we analyze belong to the most extreme genres of metal. Given the French post-Romantic poet’s controversial reception and his sense of scandal, this partiality is far from being surprising. We propose using Baudelaire’s theory of correspondences to explain the adaptation of his verses into weighty, violent notes, and sounds. Finally, the case of Baudelaire’s reception allows us to analyze the many translations at stake when a contemporary music genre such as metal incorporates literary works into its lyrical material.
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Kitamura, Takashi. "Perspective on Baudelaire’s Reception in Japan: From the Meiji Era to the Present." AmeriQuests 13, no. 1 (March 11, 2017): 28. http://dx.doi.org/10.15695/amqst.v13i1.4239.

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Katavić, Adriana. "Translation Analysis of Bosnian/Croatian/Serbian Editions of the Flowers of Evil / Analiza prijevoda Cvijeća zla na bosanskom/hrvatskom/srpskom jeziku." Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog fakulteta u Sarajevu, ISSN 2303-6990 on-line, no. 24 (November 10, 2021): 148–71. http://dx.doi.org/10.46352/23036990.2021.148.

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This paper deals with different methods and approaches in translating Les Fleurs du mal by Charles Baudelaire and shows relevant elements of poetry translation through a detailed comparative analysis of the versions of three Bosnian/Croatian/Serbian translators. The author presents difficulties in transferring certain poetic figures due to syntactic and phonetic differences in languages. In each chapter, the author analyzes different elements (extralinguistic, semantic, and of conveying the right tone). The work shows advantages and disadvantages of each of the analyzed elements, especially if a translator chooses to neglect all the others for the sake of keeping only one. The author suggests that for translating Baudelaire, one needs to have a specific sensibility and imagination, but should also be theoretically acquainted with Baudelaire’s poetics.
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Potter, Caroline. "Henri Dutilleux, haunted by Baudelaire." Journal of Romance Studies 21, no. 3 (December 1, 2021): 399–417. http://dx.doi.org/10.3828/jrs.2021.22.

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One of the leading French composers of the twentieth and early twenty-first centuries, Henri Dutilleux (1916-2013) set only one text by Baudelaire, though he said that the poet was the artist in any medium who had the strongest impact on him; indeed, he said that ‘Baudelaire continues to haunt me.’ This article explores how this ‘haunting’ affected Dutilleux’s oeuvre, from his cello concerto Tout un monde lointain… [‘A Far Distant World’] (1967-1970) whose five movements are each preceded by a Baudelaire epigraph, through to his final completed work, the song cycle Le Temps l’horloge [‘Time the Clock’] (2006-2009) which concludes with a setting of Baudelaire’s prose poem Enivrez-vous [‘Be Intoxicated’]. Le Temps l’horloge also features settings of poems by Jean Tardieu and Robert Desnos, and Baudelaire’s poetry and art criticism were centrally important to both these writers. The multiple interrelationships between Baudelaire, Tardieu, Desnos, and Dutilleux are traced in this article, and analysis of ‘Enivrez-vous’ shows it to be the summation of Dutilleux’s output.
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Doud, Robert E. "A Whiteheadian Interpretation of Baudelaire’s Poetry." Process Studies 31, no. 2 (2002): 16–31. http://dx.doi.org/10.5840/process20023122.

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TAMBURELLO, Giusi. "Baudelaire’s Influence on Duo Duo’s Poetry through Chen Jingrong, a Chinese Woman Poet Translating from French." Asian Studies, no. 2 (September 25, 2012): 21–46. http://dx.doi.org/10.4312/as.2012.-16.2.21-46.

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As a woman poet, Chen Jingrong’s productions encompassed the whole 20th century: of particular interest are her poetry translations from the French language. Thanks to her translation work, valuable understanding of Charles Baudelaire’s poetry was made available in China, which influenced the Chinese contemporary poet, Duo Duo, when he first started writing poetry during his youth. This paper tries to depict the importance of this contribution of Chen Jingrong and its effect on the process of renovation of the contemporary poetic scene in China.
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Gallagher, Mary. "Baudelaire's Creole Gothic : A Postcolonial Afterlife for Les Fleurs du mal." Irish Journal of French Studies 21, no. 1 (October 1, 2021): 10–34. http://dx.doi.org/10.7173/164913321833983033.

