Relevant bibliographies by topics / Calligrammes

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Reports

Academic literature on the topic 'Calligrammes'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Calligrammes"

1

Authors/Artists, Student. "Calligrammes." ti< 1, no. 1 (2012): 65–90. http://dx.doi.org/10.26522/ti.v1i1.639.

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Shingler, Katherine. "Mad Puns and French Poets: Visual-Verbal Punning and ‘l'art des fous’ in Apollinaire's Calligrammes." Nottingham French Studies 53, no. 1 (2014): 19–34. http://dx.doi.org/10.3366/nfs.2014.0070.

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This article examines the use of visual-verbal punning structures in Guillaume Apollinaire's calligrammes, or visual poems. It considers how Apollinaire's mobilization of these punning structures may have emerged out of an interest in ‘l'art des fous’ (art and creative writing by the mentally ill, in which punning was a recurring feature), in psychiatric discourses which insisted on a link between punning and irrationality, and in the work of Jean-Pierre Brisset, whose nonsensical, pun-based theories of evolution made him a living embodiment of that link. It argues that for Apollinaire, the calligramme was an attempt to represent the structures of thought – unfettered, irrational thought – which could not be captured by linear discourse. The article situates this aspect of the calligrammes within the broader context of Apollinaire's primitivism, as expressed in his art criticism, before considering the continuity between Apollinaire's engagement with ‘l'art des fous’ and that of Breton, exploring the ethical implications of an aestheticizing approach to the ‘mad’ or ‘primitive’ work of art.
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Tilliette, Jean-Yves. "Figurer l’invisible : calligrammes médiévaux." Comptes-rendus des séances de l année - Académie des inscriptions et belles-lettres 161, no. 4 (2017): 1493–504. http://dx.doi.org/10.3406/crai.2017.96329.

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Collectifs, Auteurs. "Sup er posit ions." ti< 3, no. 1 (2014): 70–87. http://dx.doi.org/10.26522/ti.v3i1.906.

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Min, Joo Sik. "Creativity in Guillaume Apollinaire's Calligrammes." KOREA SCIENCE & ART FORUM 25 (September 30, 2016): 129. http://dx.doi.org/10.17548/ksaf.2016.09.25.129.

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Traub, Maria G. "Paris Calligrammes par Ulrike Ottinger." French Review 95, no. 3 (2022): 219. http://dx.doi.org/10.1353/tfr.2022.0034.

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Read, Peter. "Reading Apollinaire’s ‘Calligrammes’. By Willard Bohn." French Studies 72, no. 4 (2018): 626–27. http://dx.doi.org/10.1093/fs/kny197.

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Shingler, Katherine. "Perceiving Text and Image in Apollinaire's Calligrammes." Paragraph 34, no. 1 (2011): 66–85. http://dx.doi.org/10.3366/para.2011.0006.

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Literary scholars have recently become increasingly interested in the perceptual and cognitive mechanisms involved in reading, and have incorporated scientific research in this area into their critical approaches to texts. This article argues that such an approach is particularly appropriate when authors explicitly engage with the way in which their texts are visually taken in and processed. This is the case with Guillaume Apollinaire, whose calligrammes are informed by a theory of visual-verbal simultaneity stipulating that the reader should be simultaneously aware of both textual and pictorial aspects of the poem. Experimental research in the psychology of reading and picture perception is used to assess this theory of simultaneity, and specifically to challenge Michel Foucault's claim that reading and viewing are mutually exclusive processes. The article concludes by considering further applications of psychological research to word and image studies.
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Bohn, Willard. "Sens et absence dans les calligrammes d'Apollinaire." Cahiers de l'Association internationale des études francaises 47, no. 1 (1995): 455–70. http://dx.doi.org/10.3406/caief.1995.1888.

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Scott, Clive. "Book Review: Willard Bohn: Reading Apollinaire’s Calligrammes." Journal of European Studies 48, no. 3-4 (2018): 345–46. http://dx.doi.org/10.1177/0047244118801210d.

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Dissertations / Theses on the topic "Calligrammes"

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Bouillon, Yves-Marie. "Poètes durant la guerre : une étude de motifs psychiques dans la langue des soldats, "La Jeune Parque" de Valéry, "Calligrammes" d'Apollinaire." Thesis, Brest, 2012. http://www.theses.fr/2012BRES0045.

