Academic literature on the topic 'Paul Verlaine'

Se analiza en este trabajo la oposicióndialéctica existente entre el "Credo poético" de Miguel deUnamuno y el "Art poétique" de Paul Verlaine. Para Verlaineel verso es ante todo música, alada, ligera, sin peso. ParaUnamuno, algo que no es música es la poesía, descarnada,pesada, seca.What is analyzed in this study is the discernibledialectical contrast between Miguel de Unamuno’s “PoeticCreed” and Paul Verlaine’s “Ars Poetica”. For VerlainePoetry is primarily Music, wing-borne, airy, weightless. ForUnamuno, that which is not Music is Poetry, stark, weighty,sere.

The question of literary translation of poems that are important in the context of developing a new artistic strategy by the leaders of the poetic movements of the Silver Age is considered. The relevance of the study is due to the fact that the multicultural and multilingual dialogue of translators is analyzed both with the texts of the original and with each other. The results of a comparative analysis of poems by Paul Verlaine “Art Poétique” in the translation of Valery Bryusov and Teofil Gautier “L’Art” in the translation of Nikolai Gumilyov are presented. The author notes that Bryusov saw ideas that resonate with his idea of symbolism as a stylistic phenomenon in Verlaine’s work. Particular attention is paid to the fact that Verlaine is polemicizing with the previous tradition - the poetry of the Parnassians, whose principles were embodied in the work of Gautier. The question is raised that Nikolai Gumilev, translating Gautier, engaged in implicit controversy with both Bryusov and Verlaine. The author dwells on the fact that the background of this polemic is the justification of the “neoparnassian” and “neoclassical” foundations in the style and poetics of acmeism. It is proved that the purpose of this polemic is the manifestation of the program mindsets of symbolism (in Bruce's version) and acmeism (in Gumilev version) based on the authority of Verlaine and Gautier.

La poesía de César Vallejo, al incorporar estrategias de expresión poética en las que se aleja de la “escritura monolingüe ideal” y hace intervenir diversos niveles de habla del castellano andino, es una clara muestra de una obra comprometida con el carácter plurilingüe de la sociedad en la que se inserta. Ahora bien, cuando Vallejo se traslada a París y cambia su entorno andino original por el del francés, solo algunas de las primeras innovaciones fueron mantenidas. En ese sentido, el objetivo del presente artículo es mostrar los modos en que se manifiesta el cambio de diglosia literaria castellano-quechua por la intervención del francés en la poesía vallejiana a partir del análisis del poema sin título incluido en Poemas humanos.
Because the poetry of César Vallejo incorporates strategies poetic expression in which it moves away from the “ideal monolingual writing” and involves different levels of the Andean Castilian speech, it is a clear sign of a committed work with the multilingual character of the society in which it is inserted. Now, when Vallejo moved to Paris and changed its original Andean setting by French, only some of the early innovations were kept. In that sense, the purpose of this article is to show the ways in which it is evidence the change of Castilian-Quechua literary diglossia by the intervention of French in Vallejo’s poetry from the analysis of the poem untitled included in Poemas humanos.