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Baudelaire’s verse poetry is informed by a pervasive Creole Gothic resonance. Two separate but related topoi, the Undead and the Living Dead, lie at the heart of the collection’s necrological imaginary of slave and zombie labour. It is this Gothic double-trope of death-in-life/life-in-death that activates the Gothic Creole strain running through Les Fleurs du mal. Ironically, those poems that seem to evoke most directly the Creole world that Baudelaire encountered in 1841, firstly in Mauritius and then in Réunion, avoid all evocation of plantation slavery. Conversely, the city poems associate modern metropolitan life with the idea of slavery, representing it as a living death and death as a merely temporary and reversible escape. The collection’s representation of this ‘living death’ foreshadows the construction (by Orlando Patterson, most notably) of transatlantic chattel slavery as ‘social death’. As for the poetic representation of the ‘Undead’, this centres on the figure of the zombie. The zombie is essentially a slave for whom death has proved no guarantee against an endless ‘living death’ of hard labour. If the Creole inflection of Baudelaire’s imagery relates primarily to the realities of industrialized plantation labour and to the chattel slavery on which it was based, it is further reinforced by indices of tropical localisation and of racial difference, more specifically pigmentation. However subliminal its resonance, this Creole Gothic strain guarantees for Baudelaire’s Fleurs du mal a vivid postcolonial afterlife.
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Dissertations / Theses on the topic "Baudelaire’s poetry"

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Corvini, Nicole. "Baudelaire's Universe: From the Concrete to the Conceptual." Thesis, Boston College, 2004. http://hdl.handle.net/2345/469.

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Thesis advisor: Kevin Newmark
Herein, the universe of Charles Baudelaire is explored in light of his relationship to the city of Paris. The circumstances of Baudelaire's life necessitated that he seek refuge from the realm of reality in a realm of imagination. The construction of this universe is examined through relevant historical discussion and analysis of several of Baudelaire's works. These works include selections from his Tableaux Parisiens as well as from his prose poetry
Thesis (BA) — Boston College, 2004
Submitted to: Boston College. College of Arts and Sciences
Discipline: College Honors Program
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Faller, I. "A study of Baudelaire and Rimbaud." Thesis, University of Strathclyde, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.382437.

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Zabalevičiūtė, Edita. "Charles Baudelaire — modernus miesto poetas." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20070816_171228-84955.

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Magistro darbo „Charles Baudelaire —modernus miesto poetas“ objektas — eilėraščiai proza rinkinyje „Paryžiaus Splinas“(Le Spleen de Paris“). Tikslas — atskleisti Ch. Baudelaire‘o eilėraščių proza žanrinius ypatumus, išryškinti paraleles bei skirtumus su eilėraščių rinkiniu „Blogio gėlės“ („Les Fleurs du Mal“). Žanriniu aspektu eilėraštis proza nėra susilaukęs didelių tyrinėjimų. Apie lietuviškojo eilėraščio proza ištakas bei pirmuosius bandymus rašė V. Daujotytė, V. Kubilius. Apie prancūziškuosius — A. Athys, M. Sandras, P. Labarthe ir kiti. Baudelaire‘as laikomas vienu šio žanro pradininkų prancūzų literatūroje, jo eilėraštį proza tituluoja „miesto kūdikiu“. Šiame darbe į eilėraštį proza žvelgiama semantiniu aspektu, akcentuojama miesto tema kūryboje. Darbą sudaro: įvadas, penkios dalys, kuriose aptariama eilėraščio proza išskirtinumas, erdvės, laiko ypatumai, Paryžiaus Splino kaip neišgydomos ligos, apimančios miestietį, simptomai ir būdai pabėgti nuo jo, nagrinėjama Dievo ir šėtono kova. Baudelaire‘o požiūris į miestą yra prieštaringas. Jis Paryžių suvokia kaip destrukcijos šaltinį, tačiau visada pirmenybę teikia būtent miestui, civilizacijai, o ne gamtai. Eilėraščių proza kalbantysis — kūrėjas, poetas. Jis patas analizuoja jausenas Splino apimtame mieste, ieško būdų kaip pasveikti nuo šios ligos. Baudelaire‘as — prieblandos poetas, kurio eiliuotuose eilėraščiuose naktis lydima mirties ženklų, o eilėraščiuose proza suteikia subjektui atgaivą, išsilaisvinimą nuo nerimo... [toliau žr. visą tekstą]
The object of the master work “Charles Baudelaire – a modern poet of the city” is poems prose in the collection “The Spleen of Paris” („Le Spleen de Paris“). The aim is to reveal genre peculiarities of Ch. Baudelaire‘s poems prose, to expose parallels and differences with the collection of poems “The Flowers of Evil“ („Les Fleurs du Mal“). The poem prose has not been studied widely. V. Daujotyte, V. Kubilius wrote about the sources and the first attempts with a Lithuanian poem prose. A. Athys, M. Sandras, P. Labarthe and others wrote about French ones. Baudelaire is considered as one of the initiators of this genre in French literature. His poem prose is titled “the baby of the city”. The poem prose is seen semantically in this work, emphasizing on the theme of a town in works. The work consists of: the introduction, five parts, where exclusiveness , spaces, peculiarities of the time, symptoms of the Spleen of Paris as an incurable disease covering the town, the ways helping to escape from it, the fight between God and Satan are analysed. The conclusions are drawn at the end of the work. The town is contradictory from Baudelaire’s point of view. He perceives Paris as the source of destruction, however he prefers the town, the civilisation to the nature. The speaker of poems prose is a creator, a poet. He analyses feelings in the city covered by the Spleen and looks for means helping to recover from this disease. Baudelaire is a poet of the twilight. The night is followed by... [to full text]
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Wild, Cornelia. "Später Baudelaire Praxis poetischer Zustände." Paderborn München Fink, 2006. http://d-nb.info/986664634/04.

