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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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Reyes Salas, Michael. "“Discourses of Displacement” in the Ethnography of Léon-Gontran Damas and Poetry of Charles Baudelaire." Dossier spécial Léon-Gontran Damas, no. 116 (August 13, 2020): 43–56. http://dx.doi.org/10.7202/1071043ar.
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It is not far-fetched to imagine that the French underclass that occupied the city streets Charles Baudelaire roamed as a flâneur could have turned up in the bagne, or penal colony, described by the Negritude poet Léon Damas in his ethnographic field work in Guyane. Through a literary analysis of Damas’ ethnography, Retour de Guyane (1938), in tandem with a selection of prose-poems by Baudelaire from Le Spleen de Paris (1869) and Les Fleurs du mal (1857), this article calls attention to the parallels between the observational methods of urban spectatorship they use to collect case studies for their writing. The interpretive approach I use acknowledges the crossover between literary creativity and sociological analysis and is informed by a theoretical framework that couples Negritude’s anticolonialism with carceral studies. My analysis of these texts is situated in the context of the French Third Republic’s laws against recidivism and vagrancy in the late nineteenth century, which carried the penalty of forced deportation to distant penal colonies, a punitive practice that continued into the early twentieth century. In Baudelaire’s case, changing sociopolitical circumstances in light of Hausmannisation necessitated new modes of how writers dealt with the capital city’s exclusionary development. In the case of Damas, his critique of mise en valeur culture and exploitative colonial scholarship prompted his departure from the conventional practice of salvage ethnography that feigned inclusive objectivity. The article focuses on passages that highlight overlapping colonial and carceral attributes within both the colony and metropole. In conclusion, I argue that Damas’ condemnation of the mission civilisatrice, alongside Baudelaire’s contestation of degraded urban environments, point towards a poetics of colonial society’s intoxication with power.
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Kaplan, Edward K. "The Art of Procrastination: Baudelaire’s Poetry in Prose." Romanic Review 100, no. 4 (November 1, 2009): 567–69. http://dx.doi.org/10.1215/26885220-100.4.567.
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Sainsbury, Daisy. "Refiguring Baudelaire’s ‘poète-chiffonnier’ in contemporary French poetry." French Cultural Studies 28, no. 3 (July 31, 2017): 303–13. http://dx.doi.org/10.1177/0957155817710430.
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Iaroshenko, Polina. "Translation of the Synaesthetic Metaphor in Baudelaire’s Poetry." Stephanos. Peer reviewed multilanguage scientific journal 29, no. 3 (May 30, 2018): 153–60. http://dx.doi.org/10.24249/2309-9917-2018-29-3-153-160.
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Kuznetsova, E. V. "Reception of Charles Baudelaire’s work in the poetry of Igor Severyanin." Sibirskiy filologicheskiy zhurnal, no. 4 (2020): 105–18. http://dx.doi.org/10.17223/18137083/73/7.
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The paper considers Igor Severyanin’s approaches to the retransmission of Charles Baude-laire’s creative heritage in his lyrics. In the late 19th – early 20th century, there was a surge of interest in the works of French symbolists and their predecessors, especially to the fate and literary heritage of the author of “Flowers of evil.” Severyanin addressed Baudelaire’s poetry later, at the turn of the 1910s, referring both to his original texts, and translations and critical articles by his older contemporaries (V. Bryusov, F. Sologub, Viach. Ivanov, Ellis, Andrej Belyj, etc.). The analysis covers the peculiarities of this second-wave “Baudelairianism,” its differences from senior and junior symbolists’ apprenticeship, namely, the ironic game in-volving both the image of the “pariah poet” and some of the key themes and motifs of his poetry. In 1909, Severyanin begins mastering Baudelaire’s style by translating his sonnets, but later these, not being entirely successful, are ironically reinterpreted and published in the col-lection “Poesoantract” as purposeful parodies. Another version of the reception is presented in the poem “Sextina” (1910). Weaving a web of verbal puns, the Russian poet inscribes himself in the Pantheon of the famous rulers of doom, while destroying Baudelaire’s tragic aura and placing himself in the vacant place of the poet persecuted by public opinion. Thus, the Severyanin’s reception is seen to reveal the evolution of pre-modernist and modernist cultural codes being a part of the mass discourse, ironic distancing from them, and their loss of philo-sophical and ideological foundations. A conclusion is drawn that the deferential attitude to Baudelaire’s legacy is due both to the change in the readers’ perception in general and to the Severyanin’s aspiration for new avant-garde poetics.
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Samsel, Karol. "Persona liryczna w wierszach Cypriana Norwida i Emily Dickinson." Przegląd Humanistyczny 61, no. 4 (459) (May 21, 2018): 93–101. http://dx.doi.org/10.5604/01.3001.0012.0653.
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The study is devoted to personological analysis of the one-hundred-poem collection entitled Vade-mecum by Cyprian Norwid in the light of advanced and, above all, multidimensional research on the personology of the subject of creative activities of Emily Dickinson’s poems. Based to a large extent on Robert Weisbuch’s complex terminology from the canonical volume Emily Dickinson’s Poetry, using his typology of lyrical personas, the researcher on Norwid gains important, additional comparative literature tool allowing, e.g. the juxtaposition alongside each other of the types of poetry written by Norwid, Dickinson and Baudelaire (Norwid’s and Dickinson’s lyrical persona is – it seems – a mixture of a “wounded dialectician” and “engaging sufferer”, Baudelaire’s persona is, in turn, the marriage of features of an “engaging sufferer” and “withdrawn bard”). This is how the premodernist “theatre of personas” is created, the stronger that – which I am trying to emphasize in this text – despite appearances, it is possible to find similarities in the poetic language between the works of Norwid and Dickinson. In the same way, Norwid and Dickinson – in order to build their lyric – use a poetic function in the Jakobsonian sense: on the one hand, they strengthen and intensify its impact, on the other hand, they use it to “cover up” the phenomenon of linguistic disintegration of the world for which Modernist lyric poetry served in a special way as a detector, a kind of litmus paper.
