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Journal articles on the topic 'Les Chants de Maldoror'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Laflèche, Guy. "L’édition critique / les éditions critiques : le protocole immuable de réalisations chaque fois incomparables." Port Acadie, no. 20-21 (July 10, 2012): 29–42. http://dx.doi.org/10.7202/1010322ar.

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Au moment de prendre sa retraite (le 1er juin 2011), Guy Laflèche propose une autobiographie critique de son travail d’éditeur, depuis l’établissement de la Relation de 1634 de Paul Lejeune (parue en 1973) jusqu’à son édition critique en cours sur Internet des Chants de Maldoror de Lautréamont [Isidore Ducasse] (http://singulier.info). Il ne s’agit pas d’un parcours exemplaire : au contraire, car les éditions critiques de Guy Laflèche sont de plus en plus développées sur des textes toujours plus courts (exception faite des Chants de Maldoror). Mais cela n’empêche pas d’en dégager une définition de l’édition critique qui soit à la fois critique (comme sa désignation l’implique) et polémique : foin des fameux « protocoles d’édition » qui ont aseptisé depuis des décennies l’édition scientifique, savante, définitive et, bien entendu, subventionnée. Tout au contraire, l’édition critique obéit, certes, à un protocole immuable (étude bibliographique, établissement du texte, étude des sources, genèse et réception), mais produit chaque fois, par définition, une réalisation incomparable, à nulle autre pareille.

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2

Pickering, Robert. "Les Chants de Maldoror: Images of the Writer at Work." Australian Journal of French Studies 32, no. 1 (January 1995): 38–46. http://dx.doi.org/10.3828/ajfs.32.1.38.

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3

Bolón, Alma. "Lautréamont, ‘une bibliothèque en marche’." Anales de Literatura Hispanoamericana 46 (December 20, 2017): 211–19. http://dx.doi.org/10.5209/alhi.58453.

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A raíz de un comentario de Philippe Sollers sobre Isidore Ducasse y su unión con Uruguay, este artículo conjetura sobre la presencia de un texto de Dumas (padre) en Les Chants de Maldoror, no identificado aύn (hasta donde sabemos) por la crítica, permite que, al menos en ese lugar textual, confluyan circunstancias biográficas del autor y relaciones intertextuales.

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4

Pagotto, Sara Cristina, and José Ternes. "A biographical and literary approach o facing the reality and fiction in The Chants of Maldoror." Fragmentos de Cultura 27, no. 3 (November 23, 2017): 401. http://dx.doi.org/10.18224/frag.v27i3.5118.

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This study consists of a biographical and literary approach as well as the analysis of the concepts of reality and fiction in the work the corners of Lautréamont Maldoror of Isidore Ducasse. We will use the preface of Cláudio Willer critic which recounts the biography of the poet and the book of Gaston Bachelard Lautréamont to support analysis and illuminate the paths of poetic language and literature transgressive in the corners. We will demonstrate also the notion of Sérgio biografismo Vilas Boas and reality and fiction theory reviewed by Rogério Borges, these concepts will dialogue with the literary work in question. Uma abordagem biográfica e literária frente à realidade e ficção em Os Cantos de Maldoror O presente estudo consiste em uma abordagem biográfica e literária como também a análise sobre os conceitos de realidade e ficção na obra Lautréamont Os Cantos de Maldoror de Isidore Ducasse. Utilizaremos o prefácio do crítico Cláudio Willer o qual relata a biografia do poeta e o livro de Gaston Bachelard Lautréamont para apoiar a análise e iluminar os caminhos da linguagem e literatura transgressora na poética dos Cantos. Demonstraremos também a noção de biografismo de Sérgio Vilas Boas e a teoria realidade e ficção analisada por Rogério Borges, conceitos estes que dialogarão com a obra literária em questão.

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5

Cho, YunKyung. "L'ambivalence du Mal représentée dans Les Chants de Maldoror de Lautréamont." Études de Langue et Littérature Françaises 101 (March 15, 2015): 279–314. http://dx.doi.org/10.18824/ellf.101.10.

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6

SALERNO, María Paula. "Traducir y recrear. Estrategias de Aurora Venturini en Cantos de Maldoror: Satánica Trinidad." Belas Infiéis 8, no. 2 (April 30, 2019): 93–109. http://dx.doi.org/10.26512/belasinfieis.v8.n2.2019.24380.