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Full, Bettina. "Karikatur und Poiesis die Ästhetik Charles Baudelaires." Heidelberg Winter, 2003. http://deposit.ddb.de/cgi-bin/dokserv?id=2712884&prov=M&dok_var=1&dok_ext=htm.

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Wild, Cornelia. "Später Baudelaire : Praxis poetischer Zustände /." Paderborn : Fink, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3037143&prov=M&dokv̲ar=1&doke̲xt=htm.

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Efstratiou, Dimitris. "Disintegration of essence and subjectivity : the poetry of Charles Baudelaire and T.S. Eliot." Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/79630/.

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This thesis elaborates upon Charles Baudelaire and T. S. Eliot's poetic negotiation of the erosion of the essentialist cognitive and moral foundations that hypothetically monitor human praxis and cement a stable subjectivity on the basis of the human subjects' co-inhering in a common horizon of understanding. I contend that Baudelaire's work consciously belaboured the collapse of vaulting cognitive frameworks and testimonial accountability in a way that reveals both the historical and trans-historical dimensions of the non-integratability of experience within a modem economy of existence. His work eschews the trappings of both aestheticism (history being one of its explicit and pervasive concerns) and historicism, since it reveals parameters of the reification of organic experience that are intrinsic to language and specific to the mnemonic abridgement of the subject's experiential trajectory. Moreover, Baudelaire's poetry compels the critique of the aesthetic abstraction from the social being of man, and solicits scepticism vis-a-vis straight historicism's teleological infrastructures and collateral crypto-transcendentalist angles. The examined poetry exposes the inner complicity of the two perspectives in question latent beneath their surface mutual closure. I examine T. S. Eliot's work in order to address the anti-essentialist motifs of his poetry in counterpoint to his literary criticism, and reveal the dialectic of cultural determinism (mostly materialising in the latter) and radical impersonality that resumes modernity's aporetic necessity to deploy egological categories within an agenda that has invalidated any notion of essence fundaments sustaining human experience. His poetry's homeopathic re-enactment of the experiential fragmentation that it thematically laments constitutes the privileged terrain whereupon essentialist construals of human subjectivity and history can be revealed to be inherently ideological. I have throughout drawn on Walter Benjamin's understanding of allegory and memory, along with Paul de Man's enhancement of the antagonism of the material and transcendental axes endemic in language and cognitive anchoring. This thesis explores the problematisation of essentialist configurations of subjectivity and history in the poetry of the archetypal poet of modernity, and the mutations they submitted to when they were inscribed within an aesthetic and political agenda that was far more reluctant to relinquish egological paradigms of communication and subjectivity. The underlying concern has been to elucidate Baudelaire's 'inexhaustible wealth of responsiveness vis-a-vis the collapse of organic experience, and his resistance to both historicist and reductively aesthetic appropriations. This thesis has aimed to analyse his treatment of experiential disintegration as an effect of historical juncture along with his welcoming address of cognitive and experiential reification as the outcome of the differential and semiotic character of language and memory.
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Cabiati, Alessandro. "Baudelairism and modernity in the poetry of Scapigliatura." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25764.