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Sara Pappas. "All that Glitters: Connecting Baudelaire’s Art Criticism and Poetry." French Forum 33, no. 3 (2009): 35–53. http://dx.doi.org/10.1353/frf.0.0052.
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Markov, Aleksandr V. "Complex ekphrasis in Russian poetry: basics of theory and one case." Vestnik of Kostroma State University, no. 2 (2019): 91–97. http://dx.doi.org/10.34216/1998-0817-2019-25-2-91-97.
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Along with a simple ekphrasis, a description of a separate work, we would like to single out a complex ekphrasis, a description of the whole museum hall or museum collection. Such a description implies an intense experience of space and is possible primarily in descriptive lyrics with intense drama. In the complex ekphrasis, one can see the infl uence not only of tastes, but also of artistic criticism ideas of the time. It is proved that the poem "The Escape to Egypt" by Nikolay Zabolotsky (1955) is a complex ekphrasis, which arose under the indirect infl uence of Charles Pierre Baudelaire’s poetry and Alexandre Benois’s artistic criticism, describing the effects of one of the Hermitage halls. The infl uence of the plots presented in this hall of the Hermitage on poetic decisions could also be traced in later poetry.
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Tilby, Michael. "Poetry, image, and post-Napoleonic politics: Baudelaire’s “Le Squelette laboureur”." Studi Francesi, no. 168 (LVI | III) (December 1, 2012): 422–36. http://dx.doi.org/10.4000/studifrancesi.3599.
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Bogen, Don. "TRANSLATING THE CANON: THE CHALLENGE OF POETIC FORM." Vertimo studijos 4, no. 4 (April 6, 2017): 9. http://dx.doi.org/10.15388/vertstud.2011.4.10569.
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The literary translator taking on the task of rendering a major work of European poetry into contemporary English verse faces several challenges in regard to poetic form, including the problem of finding forms in English-language poetry today for conventions derived from foreign literary traditions and the need to engage the historical context of the work without sounding archaic. If a translation is to transmit the essence of a canonical text from a century or more ago, including its formal dimension, it must both convey what is distinct about the original, moving the reader toward the fundamental foreignness of the text, as Schleiermacher advised, and speak to the reader in the language of our time, because a translation that is not recognizable as good poetry in contemporary terms will not be read. This essay will compare the particular strategies of three successful but quite different contemporary translations of canonical works: Richard Howard’s versijon of Baudelaire’s Flowers of Evil, Robert Pinsky’s translation of The Inferno, and Seamus Heaney’s Beowulf.
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Normandin, Shawn. "(De)Facing Time." Twentieth-Century Literature 67, no. 1 (March 1, 2021): 31–56. http://dx.doi.org/10.1215/0041462x-8912260.
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The title of John Ashbery’s 1965 poem “Clepsydra” alludes to Charles Baudelaire’s “L’Horloge,” from Les Fleurs du mal, and reading Ashbery’s poem as a response to “L’Horloge” helps refine our understanding of his place in literary history, a process this essay pursues by considering “Clepsydra” in relation to influential readings of poetry offered by some of Ashbery’s major contemporaries (Marjorie Perloff, Paul de Man, and Harold Bloom). Exemplifying the allegorical mode of modernism that the young Ashbery resists, Baudelaire’s poem manifests the triumph of linear time; “Clepsydra” imagines time as circular flow, averting allegorical time chiefly by means of prosopopoeia and metalepsis. The most old-fashioned of allegorical devices, prosopopoeia abounds in “Clepsydra,” but Ashbery repeatedly endeavors to counteract it, and metalepsis by its nature resists linearity. Despite the poem’s astonishing inventiveness, however, in the poem the resilience of allegory and of linear time is ultimately reaffirmed.
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Ardrey, Caroline. "Visualising Voice: Analysing spoken recordings of nineteenth-century French poetry." Digital Scholarship in the Humanities 35, no. 4 (November 8, 2019): 737–58. http://dx.doi.org/10.1093/llc/fqz073.
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Abstract This article presents a digitally assisted mode of close listening as an innovative way of analysing poetry, through the implementation of a recently developed web-based tool called Visualising Voice, initially conceived to facilitate performance studies of French poetry. This article begins by establishing the status of close listening practices and their importance as a means of studying poetry in French, as well as considering the possibilities afforded by applying these practices to studying poetry in other languages. It then goes on to examine how the Visualising Voice tool can be applied to case studies of two poems—Charles Baudelaire’s ‘L’Albatros’ (‘The Albatross’) and Paul Verlaine’s ‘Green’—each performed by three different speakers. This article argues that close listening using the Visualising Voice tool reveals subtle differences in the handling of metrical features and differences in performance styles of the same poem, which would be unlikely to be perceived by traditional listening methods. This article thus contends that close listening practices not only take the study of poetry beyond traditional modes of textual analysis but also that facilitating these practices through digital methodologies—such as those offered by the Visualising Voice tool—can transform the way in which poetry is read and understood beyond the academic sphere, in particular by general and younger audiences.
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Wanner, Adrian. "From Subversion to Affirmation: The Prose Poem as a Russian Genre." Slavic Review 56, no. 3 (1997): 519–41. http://dx.doi.org/10.2307/2500928.