Notre these se fonde sur des analyses des « poètiques révolutionnaires du premier Verlaine » autour des poèmes en vers et en prose, des textes critiques et la versification portant sur le climat idéologique, l’intertextualité, ses idées politiques. Quant aux « poétiques » au pluriel, il s’agit des étapes différents du poète depuis des années 1860 jusqu’à l’emprisonnement de 1873. Notre travail est composé de trois chapitres qui traitent différents périodes de la création poétique du poète. La première aborde la genèse des poétiques du poète en réfléchissant sur l’influence de Baudelaire pour répondre à cette question : « Verlaine est-il simplement le fils de Baudelaire ? » Dans le deuxième chapitre, nous examinons des figures diverses du poète. Verlaine est un poète multiple comme poète « parnassien », « clandestin », « républicain et socialiste », « homosexuel », « zutiste » et « catholique ». Nous proposons ses procédés radicaux en traitant des textes peu étudiés. Enfin, dans le dernier chapître, nous nous focalisons sur son éclosion des poétiques, c’est-à-dire « Système » de Verlaine influencé par l’aventure poétique avec Rimbaud, en analysant des poèmes écrits dans la prison et destinés à Cellulairement. Ainsi, notre thèse vise à éclairer son évolution poétique, autrement dit celle de la « victime de Baudelaire » au « vrai poète »
Our thesis is based on analyses of “the revolutionary poetics of the early Verlaine” around poems in verse and prose, critical writings and versification, on their ideological aspects, their intertextuality and Verlaine’s political thinking. As for “poetics” in the plural, it’s about different stages of the poet’s development from 1860s to imprisonment of 1873. Our work consists of three chapters, each of which deal with different periods of the poet’s poetic creation. The first chapter addresses the genesis of the poet’s poetics by reflecting on the influence of Baudelaire to answer this question: “Verlaine is he simply Baudelaire’s son?” In the second chapter, we examine various figures of Verlaine. Verlaine is a multiple poet as “Parnassian”, “underground”, “republican and socialist”, “homosexual”, “zutiste” and “catholic” We show his radical processes by treating little studied texts. Finally, in the last chapter, we focus on his poetic blossoming, that is to say, Verlaine’s “System” influenced by poetic adventures with Rimbaud, by analyzing poems written in prison and intended for Cellulairement. Thus, our thesis aims to throw light on his poetic evolution, from “victim of Baudelaire” to “true poet”

O poeta Alphonsus de Guimaraens estabeleceu, para a sua formação, um constante diálogo com a França por meio dos escritores daquele país, sobretudo com aqueles que produziram no século XIX, período em que o poeta brasileiro também produziu boa parte de sua obra. Dentre as relações literárias estabelecidas, Guimaraens pode traduzir poemas daqueles identificados ao movimento Simbolista. Reconhecido pela crítica, o diálogo mantido com as produções do poeta Paul Verlaine foi, sem dúvida, o que mais se acentuou, sobretudo por meio das traduções que fez de poemas do bardo francês, tema desta dissertação. Para o estabelecimento do contexto de produção dos poemas e de suas traduções, o presente estudo levou em consideração, primeiramente, a fortuna crítica relativa ao poeta mineiro no que tange a sua formação intelectual. Em seguida, procurou-se fazer algumas reflexões a partir da metodologia sugerida por Berman, norteadora das análises. Essas análises se pautaram pelas considerações de abordagens textuais da tradução e pelo confronto produtivo, com o intuito de revelar um pouco mais da atividade tradutora de Alphonsus face aos poemas de seu mais importante interlocutor.
The poet Alphonsus de Guimaraens established for his formation, a constant dialogue with France through the writers of that country, especially with those who produced in the nineteenth century, during which the Brazilian poet also produced much of his work. Among the literary relationships established, Guimaraens had the opportunity to translate those poems identified to Symbolist movement. Recognized by critics, the dialogue with the productions of the poet Paul Verlaine was undoubtedly the one most emphasized, especially by means of translations of poems of the French bard, theme of this dissertation. For the establishment of the production context of the poems and their translations, this study took into consideration, first, the critical fortune of the mineiro poet in relation to his intellectual formation. Then we made some reflections from the methodology suggested by Berman, guiding the analyses. These analyses were guided by considerations of textual approaches to translation and productive confrontation with the aim of revealing a little more the translator activities of Alphonsus in light of poems from his most important interlocutor.