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In the 1860s, the Italian Scapigliati (literally ‘the dishevelled ones’) promoted a systematic refusal of traditional literary and artistic values, coupled with a nonconformist and rebellious lifestyle. The Scapigliatura movement is still understudied, particularly outside Italy, but it plays a pivotal role in the transition from Italian Romanticism to Decadentism. One of the authors most frequently associated with Scapigliatura in terms of literary influence as well as eccentric Bohemianism is the French poet Charles Baudelaire, certainly amongst the most innovative and pioneering figures of nineteenth-century European poetry. Studies on the relationship between Baudelaire and Scapigliatura have commonly taken into account only the most explicit and superficial Baudelairian aspects of Scapigliatura’s poetry, such as the notion of aesthetic revolt against a conventional idea of beauty, which led the Scapigliati to introduce into their poetry morally shocking and unconventional subjects. Furthermore, these studies have not focused on drawing a detailed and systematic picture that portrays the connections not only between Baudelaire and the poets of Scapigliatura, but also among the Scapigliati themselves. As a result, the true extent of Baudelaire’s influence has not been acknowledged. This study strives to fill the gaps in the existing scholarship. My thesis posits that Baudelaire’s influence on the poetry of Scapigliatura, almost exclusively related to the first two editions of the verse collection Les Fleurs du Mal, is more profound and substantial than scholarship has heretofore recognised. The thesis consists of three chapters, each dedicated to one of the three most important poets of Scapigliatura, namely Arrigo Boito, Emilio Praga, and Giovanni Camerana. The investigation of Baudelaire’s influence on the Scapigliati is conducted both individually, searching for Baudelairian features in their work, and comparatively, contrasting differences and aiming to locate similarities. The main focus is on the major poetic works that are strictly related to the phases in these poets’ careers when they were associated with Scapigliatura: Boito’s Il libro dei versi and Re Orso; Praga’s Tavolozza and Penombre; and Camerana’s poems written between 1863 and 1869. My aim is to establish if there was what can be called a ‘Baudelairian school’ within Scapigliatura. Ultimately, I argue that the relationship between Baudelaire and the poetry of Scapigliatura is more complex than has previously been understood. I demonstrate a vast and wide-ranging influence – on a conceptual, lexical, and stylistic level – on the three poets discussed in this work, which can be traced back to the very beginning of their careers in the early 1860s. Far from being simply an element of aesthetic and moral rebellion in order to épater le bourgeois, the Baudelairism of Boito, Praga, and Camerana in their Scapigliatura years accomplished two ends: on the one hand, it preserved some of the more traditional aspects of Baudelaire’s poetry, which have been largely overlooked by Italian literary scholarship on Scapigliatura; on the other hand, it introduced a thematic and formal modernity into Italian poetry, paving the way for the Decadent movement as well as the twentieth-century avant-gardes.
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Evans, David E. "Rhythm, illusion and the poetic idea : Baudelaire, Rimbaud, Mallarmé." Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/23338.