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The Russian prose poem was officially born in December 1882, when the journal Vestnik Evropy published Ivan Turgenev’s last work, a collection of fifty “poems in prose” (stikhotvoreniia v proze). Although the generic title of Turgenev’s prose miniatures seems to echo Charles Baudelaire’s Petits Poemès en prose (1869), the fate of the prose poem in Russia turned out very differently from that in its country of origin. Whereas the French poème en prose has become a mainstay of modernist poetry, the Russian stikhotvorenie v proze looks at first sight like a rather anemic plant struggling to survive in an inhospitable environment. In many respects, it constitutes a marginal genre par excellence: located in the no-man’s-land between poetry and prose, it was practiced mainly by minor writers, or by major writers only in early youth or old age (note the title Turgenev originally proposed for his prose poems: Senilia).
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Ayvazyan, Lilith. "“BURNT TO THE BONE” WITH LOVE, DAMNATION AND SIN: PHÆDRA AS THE SWINBURNIAN $FEMME$ $\textit{DAMNÉE}$." Armenian Folia Anglistika 17, no. 1(23) (May 31, 2021): 124–49. http://dx.doi.org/10.46991/afa/2021.17.1.124.
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After nearly two centuries of neglect, Algernon Charles Swinburne (1837-1909) revived the tragedy of Phædra in his Poems and Ballads of 1866. Phædra, alongside with his other female characters, has been “branded” as shameless, indecent, masochistic, and obsessive. These analyses tend to present the poet’s protagonists as one-dimensional characters lacking emotional and psychological depth. To fully comprehend Swinburne’s Phædra, this paper observes the short poem not only from the point of Pre-Raphaelitism, but also in associations with Sappho and Baudelaire; Sappho acts as Swinburne’s inspiration for female empowerment, while Baudelaire’s Les Fleurs du Mal serves as the origin of the unique archetype of femme damnée, that can often be observed in Swinburne’s poetry of the 1860s.
The aim of this paper is to shed a new light on the character of Phædra by comparing Swinburne’s delineation of Phædra with how she is portrayed in the classical originals, and then examine how he adapted her in the society of nineteenth-century England. Like his Pre-Raphaelite friends and many of the Victorian poets and artists, Swinburne’s work, especially early poems and plays, display the author’s revolt and aversion towards the Victorian “false” morality.
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Tsur, Reuven. "Acoustics and Resonance in Poetry: The Psychological Reality of Rhyme in Baudelaire’s “Les Chats”." Studia Metrica et Poetica 8, no. 1 (October 14, 2021): 7–39. http://dx.doi.org/10.12697/smp.2021.8.1.01.
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This article uses the term “psychological reality” in this sense: the extent to which the constructs of linguistic theory can be taken to have a basis in the human mind, i.e., to somehow be reflected in human cognitive structures. This article explores the human cognitive structures in which the constructs of phonetic theory may be reflected. The last section is a critique of the psychological reality of sound patterns in Baudelaire’s “Les Chats”, as discussed in three earlier articles. In physical terms, it defines “resonant” as “tending to reinforce or prolong sounds, especially by synchronous vibration”. In phonetic terms it defines “resonant” as “where intense precategorical auditory information lingers in short-term memory”. The effect of rhyme in poetry is carried by similar overtones vibrating in the rhyme fellows, resonating like similar overtones on the piano. In either case, we do not compare overtones item by item, just hear their synchronous vibration. I contrast this conception to three approaches: one that points out similar sounds of “internal rhymes”, irrespective of whether they may be contained within the span of short-term memory (i.e., whether they may have psychological relit); one that claims that syntactic complexity may cancel the psychological reality of “internal rhymes” (whereas I claim that it merely backgrounds rhyme); and one that found through an eye-tracking experiment that readers fixate longer on verse-final rhymes than on other words, assuming regressive eye-movement (I claim that rhyme is an acoustic not visual phenomenon; and that there is a tendency to indicate discontinuation by prolonging the last sounds in ordinary speech and blank verse too, as well as in music — where no rhyme is involved).
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Rodrigues, Rodrigo Freitas. "Nos caminhos sem fim de Paris: um encontro com Giacometti." Txt: Leituras Transdisciplinares de Telas e Textos 2, no. 4 (December 31, 2006): 65. http://dx.doi.org/10.17851/1809-8150.2.4.65-73.
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<p><strong>Resumo</strong>: O presente artigo versa sobre a imagem alegórica da cidade como registro da <em>flânerie</em>. O texto pretende revelar possíveis correspondências entre as imagens poéticas sugeridas nos versos de Baudelaire e a Paris <em>sans fin</em>, cidade gravada por Giacometti. Em ambos os casos o espaço urbano assume outra conotação, a qual excede a mera ordem geográfica e física de seus elementos, para também sugerir aspectos simbólicos e metafóricos. A leitura desses registros poéticos e artísticos faz do leitor contemporâneo um <em>flâneur</em>, ao permitir deambulações pelas ruas, narradas nas páginas de um livro, ou impressas nas folhas de um álbum de gravuras. Isso acontece porque a errância pós-moderna prescinde da experiência direta do mundo e a cidade pode ser apenas uma imagem alegórica.</p><p><strong>Abstract</strong>: This article is about the alegoric cityscape as a flânerie note. The text intends to reveal possible similarities between the poetic images, suggested in Baudelaire’s verses and Giacometti’s engraved city, Paris Sans Fin. In both cases the urban space gets another connotation, it exceeds the mere geografic or phisic order of the elements and even represents symbolic and metaphoric aspects. A modern reader becomes himself a “flâneur” when reads these poetic and artistic notes. It is possible to rove through the narrated streets in a book or printed on the pages of an engraving scrapbook. The post modern wanderings do not need the real experience anymore, and the city can be only an alegoric image.</p><p><strong>Keywords</strong>: Art; poetry; engraving; flâneur; cityscape.</p>
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Wanner, Adrian. "Populism and Romantic Agony: A Russian Terrorist's Discovery of Baudelaire." Slavic Review 52, no. 2 (1993): 298–317. http://dx.doi.org/10.2307/2499924.