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Este artículo se propone estudiar algunos aspectos de la traducción de Les chants de Maldoror de la escritora argentina Aurora Venturini (1921-2015), publicada en 2007 bajo el título Cantos de Maldoror: Satánica Trinidad. El análisis de la obra muestra que la actividad de traducción cumple allí un rol que excede el de la trasposición lingüística de una lengua a otra: la fidelidad a la letra y la búsqueda de equivalencias entre lenguas no constituyen una prioridad para la traductora argentina. El modo en que Venturini trabaja el texto extranjero se emparenta con el del enfoque hermenéutico: la obra traducida resulta ser una traducción-recreación (OSEKI-DÉPRÉ, 1999), o bien una traducción-imitación (OSEKI-DÉPRÉ, 1999), derivada de una lectura crítica del texto de Isidore Ducasse, del estudio de sus contextos de producción y recepción y de la biografía del autor.

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7

Alonso, Ana. "Errances maldororiennes. L’expérience de l’espace dans “Les Chants de Maldoror” de Lautréamont." Studi Francesi, no. 164 (LV | II) (September 1, 2011): 281–91. http://dx.doi.org/10.4000/studifrancesi.5490.

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8

Daunais, Isabelle. "Regards et passages. La forme d'une ville dans Les Chants de Maldoror." Romantisme 24, no. 83 (1994): 97–106. http://dx.doi.org/10.3406/roman.1994.5938.

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9

Nesselroth, Peter W., and Ora Avni. "Tics, Tics et Tics: Figures, Syllogismes, Recit dans Les Chants de Maldoror." Poetics Today 7, no. 2 (1986): 368. http://dx.doi.org/10.2307/1772773.

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10

Hadlock, Philip G. "Ducasse's Tribal Code: Literary Specificity in the "Poesies" and the "Chants de Maldoror"." South Atlantic Review 63, no. 1 (1998): 20. http://dx.doi.org/10.2307/3201389.

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11

Eloïse Sureau. "Les Chants de Maldoror: plaisir de la négation, négation du plaisir." L'Esprit Créateur 49, no. 4 (2009): 31–43. http://dx.doi.org/10.1353/esp.0.0192.

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12

DAYAN, P. "Review. 'Les Chants de Maldoror'. Poesies. Lettres. Edition etablie par Patrick Besnier. Lautreamont." French Studies 47, no. 4 (October 1, 1993): 486. http://dx.doi.org/10.1093/fs/47.4.486.

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13

Sureau, Eloise. "Spectres, monstres et fantomes: Les Chants de Maldoror et le spectacle de la fantasmagorie." Romance Quarterly 55, no. 2 (April 1, 2008): 140–52. http://dx.doi.org/10.3200/rqtr.55.2.140-152.

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14

Perez, Claude-Pierre. "« Dans la lumière même de l'Apocalypse » : Science et poésie dans Les Chants de Maldoror." Littérature 117, no. 1 (2000): 38–52. http://dx.doi.org/10.3406/litt.2000.1656.

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15

PICKERING, R. "Review. Le Fonctionnement de la metaphore dans 'Les Chants de Maldoror'. Lawlor, Patricia M." French Studies 43, no. 3 (July 1, 1989): 348. http://dx.doi.org/10.1093/fs/43.3.348.

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16

Winspur, Steven. "Tics, Tics et Tics: Figures, Syllogismes, Récit dans “Les Chants de Maldoror.” by Ora Avni." L'Esprit Créateur 26, no. 3 (1986): 100. http://dx.doi.org/10.1353/esp.1986.0004.

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17

PICKERING, R. "Review. Tics, tics et tics. Figures, syllogismes, recit dans 'Les Chants de Maldoror'. Avni, Ora." French Studies 40, no. 2 (April 1, 1986): 230. http://dx.doi.org/10.1093/fs/40.2.230.

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18

PICKERING, R. S. E. "Review. Les Chants de Maldoror. Poesies. Lettres. Textes presentes et commentes par Louis Forestier. Lautreamont." French Studies 46, no. 3 (July 1, 1992): 346. http://dx.doi.org/10.1093/fs/46.3.346-a.

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19

DAYAN, P. "Review. Isidore Ducasse, comte de Lautreamont: Les Chants de Maldoror -- Lettres -- Poesies I et II. Terray, Marie-Louise." French Studies 53, no. 4 (October 1, 1999): 482. http://dx.doi.org/10.1093/fs/53.4.482-a.