En composant le bestiaire de verlaine, nous avons eu le souci, non seulement de presenter l'ensemble de la faune poetique, mais aussi d'amener les lecteurs du poete a une nouvelle approche de son oeuvre. Le bestiaire presente d'abord(441p. ) un inventaire des termes animaux diversement utilises, avec recensement de leurs occurrences, ce qui constitue la premiere partie de la these en catalogue alphabetique,ou chaque terme fait l'objet d'une etude semantique, stylistique et symbolique. En partant de cette triple definition, si les occurrences sont nombreuses, nous les avons distribuees en categories logiques, efficaces, voire arbitraires, par souci de clarte. Le second volume(370p. ) est une etude thematique, issue du catalogue, ou les lignes de forces s'etablissent par associations semantiques, expressives ou symboliques, autour de 14 centres d'interet: les paysages, la femme, l'amour, dieu, etc. . . Ces themes aboutissent a une conclusion double, d'abord de psychobiographie restituant la personnalite de l'homme et du poete, ensuite de synthese sur l'originalite d'emploi des images animales
The composition of the bestiary-book of beasts-concerning verlaine's poetry is of interest not only in its description of the"fauna" but also in its contribution of a new approach to the work for the poet's readers. The bestiary begins with an inventory of"animal words" together with the number of occurrences of the word. The first volume(441p. ) of the thesis is therefore an alphabetical repertory where each word is analysed for its semantic, stylistic and symbolic value. Following this,when the word occurrence number is large, the occurrences are classified in logical, efficient and arbitrary categories with a view to providing improved comprehension and appreciation of images. The second volume(370 p. ) includes a thematic study drawn from the preceding inventory in vol. 1 where important subjects arise from semantic, expressive and symbolic grouping resulting in 14 points, landscape, woman, lov love, god, etc. . . These themes eventually lead to a twofold conclusion, one of a psychobiographic nature restoring verlaine's personality as a man and a poet, and the orher being a synthetic appreciation of the originality of verlaine's imagery

Le but de cette étude consiste à proposer une relecture de l'œuvre de Verlaine pour la comprendre dans sa globalité en tenant compte de l'ambiguïté que porte sa nature dialogique. L'expression d'un Moi, scindé, vaporisé, éclaté, ou délocalisé, qui engendre le dialogue impliquant plusieurs interlocuteurs, nécessite une réflexion sur la question de postures. L'hypothèse d'une ironie possible dans ces postures fournit des outils d'analyse qui expliqueraient la nature polyphonique de l'œuvre verlainienne. Cette étude se compose de trois parties. La première partie de ce travail exploite la notion du dialogue que le sujet verlainien semble prendre comme moyen effectif et stratégique pour destiner son discours simultanément à plusieurs destinataires. La deuxième partie se consacre à l'aspect polyphonique du lyrisme verlainien, au problème de l'identité du sujet en crise et à son rapport vis-à-vis de sa propre parole. Enfin, ce travail s'achève sur la mise en fonctionnement d'une nouvelle esthétique des "imageries", qui se met en place dans l'imaginaire des écrivains du 19e siècle, et qu'intègre la poétique du dialogue de Verlaine : le dialogue "à la manière de plusieurs" traduit l'effort de la recherche d'un nouveau langage poétique où s'effacent les frontières des diverses formes d'expression artistique, culturelle et générique
The aim of this research intends to propose a rereading of Verlaine's works which are often understood in the restricted sense of lyricism such as emphasis, expression of personal feelings and subjective sentimentalism. This study starts from the hypotheses proposed by Mikhaïl Bakhtine, the notion of dialogism in the discourse : every word (or discourse) dialogues with another word. Although Bakhtine applicates this notion to the genre of the novel, the modern nature of the lyrical subject requires the analysis from this viewpoint. The research is composed of three parts. In the first stage, the study consists in analysing dialogues that the poetic subject instutes. In the second part, the research is wholly devoted to the problem of the lyrical subject's identity and to his voice based on the polyphonic aspect. The last part concerns the problem of intertextuality and rewriting. The discourse "à la manière de plusieurs" ("according to several's way") indicates the effort to invente a new poetic language where the frontiers between several genres disappear