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Charles Baudelaire (1821-1867) has been hailed by followers in many countries as a forerunner of symbolism, if not as the father of modern poetry tout court. In Russia, Andrei Belyi celebrated him together with Nietzsche in 1909 as a "Patriarkh Simvolizma"; and Valerii Briusov wrote in the same year: "Is it possible to question the importance of Baudelaire's Fleurs du mal for the formation of the whole worldview of modernity?" Ellis (L.L. Kobylinskii), the most zealous of all Russian symbolist "Baudelaireans," even tried to convince the menshevik social democrat, N. Valentinov, that Baudelaire was "the greatest revolutionary of the nineteenth century, in comparison with whom all Marxes, Engelses, Bakunins, and the rest of the brotherhood which they created, are simply nothing."
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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 16, no. 2 (September 25, 2012): 21. http://dx.doi.org/10.4312/as.2012.16.2.21-46.
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Scott M. Powers. "Writing Against Theodicy: Reflections on the Co-Existence of God and Evil in Baudelaire’s Poetry and Critical Essays." Nineteenth-Century French Studies 39, no. 1-2 (2010): 77–98. http://dx.doi.org/10.1353/ncf.2010.0010.
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Hurol, Yonca, and Ashraf M. Salama. "Editorial: Urban Transformations in Rapidly Growing Contexts." Open House International 44, no. 4 (December 1, 2019): 4. http://dx.doi.org/10.1108/ohi-04-2019-b0001.
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Cities have always been sources of inspiration for poetry. However, the modern western cities, which are the origins of secularity, have inspired poets in different ways. Charles Baudelaire captured the poetic dimensions of modernity in Paris in the 19th century. He wrote about the night life of Paris which became possible after street lighting. He wrote about corruption. Baudelaire also wrote about the changing character of commercial places in cities and tried to grasp the feelings of people as a ‘flaneur': an individual stroller at city streets. The philosopher Walter Benjamin got inspired by Baudelaire's poems and formed his philosophy, which relates poetics to modernity during the 20th century. Modern cities take an important role in his philosophy too, because Benjamin was making a collection of political event news in the cities of Germany. Then he had to leave Germany because of the growth of fascism. He left his collection behind. When he went to Paris he wrote about the passages and the poetic dimensions of modern city life. When Nazi army came to France, he had to leave Paris too. The poetry of Baudelaire and the philosophy of Benjamin are evidences for the poetic nature of modern city life. The relationship between the modern city and the free individual can easily be felt in their works. However, when you read heir work, you can easily understand that today's Paris is not the same Paris any more. It is still poetic, but in another way.
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Acquisto, Joseph. "On Metaphysics and the Political: A Polemics of Reading Baudelaire in the 1930s." Nottingham French Studies 58, no. 2 (July 2019): 249–59. http://dx.doi.org/10.3366/nfs.2019.0252.
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This essay examines a polemic between two Baudelaire critics of the 1930s, Jean Cassou and Benjamin Fondane, which centered on the relationship of poetry to progressive politics and metaphysics. I argue that a return to Baudelaire's poetry can yield insight into what seems like an impasse in Cassou and Fondane. Baudelaire provides the possibility of realigning metaphysics and politics so that poetry has the potential to become the space in which we can begin to think the two of them together, as opposed to seeing them in unresolvable tension. Or rather, the tension that Baudelaire animates between the two allows us a new way of thinking about the role of esthetics in moments of political crisis. We can in some ways see Baudelaire as responding, avant la lettre, to two of his early twentieth-century readers who correctly perceived his work as the space that breathes a new urgency into the questions of how modern poetry relates to the world from which it springs and in which it intervenes.
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Quandt, Karen F. "Aquarelles parisiennes: Gautier, Baudelaire, and the Poetry of Urban Watercolours." Nottingham French Studies 58, no. 2 (July 2019): 170–82. http://dx.doi.org/10.3366/nfs.2019.0246.
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Baudelaire refers in his first essay on Théophile Gautier (1859) to the ‘fraîcheurs enchanteresses’ and ‘profondeurs fuyantes’ yielded by the medium of watercolour, which invites a reading of his unearthing of a romantic Gautier as a prescription for the ‘watercolouring’ of his own lyric. If Paris's environment was tinted black as a spiking population and industrial zeal made their marks on the metropolis, Baudelaire's washing over of the urban landscape allowed vivid colours to bleed through the ‘fange’. In his early urban poems from Albertus (1832), Gautier's overall tint of an ethereal atmosphere as well as absorption of chaos and din into a lulling, muted harmony establish the balmy ‘mise en scène’ that Baudelaire produces at the outset of the ‘Tableaux parisiens’ (Les Fleurs du mal, 1861). With a reading of Baudelaire's ‘Tableaux parisiens’ as at once a response and departure from Gautier, or a meeting point where nostalgia ironically informs an avant-garde poetics, I show in this paper how Baudelaire's luminescent and fluid traces of color in his urban poems, no matter how washed or pale, vividly resist the inky plumes of the Second Empire.
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Raffi, Maria Emanuela. "Scott M. Powers, Writing Against Theodicy: Reflections on the Co-Existence of God and Evil in Baudelaire’s Poetry and Critical Essays." Studi Francesi, no. 166 (I | LVI) (April 1, 2012): 172. http://dx.doi.org/10.4000/studifrancesi.4755.