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This thesis examines the concept of rhythm and its importance to the survival of the French poetic idea following Baudelaire’s formal and generic revolution. Part One situates he symbolic value of poetic rhythm in terms of a religious world view which crumbles with the mid-nineteenth century fall of absolute values. Once an absolute notion of poetic beauty disappears, poetic rhythm and indeed, the very definition of poetry itself, become unstable and require constant re-motivation. Baudelaire, therefore, problematizes in prose poetry the characteristics by which we traditionally recognize and trust a poetic text, namely notions of form and the poet’s authority. Reading poetry now becomes a search for meaningful rhythm and constant values of poeticity as guaranteed by a provocative, enigmatic poet. Part Two suggests that Rimbaud’s aesthetic development follows a strikingly similar trajectory. Following failed experiments with objective and formally inclusive poetics, Illuminations presents form as constantly in process, towards an indefinitely deferred future perfection, and guaranteed by a similarly elusive, mischievous poet figure. Part Three explores Mallarmé’s realization of the fictional nature of the poetic idea, and the techniques via which he by turns admits and denies this fiction. Thus the illusion of Poetry’s universality is tempered by suggestions of the poet’s personal agenda. Poetic form is used to project a fictional hierarchy of aesthetic values and an Ideal whose guarantee is no longer an external divinity but rather, an internal poetic sensibility. The poetic value of rhythm and harmony is thus re-motivated, as verse regularity protects a henceforth unstable poetic idea, the fragility of which is acknowledged by a number of equally important irregularities. I conclude that, since the roots of French poetic modernity are to be found in this new awareness of the fundamental instability of the poetic idea, the poet’s task is now to defend Poetry from reduction to predictable, restrictive formal and thematic characteristics, with the poet himself assuming a self-consciously unstable authority. Critical appreciation of poetry requires, therefore, recognition of the mechanisms by which the poet allows the poeticity of his text to elude the reader, and a willingness to engage in a necessarily irresolvable search for guarantees of poeticity, in order to preserve the very mystery of Poetry.
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Mahoney, Kathleen. "Musicality in nineteenth-century French poetry prior to the emergence of free verse : Baudelaire, Mallarmé." Thesis, Birkbeck (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268846.

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Books on the topic "Baudelaire’s poetry"

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The poetry of Baudelaire. Ipswich, Massachusetts: Salem Press, a division of EBSCO Information Services, Inc., 2014.

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Baudelaire, Charles. Baudelaire. London: J.M. Dent, 1999.

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Painted poetry: Colour in Baudelaire's art criticism. Oxford: Peter Lang, 2011.

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R, Lawler James. Poetry and moral dialectic: Baudelaire's "secret architecture". Madison [N.J.]: Fairleigh Dickinson University Press, 1997.

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Michael, Hamburger. The truth of poetry: Tensions in modernist poetry since Baudelaire. London: Anvil Press Poetry, 1996.

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Baudelaire and intertextuality: Poetry at the crossroads. Cambridge: Cambridge University Press, 1993.

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Joanna, Richardson. Baudelaire. London: J. Murray, 1994.

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Baudelaire. New York: St. Martin's Press, 1994.

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Starkie, Enid. Baudelaire. New York: Paragon House Publishers, 1988.

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Baudelaire, Charles. Baudelaire: The complete verse. London: Anvil Press Poetry, 1986.

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Book chapters on the topic "Baudelaire’s poetry"

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Friedman, Geraldine. "4.1 Baudelaire’s Re-reading of Romanticism." In Romantic Poetry, 419–41. Amsterdam: John Benjamins Publishing Company, 2002. http://dx.doi.org/10.1075/chlel.xvii.27fri.

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Dieguez, Sebastian, and Julien Bogousslavsky. "Baudelaire’s Aphasia: From Poetry to Cursing." In Neurological Disorders in Famous Artists - Part 2, 121–49. Basel: KARGER, 2007. http://dx.doi.org/10.1159/000102876.

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Acquisto, Joseph. "Baudelaire with Badiou." In Thinking Poetry, 185–201. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137329288_12.

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Kaplan, Edward K. "Baudelaire through Kierkegaard." In Thinking Poetry, 9–24. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137329288_2.

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Witt, Catherine. "Passages through Baudelaire." In Thinking Poetry, 25–42. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137329288_3.

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Ortlieb, Cornelia. "Eine Poetik der Figur: Baudelaires Erfindung." In Poetische Prosa, 23–75. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-02836-5_2.

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O’Neill, Michael. "The Marvellous Clouds: Reflections on the Prose Poetry of Woolf, Baudelaire and Williams." In British Prose Poetry, 73–89. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77863-1_5.

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Pearson, Roger. "Prose Poetry and the Press." In The Beauty of Baudelaire, 485–504. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192843319.003.0022.