La prose et la poesie de verlaine se font l'echo de sa vie. D'aucuns pensent ou disent que c'est trop. Et cependant il est difficile de demeler l'echeveau du vecu et de l'imaginaire verlainien. Une perception tres personnelle des evenements nous inivte a nous interroger sur leur valeur et sur leur portee. Ni majeurs, ni mineurs, traites sur un meme plan d'egalite, ils mettent en evidence deux caracteristiques fondamentales pour l'esthetique verlainienne, l'instantaneite et l'ambivalence. La posture verlainienne vagabonde d'un ideal a l'autre. L'espace temps ainsi delimite nous donne la dimension de la conversion verlainienne. Quel que soit le domaine auquel on s'adresse - moral, religieux, amoureux ou politque -, l'ennui apparait comme le ressort essentiel de la volte-face. Chaque geste, chaque mouvement supporte un contre-poids. La contre-valeur s'exprime par une nausee qui met un terme a l'exces. Ainsi se manifeste pour une part la perversite verlainienne. Le discours dominant du dix-neuvieme siecle ne manque pas depingler ce genre de comportement. A partir de criteres morpho-physiologiques, certaines personnes ont repertorte les "troubles" verlainiens. Du comportement a l'ecriture, il est un pas que la critique litteraire de la fin de siecle a franchi aisement. Elle s'engouffre dans la breche ouverte par les tableaux cliniques des discours medicaux. Le gout pour la seriation l'emporte sans discernement; elle decele meme, au niveau du vers, les traces d'un dereglement physiologique
Verlaine's prose and poetry faithfully mirror his life. Some will think, or argue, that is going to much, it would, however, be virtually impossible to untangle the interwoven therads of verlaine's material and imaginative existence. His highly personnal perception of events invites reflection on their value and on their implications. Neither is of more or less weight than the other and examined on the same level, they reveal two fundamental facets of verlaine's aesthetics, spontaneity and ambivalence. Verlaine's outlook wandres from one ideal to another. The spatio-temporal scale of his wanderings reflects the scale of verlaine's conversion. Whatever the field addressed - moral, religious, sexual or political boredom - which, above all, seems to account for a change of view, his every gesture, and his every inclination seems to invite and incite some counter-mouvement. Excess in one direction culminates in a wave of revulsion as some opposing inclination wells up to displace it. This, im part, is the way in which verlaine's perversity expresses itself. The mainstream of 19tch century thought could scarcely fail to seize on such behavoiur. Some people have attempted to analyse verlaine's "troubles" in relation to physical and physiological characteristics

À travers l’expérience de Verlaine, cette thèse s’interroge sur la critique littéraire d’un écrivain. Les raisons d’être et les particularités formelles d’une production quotidienne d’un poète accédant graduellement à la notoriété sont étudiées en partant d’un panorama des définitions du phénomène (introduction). La triple analyse biographique, esthétique et discursive expose le lien étroit entre le contexte de production de la critique, les constructions théoriques qu’elle véhicule et les formes discursives qu’elle prend. La position marginale de Verlaine dans le champ littéraire prédétermine sa méfiance envers les mécanismes del’institutionnalisation, autant qu’envers les théories qui la justifient. D’où la faible conceptualisation théorique et le maniement contradictoire et décourageant des notions existantes. Les particularités de l’autoreprésentation (provocation, ethos faible) découlent également de sa position dans le champ littéraire et accompagnent l’abandon des théories prescriptives au profit d’une tolérance accrue. L’accent se déplace du domaine conceptuel vers le domaine discursif où se cultivent l’affectivité, l’expressivité, l’ironie qui rapprochent la critique de la création poétique, sans toutefois l’apparenter à la poésie en prose. Cette critique garde le caractère pragmatique d’élément de communication littéraire, son efficacité renforcée par certains traits de l’idiolecte (jeux de sonorités, métaphores, segmentation des phrases), dégagés de leur valeur poétique dans le nouveau contexte
Verlaine’s experience allows to question the phenomenon of writer criticism. The rationale and the formal qualities of the daily critical output of a poet acceding to celebrity are studied after an overview of the phenomenon’s definitions (introduction). The triple biographical, esthetic and discourse analysis reveals the tight bond between critical production context, theories used and form given to critical texts. Verlaine’s marginal position in the literary field predetermines his distrust of institutionalization mechanisms and oftheories justifying them resulting in low conceptualization as well as in contradictory and discouraging handling of existing notions. The particularities of self-representation (provocation, weak ethos) equally result from his position in the literary field and go along with abandoning prescriptive theories in the name of tolerance. The emphasis moves from the conceptual sphere to the discourse accentuating affectivity, expressivity and irony which bring it closer to poetical creativity but not so as to become prose poetry. This criticism does not loose its pragmatic turn inherent to literary communication, its efficiency being reinforcedby certain features of idiolect (play upon sounds, metaphors, segmentation of phrases), freed of their poetical value in the new context