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20

Αγγελάτος, Δημήτρης. "Προς μια Συγκριτική Ποιητική: η περίπτωση των "μικτών" λογοτεχνικών ειδών. Η Γυναίκα της Ζάκυθος (1826-1833) του Δ-Σολωμού-Les Chants de Maldoror (1867-1870) του Lautréamont." Σύγκριση 1 (April 1, 1989): 49. http://dx.doi.org/10.12681/comparison.42.

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21

Steinmetz, Jean-Luc. "L’épopée Maldoror." Romantisme 172, no. 2 (2016): 79. http://dx.doi.org/10.3917/rom.172.0079.

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22

Jamme, Eric. "Vickers, Nancy. Maldoror." Voix Plurielles 14, no. 1 (May 5, 2017): 148. http://dx.doi.org/10.26522/vp.v14i1.1557.

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23

Guerlac, Suzanne, and Michel Pierssens. "Lautreamont: Ethique a Maldoror." MLN 102, no. 4 (September 1987): 935. http://dx.doi.org/10.2307/2905800.

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24

Echavarren, Roberto. "La novela de Maldoror." Cuadernos LIRICO, no. 5 (January 1, 2010): 181–87. http://dx.doi.org/10.4000/lirico.380.

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25

Peyron, M., F. Ayt Ferroukh, and N. Mécheri-Saada. "Chants." Encyclopédie berbère, no. 12 (February 1, 1993): 1862–75. http://dx.doi.org/10.4000/encyclopedieberbere.2102.

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26

Richter, Mario. "Lautréamont, I canti di Maldoror." Studi Francesi, no. 168 (LVI | III) (December 1, 2012): 596–97. http://dx.doi.org/10.4000/studifrancesi.3811.

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27

González Arredondo, Verónica. "¡Oh pulpo de mirada de seda! sexualidad y erotismo en los cantos de maldoror de Lautréamont." Revista Anales 1, no. 374 (September 15, 2017): 17–24. http://dx.doi.org/10.29166/anales.v1i374.1376.

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La sexualidad en Los cantos de Maldoror, de Isidore Lucien Ducasse, Lautréamont, ha tenido interpretaciones extraliterarias, desde el psicoanálisis el estudio de Marcelo Pichon-Rivière, desde la fenomenología y la poética de la ensoñación de Gaston Bachelard. Bachelard expone un bestiario en donde las formas: garra y ventosa, son símbolos de rasgadura y succión, esta última de goce sexual prolongado. En medio de la oscuridad viscosa en la que se desarrollan Los cantos, deslumbran pasajes de erotismo exacerbado: el encuentro con una hembra tiburón, el hermafrodita inmaculado y el amor por Dazet, el colega de estudios de Ducasse, el “pulpo de mirada de seda”. La imposibilidad de Maldoror para identiﬁcarse en el otro como humano o ante sí, anﬁbio frente al espejo, origina las metamorfosis: Dazet enpulpo, hombre y mujer en hermafrodita, y mujer en tiburón. Una homosexualidad implícita, velada, la única forma en la que Maldoror puede amar.

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28

Silva, Alexsandro De Sousa e. "Sarah Maldoror: uma cineasta na diáspora." Revista USP, no. 123 (December 16, 2019): 69–84. http://dx.doi.org/10.11606/issn.2316-9036.v0i123p69-84.

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O artigo tem como objetivo fazer uma síntese biográfica e filmográfica sobre a cineasta Sarah Maldoror (1939-). A cineasta construiu a base de sua carreira na França, onde seguiu dirigindo filmes, trabalhando na televisão e atuando no espaço público em favor da imigração, da comunidade negra e das mulheres. Uma característica marcante em suas obras fílmicas é o diálogo com a literatura, entre contos, romances e poesia, e as artes em geral.

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29

Cranston, Mechthild, and Georges-Emmanuel Clancier. "Contre-Chants." World Literature Today 75, no. 3/4 (2001): 173. http://dx.doi.org/10.2307/40156875.

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30

Macfarlane, Ed. "Ancient chants." New Scientist 203, no. 2715 (July 2009): 25. http://dx.doi.org/10.1016/s0262-4079(09)61777-2.

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31

Lott, Eric. "Chants Demagogic." Yale Journal of Criticism 18, no. 2 (2005): 471–72. http://dx.doi.org/10.1353/yale.2006.0008.

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32

Winfield, Alfred J. "Anglican Chants." Musical Times 132, no. 1786 (December 1991): 600. http://dx.doi.org/10.2307/965789.

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33

Shinabargar, Scott. "Unexorcised Conscience: The Byronic Complex of Maldoror." Intertexts 17, no. 1-2 (2013): 113–28. http://dx.doi.org/10.1353/itx.2013.0007.