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This chapter situates the emergence of Baudelaire’s prose poems within the context of nineteenth-century French journalism. It considers briefly the nature of Baudelaire’s debt to Aloysius Bertrand’s Gaspard de la nuit and, more extensively, the implications of the collection’s possible titles. It assesses the role of Paris in these poems and proposes that as a title (and as a collection) Le Spleen de Paris expresses a poetics of resistance to the false, dogmatic wisdom peddled by the public discourse of the nation’s capital. The chapter then focuses on the publication of Baudelaire’s prose poems in the feuilleton section of La Presse in 1862. It discusses the history and nature of the feuilleton as a context for Baudelaire’s ‘counter-discourse’, and it argues that his prose poems serve to cast insistent and radical doubt on the very possibility of asserting meaning—of laying down the law.
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Pearson, Roger. "Imagination and Conjecture." In The Beauty of Baudelaire, 286–306. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192843319.003.0014.

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This chapter discusses the importance attributed to conjecture in Baudelaire’s writings on Théophile Gautier and Victor Hugo. It shows how Baudelaire diverges from Poe in seeing beauty not as ‘an ecstatic prescience of the glories beyond the grave’ but as a glimpse of mysteries in the here and now. Recalling the ‘conjecturisme’ of Poe’s narrative fiction, Baudelaire’s poetics of conjecture nevertheless relates more to the combination of clarity and mysteriousness that he identifies in Poe’s poetry, as also in Gautier’s. For Baudelaire, melancholy is omnipresent in Gautier’s work but mitigated by the consoling power of his verbal imagination and an ability to present in perfect definition a world inviting conjecture. In his 1861 essay on Hugo Baudelaire commends a similar poetics of conjecture, rejecting the portentous poet-lawgiver and praising the poet of mystery, not the prophet who has all the answers but the poet who prompts us to seek them.
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"Baudelaire’s Poetry of Synaesthetic Correspondences." In Synaesthetics. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781501356827.0007.

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Conference papers on the topic "Baudelaire’s poetry"

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Zhang, Xiao-Bo. "From Hell to Heaven: The Children of God Dance Rimbaud’s Development of Baudelaire’s View of Poetry." In 2021 International Conference on Culture, Design and Social Development (CDSD 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220109.079.

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Pulla González, Jorge. "Walker Evans y Europa. La influencia de las vanguardias en el estilo documental norteamericano." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6740.

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Walker Evans (1903-1975) es una figura central de lo que se ha llamado el “estilo documental”, en especial por el papel que tuvo en el seno del proyecto emprendido por la Farm Security Administration durante los años treinta. Evans fue despedido de la FSA muy tempranamente, pero su trabajo constituye el núcleo del proyecto y la base del estilo documental norteamericano. A lo largo de esta comunicación indicaremos las fuentes europeas de las que este surgió, entre las que se encuentra la literatura y la fotografía del entorno de las vanguardias, en especial del surrealismo francés. Mostraremos cómo la fotografía de Evans surge en un medio totalmente europeo y bebe de dos fuentes completamente distintas: En primer lugar, está la literatura, especialmente la literatura francesa encarnada en dos figuras fundamentales: el poeta Baudelaire, del cual extraerá el espíritu propio del flâneur, y Flaubert, figura clave del realismo exacerbado. El método de Flaubert será incorporado por Evans de modo natural, como una prolongación involuntaria de su fracasada actividad literaria. Walker Evans estableció una estrecha relación con la literatura francesa de vanguardia a través de sus lecturas, primero, en la biblioteca universitaria del Williams College y, más tarde, durante sus tres años de trabajo en la New York Public Library. En estas instituciones leyó a Baudelaire, a Gide y al resto de los escritores franceses más innovadores. Esta relación se hizo más estrecha aún durante la larga estancia en París de la que disfrutó los años 1926-1927. Aunque la estancia en Francia no le reportó ningún beneficio a su casi inexistente prosa, su experiencia europea y el contacto con la vanguardia literaria que esta le procuró han de tenerse en cuenta a la hora de entender su desarrollo posterior como fotógrafo, hecho que la crítica norteamericana tiende a minusvalorar a la hora de analizar su obra, que prefiere entender como algo pura e intrínsecamente estadounidense. Pero, como veremos, Evans mismo desmiente este acercamiento a su trabajo. En 1927 regresa a los Estados Unidos, abandonando definitivamente la escritura. Cuando comienza a fotografiar, la atención a los objetos comunes y a lo ordinario presentes en la literatura de las vanguardias serán inmediatamente el origen de las listas de temas de su trabajo, centrado, en línea con Mac Orlan, Benjamin y el surrealismo, en “los desechos de lo cotidiano” y en los signos urbanos: la publicidad y las señales, los maniquíes… En segundo lugar, la fotografía, cuyos referentes más directos son Brady y, especialmente, el francés Atget, con cuya obra entabló contacto en ambientes muy influidos por el surrealismo. También asimiló estrategias de la fotografía constructivista soviética y alemana de vanguardia, especialmente en sus estudios de las potencialidades geométricas de las grandes estructuras arquitectónicas.
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Torrecilla Patiño, Elia. "El fotógrafo como encarnación del flâneur: del “daguerrotipo andante” al phoneur en el espacio híbrido ." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6633.