La lecture d'un poème, signe patent du vécu du poète, peut procurer au lecteur une satisfaction essentiellemnt euphonique. L'analyse des plaisirs de l'écriture et de la lecture, indispensable à la compréhension plus générale du phénomène poétique, est entreprise dans les Romances sans paroles de Paul Verlaine à l'aide des "Equations poétiques" de Michel Gauthier. Celles-ci permettent de dégager les "règles" de composition de Verlaine et la mesure quantitative de l'auto-implication du poète dans son oeuvre. Après une réflexion théorique visant à légitimer la place de l'euphonie au sein de la linguistique et à élaborer une méthodologie poétique originale, l'analyse approfondie de chacun des vers (euphonie horizontale) et de chacun des poèmes (euphonie verticale) des quatre parties des romances sans paroles montre comment la dynamique euphonique aide à la compréhension sémantique. Une étude comparative des subdivisions du recueil fait ressortir ensuite une "totalité sonore", l'art poétique de Verlaine fortement auto-impliqué dans son recueil, comme le montre une approche (appuyée sur la philosophie du langage) de la force performative de celui-ci. Suivent, via le calcul statistique lexical, l'établissement de la liste des mots-thèmes et des mots-clés du recueil et la recherche d'éventuelles corrélations. La statistique des fréquences d'apparition des phonèmes et des diphonèmes permet de dégager l'importance du travail sur la langue qu'exige une production poétique d'une beauté "musicale" exceptionnelle. Après avoir lancé quelques pistes pour la poursuite de cette recherche, l'auteur termine son ouvrage par une bibliographie sélective sur la linguistique euphonique en général et sur l'euphonie verlainienne et dans les Romances sans paroles en particulier. Un tome annexe contient les analyses graphiques de tous les vers et de tous les poèmes du recueil analysé, toutes les notes et tous les documents utiles
Reading a poem, the obvious reflection of a poet's experience of life, can give the reader an essentially euphonic satisfaction. An analysis of the pleasures and satisfaction in writing and reading, which is essential to grasp the poetic phenomenon more widely, is being undertaken in "Romances sans paroles" (by Paul Verlaine) via Michel Gauthier's work "Equations poétiques". The latter enables us to bring out Verlaine's composing "rules" and to measure the extent of the poet's self-implication into his work. After a theoretical approach aiming at justifying the importance of euphony in linguistics as well as at working out an original poetic methodology, a more thorough analysis of each verse (horizontal euphony) and of each poem (vertical euphony) in each of the four parts of "Romances sans paroles" largely assists the semantic comprehension. Next, a comparative study of the subdivisions of the compilation brings out the "sound totality", Verlaine's poetic art being largely self-implicated into his compilation as demonstrated by a thorough study of the language philosophy of its performative force. Next, via the lexical and statistical calculation, comes a list of the theme-words and of the key-words as well as an investigation into possible correlations. The statistics concerning the frequency occurrence of the phonemes and the diphonemes enables us to emphasize the necessity of the poet's serious work on the language to achieve an exceptionaly musical and poetic production. After suggesting alternative directions allowing further investigations into this matter, the author ends his work with a critical bibliography of euphonic linguistics in general and of Verlaine's euphony in "Romances sans paroles" in particular. In an appendix you will find the graphical analysis of all the verses and of all the poems of the "target" compilation, all the notes and any further useful documents