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Bahoora, Haytham. "BAUDELAIRE IN BAGHDAD: MODERNISM, THE BODY, AND HUSAYN MARDAN'S POETICS OF THE SELF." International Journal of Middle East Studies 45, no. 2 (April 25, 2013): 313–29. http://dx.doi.org/10.1017/s0020743813000019.
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AbstractDuring a revolutionary period of cultural production and anticolonial political commitment in 1950s Baghdad, the modernist poet Husayn Mardan was put on trial for his “obscene” collection entitled Qasaʾid ʿAriya (Naked Poems). Heavily influenced by Baudelaire, Mardan's poetics provide a revolutionary paradigm focused on the gratification of the corporeal. This paper considers how Mardan's poetry, largely marginalized from the canonized modernist Arabic poetic tradition, registers resistance to an increasingly rationalized and bureaucratic social order through a transgressive poetics that displace the political onto the body. Lampooning social uprightness and middle-class sterility, Mardan's poems encourage sexual licentiousness, embrace the space of the brothel, and celebrate filth and germs. Through a consideration of Mardan's appropriation of Baudelaire, this essay theorizes the translation and transformation of Baudelaire's paradigmatic literary representations of modernity into the context of a modernizing Baghdad and therefore historicizes the appearance of modernist aesthetics in a non-European space.
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Resende, Letícia Campos de. "Montagem literária em Journal du dehors, de Annie Ernaux / Literary Montage in Annie Ernaux’s Journal du dehors." Caligrama: Revista de Estudos Românicos 26, no. 3 (December 27, 2021): 41. http://dx.doi.org/10.17851/2238-3824.26.3.41-63.
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Resumo: Este artigo tem o objetivo de fazer uma reflexão sobre o livro Journal du dehors, de Annie Ernaux (2012), à luz principalmente de algumas reflexões de Walter Benjamin (1989, 1993, 2019) sobre a montagem literária no volume II das Passagens (Das Passagen-Werk). Comparo o trabalho da autora ao trabalho de uma trapeira e flâneuse do fim do século XX, que vai buscar, em outras formas de mediação, uma nova compreensão do capitalismo e das manifestações da economia na cultura. Ao longo do artigo, tentei realizar uma assemblage de reflexões fragmentárias sobre obras literárias direta ou indiretamente relacionadas ao meu objeto de estudo. Assim, começo o texto apresentando uma reflexão rápida sobre as figuras do trapeiro (chiffonnier) e do flâneur em Baudelaire e, em seguida, passo a Journal du dehors, intercalando a essa análise um breve comentário sobre Nadja, de André Breton (2011), que, além de citada por Ernaux (2012), se aproxima temática e formalmente de Journal du dehors.Palavras-chave: montagem literária; Annie Ernaux; Walter Benjamin.Abstract: This article aims to analyze the book Journal du dehors, by Arnie Ernaux (2012), in light of Walter Benjamin’s (1989, 1993, 2019) reflections on the “literary montage”, as expressed in the second volume of his unfinished work Passages (Das Passagen-Werk). I will attempt to compare Ernaux’s work to that of a “chiffonnière” and “flâneuse” from the XXth century, who goes in search of a new understanding of capitalism and of economy’s manifestation in culture through different ways of mediation. This article takes the form of an “assemblage” of fragmentary reflections on other works of literature that could potentially be associated to Journal du dehors. I begin my text briefly reflecting on how the chiffonnier and the flâneur are presented in Baudelaire’s poetry. I then go on to analyze Journal du dehors, interspersing my analysis with a brief commentary on André Breton’s (2011) Nadja, not only because it is mentioned in Ernaux’s text (2012), but also because its structure and themes can be associated to those of Journal du dehors.Keywords: literary montage; Annie Ernaux; Walter Benjamin.
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Ku, In-Mo. "Translation of Baudelaire’s Poetry and Its Meanings in Modern Korea: With a focus on the arguments between Kim Eok and Yang Ju-dong." Journal of Dong-ak Language and Literature 80 (February 29, 2020): 11–48. http://dx.doi.org/10.25150/dongak.2020..80.001.
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Шмігер, Тарас. "Review Article. How Poetry is Translated…" East European Journal of Psycholinguistics 4, no. 2 (December 28, 2017): 95–96. http://dx.doi.org/10.29038/eejpl.2017.4.2.shm.
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James W. Underhill. Voice and Versification in Translating Poems. University of Ottawa Press, 2016. xiii, 333 p.
After its very strong stance in the 19th century, the versification part of translation scholarship was gradually declining during the 20th century, substituted by the innovative searches for semasiology, culture and society in text. The studies of structural and cognitive approaches to writing, its postcolonial identity or gender-based essence uncovered a lot of issues of the informational essence of texts, but overshadowed the meaning of their formal structures. The book ‘Voice and Versification in Translating Poems’ welcomes us to the reconsideration of what formal structures in poetry can mean.
James William Underhill, a native of Scotland and a graduate of Hull University, got Master’s and PhD degrees from Université de Paris VIII (1994 and 1999 respectively). He has translated from French, German and Czech into English, and now, he is full professor of poetics and translation at the English Department of Rouen University as well as the director of the Rouen Ethnolinguistics Project. His scholarly activities focused on the subject of metaphor, versification, cultural linguistics and translation. He also authored ‘Humboldt, Worldview, and Language’ (Edinburgh University Press, 2009), ‘Creating Worldviews: Ideology, Metaphor and Language’ (Edinburgh University Press, 2011), and ‘Ethnolinguistics and Cultural Concepts: Truth, Love, Hate and War’ (Cambridge University Press, 2012).
the belief of the impossibility of translating poems, poems are translated and sometimes translated quite successfully. In contemporary literary criticism, one observes the contradiction that despiteJames W. Underhill investigates this fascinating observable fact by deploying the theory of voice.