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L’étude de locutions de soldats, de La Jeune Parque de Valéry et de Calligrammes de Apollinaire manifeste une variété de fonctionnements psychiques durant la Première Guerre mondiale. La lecture utilise les instruments d’intelligibilité de la psychologie collective proposés par Freud. Collecté par Gaston Esnault, Le poilu tel qu’il se parle révèle les inventions des soldats pour supporter la guerre et la dénoncer. Le régime de terreur n’empêcha pas les soldats de fonctionner en collectifs démocratiques. Le réalisme et la décence de locutions en témoignent malgré l’horreur ou la détresse vécues : compromis entre la violence et sa dénonciation par l’humour. Paul Valéry a participé à l’idéologie patriotique : La Jeune Parque présenta aux classes sociales dominantes un miroir. La censure collective a refusé d’entendre la présence de la guerre dans ce poème. Certains mots, images suggérées, indices figurent la sujétion de Valéry au régime dominant. La lecture de vers en regard des événements éclaire des phrases obscures. Le référentiel de l’Antiquité masque la guerre. Dans Calligrammes, Apollinaire dit à ses lecteurs sa mélancolie, à l’œuvre dès avant son engagement dans la guerre, amplifiée au fur et à mesure qu’il agit la guerre, en revient blessé, puis se dégage des identifications collectives. Une lecture attentive du poème Il y a révèle sa fonction dans le recueil : un calligramme issu de la guerre et adressé à la femme aimée, figurant la guerre dans son horreur et ses angoisses. Apollinaire dénonce la censure collective. La langue commune offre aux locuteurs, même en temps de guerre, la possibilité de fonctionner en régime démocratique<br>The study of the sayings of soldiers, of La Jeune Parque by Paul Valéry, and Calligrammes by Guillaume Apollinaire demonstrates a variety of psychic functions during the First World War. The readings use the tools of the intelligibility of collective psychology put forward by Freud. Collected by Gaston Esnault, Le poilu tel qu'il se parle reveals the creative ways in which ordinary soldiers contrived to bear and denounce the war. The regime of terror imposed did not stop the troops functioning, wherever possible, in democratic collectives. The realism, the decency of certain sayings testifies to this, despite the horror and distress the troops experienced. Certain sayings remain coarse and constitute a compromise between violence and its denunciation by humour. Paul Valéry participated in the patriotic ideology : La Jeune Parque presented a mirror to the dominant social classes. Collective censorship has refused to see the presence of the war in this poem. Certain words, implicit images, sometimes clues reveal Valéry's subjection to the collective dominant regime. The reading of verses in light of events clarifies obscure phrases. The classical frame of reference masks the contemporary war. In Calligrammes, Apollinaire tells his readers of his melancholy, already present even before his engagement in the war, and which has been amplified proportionately by his participation in the war, coming back wounded, then disengaging himself from collective identifications. A close reading of the poem Il y a reveals its function in the collection : a 'calligramme' born of the war and addressed to the beloved, featuring the horror and anguish of the war. Apollinaire denounces collective censorship. Everyday language offers its speakers, even in wartime, the possibility of functioning in a democratic process
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2

Kamoun, Sélima. "Apollinaire et Paris : de la ville vécue à la ville phantasmée." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA008.