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34

ROMNEY, J. "Review. Lautreamont. Ethique a Maldoror. Pierssens, Michel." French Studies 40, no. 4 (October 1, 1986): 479. http://dx.doi.org/10.1093/fs/40.4.479.

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35

Kuter, Lois. "Chants de Marins." Ethnomusicology 29, no. 3 (1985): 545. http://dx.doi.org/10.2307/851821.

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36

Zimmermann, Francis. "Chants d'oiseaux palawan." L'Homme 34, no. 132 (1994): 151–58. http://dx.doi.org/10.3406/hom.1994.369835.

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37

Gourio, Anne. "Chants de pierres." Les Temps Modernes 626, no. 1 (2004): 5. http://dx.doi.org/10.3917/ltm.626.0005.

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38

Papusza, Bronislawa Wajs, Jean-Yves Potel, and Monika Prochniewicz. "Chants et poèmes." Etudes Tsiganes 48-49, no. 4 (2011): 14. http://dx.doi.org/10.3917/tsig.048.0014.

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39

Schenk, Leslie, and Matthieu Messagier. "Les chants tenses." World Literature Today 71, no. 2 (1997): 344. http://dx.doi.org/10.2307/40153067.

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40

Laurence, Patricia. "Chants of Indictment." American Book Review 42, no. 2 (2021): 28–29. http://dx.doi.org/10.1353/abr.2021.0020.

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41

Katz, David M. "Chants of Indictment." American Book Review 42, no. 3 (2021): 26. http://dx.doi.org/10.1353/abr.2021.0042.

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42

Peillon, Catherine. "Les chants d'Orphée." La pensée de midi N° 28, no. 2 (April 9, 2009): 199–202. http://dx.doi.org/10.3917/lpm.028.0199.

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43

Mocanu, Daniel. "Religious Chants – The Diversity of Church Hymns Types." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 193–224. http://dx.doi.org/10.24193/subbmusica.2020.2.13.

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"In the Romanian musical space, in the Orthodox Church hymns’ repertoire, there is a great variety of non-liturgical chants intended to be sung in different moments of the liturgy. The moments these chants can be introduced are during the kinonikón, the believers’ communion and the end of the liturgy. Either they are called kinonikón, hymns, Calophonic Hirmos, spiritual or liturgical chants; the religious chants became a part of the Orthodox rite, training the Christians ‘community in the church chant. Having appeared in diverse historical contexts and being written by Byzantine music composers, by priests, by church singers and local liturgical communities, these religious chants have deeply been rooted both in the ancient liturgy ritual, and in the different moments of religious activities, pilgrimages, conferences, spiritual gatherings. Having an extremely accessible melodic line and being constructed on doxological, doctrinarian and moralizing character texts, the religious chants are an efficient means of making the Christian communities more dynamic. Keywords: kinonikón, hymn, religious chants "

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44

Pierssens, Michel. "Génétique d'une forme brève : "Le dispositif Maldoror-Poésies"." Genesis 12, no. 1 (1998): 81–94. http://dx.doi.org/10.3406/item.1998.1101.

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45

Raffi, Maria Emanuela. "Kevin Saliou, Henry de Groux, lecteur de “Maldoror”." Studi Francesi, no. 187 (LXIII | I) (July 1, 2019): 181–82. http://dx.doi.org/10.4000/studifrancesi.16628.

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46

Verswijver, Gustaaf. "Chants individuels et chants collectifs chez les Kaiapó du Brésil Central." Cahiers de musiques traditionnelles 1 (1988): 13. http://dx.doi.org/10.2307/40240006.

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47

Baruch, Marc-Olivier, and Nathalie Dompnier. "Vichy a travers chants." Vingtième Siècle. Revue d'histoire, no. 56 (October 1997): 254. http://dx.doi.org/10.2307/3770621.

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48

Darnaud, M., and Youssef Nacib. "Chants religieux du Djurdjura." Revue Française de Sociologie 30, no. 2 (April 1989): 351. http://dx.doi.org/10.2307/3321779.

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49

Le Guillou, Philippe. "Les Chants de Morven." Les Cahiers Max Jacob 19, no. 1 (2019): 163–67. http://dx.doi.org/10.3406/maxja.2019.1367.

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50

Mugiraneza, Assumpta. "Annexes : Chants du deuil." Histoire de la justice 28, no. 1 (2018): 237. http://dx.doi.org/10.3917/rhj.028.0237.

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