The first part of the book, ‘Versification’, is more theoretical as the researcher is to summarizes the existing views and introduce fundamental terms and guidelines. The book is strongly influenced by the French theoretician Henri Meschonnic, but other academic traditions of researching verse are also present. This part includes four chapters where the author discusses recent scholarship in the subject-matter (‘Form’), theories of verse structure (‘Comparative Versification’), rhythm and stress systems (‘Meter and Language’), and the issues of patterning and repetition (‘Beyond Metrics’). The author shapes the key principle of his views that ‘[v]oice represents the lyrical subject of the poem, the “I” that creates it, but that is also created in and by the poem’ (p. 44). This stipulation drives him to the analysis of five facets in poetry translation: 1) the voice of a language; 2) the voice of an era; 3) the voice of a literary movement or context of influence; 4) the voice of a poet; 5) the voice of the particular poem.
Part 2, ‘Form and Meaning in Poetry Translation’, offers more theorizing on how we can (or should) translate form. The triple typology of main approaches – (translating form blindly; translating a poem with a poem; translating form meaningfully) – sounds like a truism. The generic approach might be more beneficial, as the variety of terms applied in poetry translation and applicable to the idea of the book – (poetic transfusion, adaptation, version, variant) – would widen and deepen the range of questions trying to disclose the magic of transformations while rendering poetry of a source author and culture to the target reader as an individual and a community. The experience of a reader (individual and cultural personality) could be a verifying criterion for translating strategies shaped the translator’s experience.
In Part 3, ‘Case Studies’, the author explores the English translations of Charles Baudelaire’s poetry and the French and German translations of Emily Dickinson’s poems. All translations theoreticians and practitioners will agree with the researcher’s statement that “[t]ranslating that simplicity is inevitably arduous” (p. 187). Balancing between slavery-like formalist operations and free transcreations, translators experiment on strategies of how to reproduce the original author’s voice and versification successfully enough. The longing categorically pushes us to the necessity of understanding what is in language but communication, how a nation’s emotionality is built linguistically, and why a language applies certain meters for specific emotional articulation.
‘Glossary’ (p. 297-319), compiled on the basis of theoretical reflections in the main text on the book, is of significant practical value. This could really become a good sample to follow in any academic book.
This book takes us closer to the questions ‘How can a form mean something?’ and ‘How can we verify this meaning?’, though further research merged in ethnolingual, ethnopoetic and ethnomusical studies still promises to be extremely rich.
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Oyebode, Femi. "Baudelaire and The Flowers of Evil." Advances in Psychiatric Treatment 19, no. 1 (January 2013): 77–80. http://dx.doi.org/10.1192/apt.bp.110.008391.
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SummaryThis article examines Charles Baudelaire's life, works and his most important collection, The Flowers of Evil. Baudelaire is regarded as one of the most important 19th-century French poets. He revolutionised the content and subject matter of poetry and served as a model for later poets around the world. He continues to exert immense influence on writers. He contracted syphilis early in life, experienced episodes of depression, and had intense and complicated relationships with his mother and other women in his life.
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Kelly, Michael G. "Baudelaire and the Poetic Margin: Generic Resistances and Human Remainders in the Contemporary Scene." Irish Journal of French Studies 21, no. 1 (October 1, 2021): 53–84. http://dx.doi.org/10.7173/164913321833983024.
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The figure of Baudelaire could be argued to have been conscripted into an excessive amount of paradigmatic constructions over the years. He becomes the name, or cultural face, of a moving configuration of essential problems in discussions of artistic work and subjectivity, and of the ‘modern regime’ – separately and in conjunction. This article analyzes Baudelaire’s afterlife as a mythological one and examines how, across a selection of ‘moments’ over the past three-quarters of a century, the pre-eminence of that figure can come to obscure the traces of a lived – synchronous – process in the oeuvre. Our ability to reconnect with those traces, it seeks to suggest, is key to an understanding of the continued ability of the Baudelaire figure to address our contemporary scene. Moving from Bourdieu’s construction of Baudelaire as nomothète in his sociology of the literary field, it revisits rival co-optations by Jouve and Sartre, in the service of aesthetic and critical ethical accounts respectively, before examining instances of the interweaving of these strands in a brief survey of broadly contemporary work. This survey concludes with a more extended focus on work by contemporary poet Cédric Demangeot, and suggests that the ‘poetic margin’ is where Baudelaire’s powerfully integrated navigation of the adversities of life and of art continues to resonate with greatest urgency.
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BRIDGWATER, PATRICK. "BAUDELAIRE'S COUSINS GERMAN: THE IMPACT OF BAUDELAIRE ON GERMAN POETS AND POETRY." Forum for Modern Language Studies XXXI, no. 4 (1995): 326–44. http://dx.doi.org/10.1093/fmls/xxxi.4.326.
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Weber, Julien. "Aux frontières de l'expérience esthétique: le grotesque baudelairien." Nottingham French Studies 58, no. 2 (July 2019): 237–48. http://dx.doi.org/10.3366/nfs.2019.0251.
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This article is about the grotesque in Baudelaire. While Baudelaire's famous essay on laughter plays an important role in contemporary theories of grotesque aesthetics, his own poetic production is often left aside. In this article, I discuss how the grotesque manifests itself in works by Baudelaire that seem a priori irrelevant because of their ostensible use of ‘comique significatif’, a sort of antithesis of the grotesque. Through a discussion of Pauvre Belgique! And ‘Le Chien et le Flacon’, I argue that the baudelairian grotesque most powerfully intervenes in the mode of a distortion of the intended meaning, which leads me to distinguish its reading from a properly ‘aesthetic’ experience.