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La rencontre de Guillaume Apollinaire avec Paris a été déterminante dans la vie du poète, tant sur le plan intellectuel qu'existentiel. Dans son œuvre où elle occupe une place de choix, la capitale française ne représente pas seulement un lieu de vie mais une source d'inspiration et d'écriture extrêmement féconde. Bien qu’héritée de toute une tradition littéraire de la ville qui s’est développée au XIXe siècle, la poésie apollinarienne de Paris est conçue sur le mode de l’« esprit nouveau » qui accompagne la naissance d’une ère placée sous le signe de la découverte et du progrès, et s’intègre aux recherches esthétiques des avant-gardes artistiques et littéraires caractérisées par l’audace et le goût de l’aventure. Entre tradition et invention, le Paris d’Apollinaire n’est pas seulement celui du « Pont Mirabeau » et de « Lettre-Océan » qui, d’Alcools à Calligrammes, témoigne d’une volonté de s’affranchir de certains « modèles » et de créer une poésie libre de toutes contraintes qui dit le « réel » en empruntant les voies de l’imaginaire, c’est aussi la capitale fascinée de l’infatigable « flâneur des deux rives », ou insolite et secrète du guide passionné ; c’est encore la ville subjective et mentale du « guetteur mélancolique » confronté à son passé douloureux, ou aux prises avec le monde moderne ; c’est, enfin, la ville rêvée et phantasmée de « l’enchanteur » des ponts et des noms de Paris<br>Guillaume Apollinaire's encounter with Paris was a decisive event in the poet's life, both intellectually and existentially. In his artwork where Paris occupies a place of choice, the French capital does not only represent a place of life but a source of inspiration and extremely fertile writing. Although inherited from an entire literary tradition of the city that developed in the nineteenth century, Parisian apollinarian poetry is conceived on the mode of the "new spirit" that accompanies the birth of an era under the sign discovery and progress, and integrates with the aesthetic research of artistic and literary avant-gardes characterized by daring and the taste of adventure. Between tradition and invention, the Paris of Apollinaire is not only that of the "Mirabeau Bridge" and "Letter-Ocean" which, from Alcools to Calligrammes, demonstrates a desire to get rid of certain "models" and to create a poetry free of all constraints that says the "real" by borrowing the ways of the imaginary. Paris is moreover the fascinating capital of the tireless "stroller of both banks", or of the unusual, surreptitious and passionate guide; It is also the biased and cerebral city of the "melancholy watchman" confronted with his painful past, or grappling with the modern world. Paris is, finally, the dreamed and phantasmatized city of the "charmer" of the bridges and of the names of Paris
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Jacquot, Clemence. "Plasticité de l'écriture poétique d'Apollinaire : une articulation du continu et du discontinu." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040060.

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Cette thèse s’attache à interroger et essaie de définir l’évolution stylistique de l’écriture d’Apollinaire, en l’articulant aux manifestations syntaxiques du continu et du discontinu au sein du discours poétique. Nous y observons comment le discontinu s’inscrit dans la pensée et l’écriture apollinarienne, tant sous la forme d’un motif obsédant, celui du morcellement et de la dissolution du corps, que comme principe de construction du discours, par les figures de juxtaposition et de raccourci syntaxiques. Nous essayons d’étudier les spécificités et l’évolution diachronique de la syntaxe poétique d’Apollinaire, grâce aux apports méthodologique de la textométrie (en particulier du logiciel de statistique textuelle : TXM).Nous analysons plusieurs dispositifs textuels représentatifs de l’articulation apollinarienne du continu et du discontinu : la proposition subordonnée relative, les effets de mise en liste et d’émiettement syntaxique (énumérations, accumulations, juxtapositions), ainsi que le cas particulier que constitue les calligrammes (espace de synthèse poétique, à l’image du renouvellement des régimes de visibilité). Ce type de structures et d’organisations du discours poétique permet en effet d’interroger les enjeux de la plasticité de l’écriture apollinarienne<br>This thesis aims to examine and define the stylistic evolution of Apollinaire's writing in light of the syntactic continuity and discontinuity in poetic discourse. It studies the place of discontinuity in his work, both as a haunting motif of the fragmentation and the dissolution of the poet's body through space, as well as a principle of discursive construction, by instances of juxtaposition and shortened syntax. It attempts to study the specificities and the diachronic evolution of Apollinaire by using textometry as a methodological tool (specifically the software for textual statistics: TXM). This thesis analyses several textual structures that represent Apollinaire's articulation of continuity and discontinuity: the relative subordinate clause, the effects of listing and syntactical splitting (enumerations, accumulations, juxtapositions), as well as the particular example of caligramms (a space of poetical synthesis, for instance the extension of regimes of visibility). This type of structure and organization of poetic discourse allows us to analyze the question of the plasticity of Apollinaire's writing
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Books on the topic "Calligrammes"

1

Apollinaire, Guillaume. Alcools ; et, Calligrammes. Impr. nationale, 1991.

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Debon, Claude. "Calligrammes" de Guillaume Apollinaire. Gallimard, 2004.

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Bory, Jean-François. Japon, le retour: Calligrammes & fragments de journal intime. Al Dante, 2004.

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1880-1918, Apollinaire Guillaume, ed. Calligrammes dans tous ses états: Édition critique du recueil de Guillaume Apollinaire. Calliopées, 2008.

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Calligrammes & compagnie, etcetera: Des futuristes à nos jours, une exposition de papier. Al Dante, 2010.