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Partiendo de la metáfora fotográfica empleada por Fournel (1857:268) en la que describe la figura del flâneur como “daguerrotipo andante”, se propone una actualización del fotógrafo encarnado en el prototipo de paseante moderno, desde su nacimiento en el París del siglo XIX hasta el espacio híbrido actual. El daguerrotipo, que requería un proceso de largos tiempos de exposición que influía en la quietud de los propios modelos para la obtención de una obra única, contrasta con la fotografía actual, mucho más “móvil” y múltiple que entonces. El fotógrafo recorre las calles acompañado de su cámara fotográfica en busca del acontecimiento urbano. Haciendo uso de la tecnología, registra sus impresiones ante la multiplicidad de estímulos que se producen en la metrópolis, y precisamente porque la fotografía es un arte propio de aquellos que se mueven, que caminan, al fotógrafo se le ha relacionado en numerosas ocasiones a la figura del flâneur, figura paradigmática de la experiencia moderna. En palabras de Susan Sontag (2005:55), “el fotógrafo es una versión armada del paseante solitario que registra, acecha y navega por el infierno urbano”. La ciudad es un cuerpo en continuo cambio formado por múltiples capas que son experimentadas, en su mayoría, a través del sentido de la vista, aunque en la deambulación, todos los sentidos se activan para apropiarse de la ciudad y resignificarla. En El pintor de la vida moderna Baudelaire (1840) ofrece un retrato del flâneur que es descrito por el propio poeta como una especie de hombre-ojo, donde el ojo es una cámara que registra todo lo que observa a través de su ojo-lente. En este sentido, la metáfora del flâneur como “daguerrotipo andante” hace visible la pulsión de convertir el ojo en el centro de la civilización moderna, además de las propias similitudes que existen entre el ojo y la cámara, ambos, sistemas capaces de producir imágenes reales. En la actualidad, la incorporación de las cámaras fotográficas en los teléfonos móviles, hace todavía más evidente la extensión del ojo como cámara. El flâneur-fotógrafo tiene ahora la posibilidad de capturar todo aquello que sucede a su alrededor, con la mirada fija en la pantalla de su dispositivo mientras su cuerpo se mueve callejeando. Si la experiencia que el flâneur moderno obtenía de la ciudad era una amalgama de estímulos que producía un estado narcotizante, el actual, que deambula por el espacio híbrido, experimenta una sensación caleidoscópica derivada de la sobreestimulación que proviene tanto desde la esfera física como de la digital. De esta manera, haciendo uso del teléfono móvil, registra cada instante a través de la cámara fotográfica y lo hace público compartiendo instantáneas urbanas en tiempo real. Un paseante híbrido prolongado por la tecnología (McLuhan, 1996), un flâneur que, retomando la propuesta de Robert Luke (2001), deviene phoneur, esta vez actualizado en una figura más móvil y en una versión posmoderna: un cronista y fotógrafo de la ciudad híbrida que muestra el acontecimiento urbano a través de unas fotografías que sirven como mapas y se convierten en pantallas, transformando al mundo en una especie de imagen, en un contexto de escenas o situaciones (Flusser, 2009). Siguiendo estas premisas, se realiza un enfoque de la figura del fotógrafo encarnado en flâneur, con el objetivo de indagar en la práctica fotográfica (móvil) y su relación con el caminar como experiencia estética.
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