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Toumayan, Alain. "Prayer and Paradox in Baudelaire." Nottingham French Studies 58, no. 2 (July 2019): 226–36. http://dx.doi.org/10.3366/nfs.2019.0250.
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It is well attested that Baudelaire took religious discourse very seriously and that it informs much of his poetic practice. The rhetorical form of prayer and the figure of paradox are two specific instances in which Baudelaire's appropriation, rewriting, and transformation of religious discourse can be assayed. In this article, I examine first the incidence of prayer as a form and theme in Baudelaire's writings. In a second portion of the essay, I examine the specific figure of paradox which is a common feature particularly of the prose poems. While paradox and the figure of oxymoron are very prevalent throughout Baudelaire's œuvre, I consider the specific case of paradox in theological writing. The third portion – and focus – of my essay relates these two lines of inquiry in an analysis of the prose poem ‘Le Joueur généreux’ in which the prayer form itself becomes paradox.
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Khudhur, Abbas Krimich. "La modernité baudelairienne et son impact sur la pensée et la poésie d'Ilyās Abu Šabaka." Al-Adab Journal 1, no. 138 (September 15, 2021): 1–20. http://dx.doi.org/10.31973/aj.v1i138.1145.
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This study reveals a clear and profound influence of Baudelaire's poetics, philosophy and thought on the literary production of the Lebanese poet and the avant-garde of modern Arabic poetry Ilyās Abu Šabaka (1903 - 1947). Abu Šabaka's poetic texts evoke part of what the read of Baudelaire's poetry, but he did not resort to the method of dialogue in his relations with the texts. It is due to the fact that the two poets have the same perception towards the universe and the life, based on two opposites: the hatred of the life on the one hand and the inclination and the passion for it until the ecstasy on the other hand. The study therefore deals with the question of influence and effect among poets, intellectual dualism, the presence of the absent text and cultural beauty.
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Barth, Vinicius. "CONTEMPLAÇÃO NAS SOMBRAS: O GUESA DE SOUSÂNDRADE E A MEIA-NOITE ÀS MARGENS DO SOLIMÕES." Revista Épicas 8, no. 2020 (December 30, 2020): 119–37. http://dx.doi.org/10.47044/2527-080x.2020v8.119137.
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This article aims to analyze the episode that narrates the Guesa's midnight dream on the banks of the Solimões River, a passage that is present in the first book of Joaquim de Sousândrade's pan-Indian epic O Guesa. This part, which anticipates the epic topic of the “descent into hell” that occurs during the Dance of Tatuturema in the second book, shows some of the literary influences over the poet's voice in formal and thematic aspects. This study will try to identify, through the poetic text, some of these influences, quite varied and assembling aspects of epic poetry - classical, renaissance and modern - of lyric and of romantic and Indianist literature, culminating in an object of singular value within Brazilian poetry. Guesa, a Muisca Indian, personification of the Sun-god and representative of the pan-Indian project of Sousândrade, undergoes a metamorphosis at midnight: he resembles Lucifer and Prometheus, and sings his melancholy just like Baudelaire on the banks of the mythical Lethe.
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Kaufman, Robert. "Lyric Commodity Critique, Benjamin Adorno Marx, Baudelaire Baudelaire Baudelaire." PMLA/Publications of the Modern Language Association of America 123, no. 1 (January 2008): 207–15. http://dx.doi.org/10.1632/pmla.2008.123.1.207.
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So how important is modern lyric poetry?Answers will depend on who's answering—and what they understand by modern, lyric, and poetry. Academic and other cultural institutions will hardly have the only say; the most significant testimonies often come from poets themselves, who in relation to matters academic and institutional may have feet in more than one camp but who perhaps finally have, in proportion to the intensity and overall achievement of their art, no camp at all. Yet an at least century-long critical tradition, which Marjorie Perloff's 2006 MLA Presidential Address joins, has salutarily maintained that for all academia's evident weaknesses—including an often fatal distance from the realities of artistic making and audience engagement—it can still contribute crucially to the life of poetry. In that light, it's worth reconsidering a body of work that for decades has resonated in the larger poetry world but has also known academic prominence: Frankfurt school—and the wider spectrum of Marxian and Marxian-inflected—critical theory. What if, in ways that have mostly escaped notice, a signal exchange between Frankfurt school critics demonstrates (with lessons aplenty for poetry, criticism, and theory today) that, far from merely illustrating theoretical and sociohistorical dynamics, the development of modern lyric animates or generates the theory in the first place, locating itself at the heart of Frankfurt school and related attempts to take history's measure and to enable reflective judgment and critical agency?
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Brophy, Michael. "'Au meilleur de soi': Yves Bonnefoy and the Making of Baudelaire." Irish Journal of French Studies 21, no. 1 (October 1, 2021): 35–52. http://dx.doi.org/10.7173/164913321833983132.
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Yves Bonnefoy has singled out Baudelaire as a primary formative influence. The breadth and depth of critical enquiry afforded by Bonnefoy to his predecessor over the decades are attested by two substantial collections of his essays compiled in later years, as well as by verse resonating on occasion with the other’s name and voice. Bonnefoy’s goal is at once scholarly and creative: not only does he explore the full import of Baudelaire’s poetic legacy and lend it lasting pertinence within the history of literary endeavour, he also seeks to enter actively into its struggle, uncovering in its contradictions and aporias a corrective and recuperative dynamics that is played out anew in his own poetic writing as part of a larger and pressing ‘refondation de l’être’.
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Halchuk, Oksana. "The reminiscences of Salome’s dance and the Danse Macabre in authors’ models of the late 19th — early 20th centuries literature." Synopsis: Text Context Media 27, no. 3 (2021): 128–35. http://dx.doi.org/10.28925/2311-259x.2021.3.1.