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Debon, Claude. Calligrammes dans tous ses états: Édition critique du recueil de Guillaume Apollinaire. Calliopées, 2008.

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Apollinaire, Guillaume. Callicools: Alcools suivi d'une sélection de poèmes de Calligrammes et de Poèmes à Lou. Masseu, 2009.

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Calligrammes: Figurentexte in der abendländischen Literatur, besonders im 19. und 20. Jahrhundert (Schwerpunkte: Frankreich, Italien). P. Lang, 2001.

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Il calligramma nell'avanguardia spagnola. Edizioni dell'Orso, 2004.

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Sacks-Galey, Pénélope. Calligramme, ou, Ecriture figurée: Apollinaire inventeur de formes. Lettres modernes-Minard, 1988.

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Book chapters on the topic "Calligrammes"

1

Trautner, Tamara. "Apollinaire, Guillaume: Calligrammes." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2412-1.

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Debon, Claude. "L’Europe dans Calligrammes." In Apollinaire à travers l'Europe. Warsaw University Press, 2015. http://dx.doi.org/10.31338/uw.9788323519157.pp.25-36.

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Scott, Clive. "Guillaume Apollinaire, Calligrammes (1918)." In Reading the Rhythm. Oxford University Press, 1993. http://dx.doi.org/10.1093/acprof:oso/9780198158820.003.0005.

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Shtutin, Leo. "Defamiliarizing the Page." In Spatiality and Subjecthood in Mallarmé, Apollinaire, Maeterlinck, and Jarry. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198821854.003.0002.

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Chapter 2 focuses on Mallarmé’s Un coup de dés and Apollinaire’s calligrammes—works that defamiliarize page-space by undermining various (naturalized) conventions of paginal configuration. Many of the calligrammes are non-linear, having no ‘beginning’ or ‘end’; Un coup de dés is more accurately described as multi-cursal, its typographical hierarchy generating a network of forking paths that presents a formidable challenge to the first-time reader. Mallarmé and Apollinaire transform page-space from an inert ground into an integral component of the text; the syntax of Un cup de dés and the calligrammes is not merely verbal but visual, and calls for spatio-textual parsing. The chapter concludes with a comparative analysis of the ways in which Mallarmé and Apollinaire manipulate the institutional frame of the page, comprised of a series of typographic and spatial norms endemic to conventionally printed texts.
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"2. Material Fragments, Autobiographical Fantasy: Reading Apollinaire's Calligrammes." In The Material, the Real, and the Fractured Self. University of Toronto Press, 2004. http://dx.doi.org/10.3138/9781442681705-004.

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Shtutin, Leo. "Introduction." In Spatiality and Subjecthood in Mallarmé, Apollinaire, Maeterlinck, and Jarry. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198821854.003.0007.

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The Introduction sets out the key concerns of the book—early modernist conceptualizations of spatiality and subjecthood, and the treatment of space and subject in the poetic and dramatic works of Stéphane Mallarmé, Guillaume Apollinaire, Maurice Maeterlinck, and Alfred Jarry. It also examines some of the critical literature on these four principal authors, remarking on the variable quality of existing analyses—while the semiotics of Jarry’s Ubu cycle, for example, has been brilliantly and comprehensively elucidated, critics have, until comparatively recently, tended to gloss over the semiotic complexity of Apollinaire’s calligrammes, some doing so with unjustified disparagement. The Introduction concludes with a brief overview of the book’s five chapters.
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Yang, Jeffrey. "Introduction to the Calligrams Edition." In Wild Geese Returning. The Chinese Uniersity Press, 2017. http://dx.doi.org/10.2307/j.ctv2n7q3w.3.

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Rouzer, Paul. "Preface to the Calligrams Edition." In The Collected Poems of Li He. The Chinese Uniersity Press, 2017. http://dx.doi.org/10.2307/j.ctv2n7pds.3.

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"André Cadere’s Calligrams of Institutional Authority." In Disordering the Establishment. Duke University Press, 2020. http://dx.doi.org/10.1215/9781478012085-004.

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"ANDRÉ CADERE’S CALLIGRAMS OF INSTITUTIONAL AUTHORITY." In Disordering the Establishment. Duke University Press, 2020. http://dx.doi.org/10.2307/j.ctv11cw466.8.

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Reports on the topic "Calligrammes"

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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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