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The subject of the study is the topos of dance. The article identifies the factors of its actualization in the literature of the late 19th — early 20th centuries; considers the origins of its reading through the prism of Eros and Thanatos; analyses works with “dance” imagery, and clarifies its role in the texts poetics. These tasks aim to outline the author’s models that utilize “Dance of the Seven Veils” and “The Danse Macabre”. Comparative, mythological-archetypal, historical-cultural research methods have been applied to study the specifics of dance interpretation in the aesthetic coordinates of modernism. The interest in these aspects of the archetypal topos existence and the need to define the author’s representations as variants of the national determine the relevance of the study. Results of the Study. The reminiscences of Salome’s dance and the Dance of Death are due to the perception of the era as a “plague age”; aesthetic understanding of dance as a personification of the phenomenon of death; interest in the body as a socio-cultural concept and its sensory cognition; a revival of the art of dance; interest in the theme of the East; popularity of erotic motives and the character “woman-child”; the relevance of archetypal codes for the triad “life — death — art”. Charles Baudelaire’s poetry is analyzed as the origins of the modernist interpretation of dance at the intersection of Thanatos and Eros. His dance imagery is characterized by its ironic understanding through the prism of existential categories and interpretation in the context of eschatological and aesthetic issues. The development of the Baudelaire tradition is reflected in the examples of the “new drama”: Lesya Ukrainka reminiscences Salome’s dance as an embodiment of bodily freedom (The Forest Song) and dance as a sign of humility and choice of “death” of the spirit (The Orgy). In Henrik Ibsen’s A Doll’s House the tarantella is both an image of a festive atmosphere and a sign of falsified values of the characters. The dance heralds the catastrophe of Nora’s “puppet” house and at the same time opens up prospects for finding one’s self. The Danse Macabre for Mykhailo Kotsyubynsky (Ivan’s dance with Chuhaister in Shadows of Forgotten Ancestors) and Thomas Mann (dance seen in Aschenbach’s bizarre dream in Death in Venice) is connected with the infernal. It symbolizes the heroes’ awareness of the new “reality” and the transition to another level of worldview; concentrates on thanatological and erotic and defines the complex relationship of mind and body as issues of works. For both characters, the dance is a warning of imminent physical death. But for Aschenbach, it is also the last act of dying as an artist, a symbol of his soul’s death. In contrast, for Ivan, it is a duel-dance to protect his beloved, reunion with whom gains his integrity.
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Loughrey, Bryan, Cedric Watts, and Deryn Rees-Jones. "Poetry." Critical Survey 30, no. 4 (December 1, 2018): 114–18. http://dx.doi.org/10.3167/cs.2018.300409.
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Fortier, Corinne. "Le désir poétisé ou le goût des Fleurs du mal (poésie maure de Mauritanie / poésie arabe antéislamique)." Anthropology of the Middle East 16, no. 2 (December 1, 2021): 33–56. http://dx.doi.org/10.3167/ame.2021.160202.
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Abstract Unlike numerous traditions, poetic inspiration of Moorish poets is not spiritual but carnal because it takes root in the desire for a woman, who taste like Baudelaire's Fleurs du mal. Love poems find their reason in the context of their production. In this case, the decisive moment of the meeting and the long-lasting impression it leaves on the poet. Love poems are not the privilege of a handful, they are primarly composed in the specific Arabic dialect (ḥassāniyya), with the aim of reaching the woman's heart, like Bedouin Arabic pre-islamic poetry. So her first name, her body, her qualities and defects, from erotised become poetised. Résumé À la différence de nombreuses traditions, l'inspiration poétique des poètes maures n'est pas spirituelle mais bien charnelle puisqu'elle s'enracine dans le désir pour une femme rencontrée, qui a le goût des Fleurs du mal de Baudelaire. Les poèmes d'amour, indissociables de l'itinéraire existentiel de son auteur, ne trouvent leur raison d'être que dans le contexte de leur production, en l'occurrence l'instant décisif de la rencontre amoureuse. Comme dans la poésie arabe antéislamique bédouine, la poésie amoureuse maure, composée dans le dialecte arabe local (ḥassāniyya), possède un but essentiellement pratique, gagner le cœur de l'aimée. Ainsi son prénom, son corps, ses qualités et ses défauts, d'érotisés deviennent poétisés.
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Polovinkina, O. I. "Review of Urakova, A. and Fokin, S., eds. (2017). Poe, Baudelaire, Dostoevsky: Splendour and misery of national genius. Moscow: NLO. 496 pages." Voprosy literatury, no. 5 (December 19, 2018): 408–13. http://dx.doi.org/10.31425/0042-8795-2018-5-408-413.
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The review deals with a monograph produced by a group of authors devoted to the interconnectedness of works by Poe, Baudelaire, and Dostoevsky. Putting names together creates a comparative plot, which encourages unconventional thinking. Poe is pictured as the central figure that influences Baudelaire’s and Dostoevsky’s artistic principles. The triple comparison offers a chance to take a new look at Poe’s literary legacy. It is suggested that Baudelaire finds his poetic voice in translating Poe’s works, and becomes an important intermediary for Dostoevsky, who reads his translations. The subtitle mentions ‘national genius’, which puts each of the three in a special spotlight, underscoring their complete independence, separation from others – their tragic solitude – in the unfolding prospect. There is an exchange of opinions between scholars from various schools and national academic traditions – a lively interaction of ideas is palpable and engaging, contributing to the book’s consistency. The dialogue-like aspect of the book is also determined by several authors dealing simultaneously with subjects, so that they become leitmotifs. The review considers each of the book’s four parts.