L'œuvre verlainienne a déjà fait l'objet de nombreuses études littéraires. La visée de ce travail est l'étude stylistique des images dans le but de montrer l’originalité de l'esthétique verlainienne. Le traitement du langage figure permet des évaluations expressives appuyées sur les formes dominantes des images. La classification thématique révèle les pôles majeurs de l'univers du poète. L'étude des images se concentre sur le mode de production de la figure, son fonctionnement et sur les valeurs connotatives évoquées. On essaye en même temps de montrer l'évolution de l'esthétique des images à travers les recueils et leurs variantes dans le même recueil. La confrontation parallèle avec les images d'autres poètes du même courant essaie de montrer la particularité du langage verlainien dans la constellation symboliste. Elle met en lumière des affinités et des nuances communes qui unissent les symbolistes dans leur volonté de créer des correspondances entre l'univers sensible et l'âme. Apres une approche théorique de l'"image poétique" on aborde les figures reparties en domaines différents selon leur aspect sensible, concret ou abstrait. L’étude débute par les éléments sensibles des domaines terrestre, liquide, aérien, cosmique et lumineux, elle continue par les figures humaines et termine par les réalités abstraites
The works of Verlaine have constituted the object of numerous literary studies. The aim of this project is to study Verlaine’s imagery from a stylistic viewpoint, in order to demonstrate the originality of the poet's aesthetic concept. The use of figurative diction allows for expressive evaluations based on dominant forms of verlainian imagery. The thematic classification reveals the major poles of the poet's universe. The study of imagery is centered around the way figures are produced and their function, as well as on the evoked values of connotation. At the same time, an effort is made to manifest the evolution of the aesthetic dimension of images across Verlaine’s poetic collections and their variants in each of the collections individually. The parallel confrontation with the imagery created by other poets belonging to the same group as Verlaine is aimed towards a demonstration of the particularity of the poet's language within the constellation of symbolism. Its self-proposed target is to bring to light the common affinities and nuances uniting all symbolists in their desire to create corresponding links between the "sensible" universe and the human soul. After a theoretical approach of the "poetic image", the figures are categorized into different domains, according to their "sensible" aspect, concrete or abstract. First are studied the "sensible" elements of the terrestrial, aerial, cosmic, liquid or luminous domains, then the human forms and finally the abstract realities

RESUMO A sociedade atual vive em um contexto tumultuoso, sendo comum as pessoas viverem de forma mais estressadas, se alimentando mal e convivendo cada vez menos com as pessoas, perdendo oportunidades de fazer e manter relacionamentos pessoais. Como este estilo de vida está saturado, gerando problemas de saúde aos indivíduos, existem diversos estudos que comprovam a tendência de que as pessoas buscarão um melhor aproveitamento do seu tempo, com um maior contato com a natureza, dando valor ao seu próprio bem-estar, prestando mais atenção no que consome e em como consome, assim como a valorização do prazer de estar em um meio social. Nesse contexto, o objetivo deste trabalho é contribuir por meio da visão sistêmica e do design, o incentivo e a prática da filosofia Slow Food, e dessa forma, promover a preocupação com uma saudável forma de alimentação e a ação colaborativa entre as pessoas, em que um indivíduo possa cooperar com o outro, resgatando o convívio e socialização. Assim, pretende-se atuar em pequenas unidades urbanas externas, como prédios, condomínios, praças e avenidas com intuito de criação de um artefato que motive a prática dessa filosofia, assim como impulsione também as práticas colaborativas nestes locais, buscando a integração social e desenvolvimento econômico e ambiental, atendendo os princípios da sustentabilidade e o desenvolvimento local. O método de pesquisa usado é descritivo, em que se observou e analisou as situações e relações dos indivíduos, tanto de forma individual quanto as relações em sociedade. Os instrumentos escolhidos para coleta de dados foram o questionário, entrevistas e observações abertas, feitas informalmente ao decorrer das entrevistas. Neste trabalho integrou-se dois métodos de projeto, a ferramenta HCD/IDEO (Human Centered Design - Design Centrado no Ser Humano), usado como base, com técnicas para o entendimento dos desejos e necessidades da comunidade estudada e o Guia de projeto NASDesign/UFSC (Núcleo de Abordagem Sistêmica do Design/Universidade Federal de Santa Catarina), dividido em três fases: Sentir, Agir e Realizar, como complementação. Ao final, conclui-se que o modelo físico do produto proposto atende uma lista de requisitos divididos em três grande grupo: requisitos de produto, referentes à forma, materiais e texturas do objeto; requisitos do usuário, referente a necessidade entendida a partir do tipo de ambiente em que o produto está, e de como ele está sendo usado e aos requisitos do contexto de uso, que consiste nas necessidades do usuário observado durante a pesquisa.Palavras Chaves: design de produto, slow food, sustentabilidade. REFERÊNCIAS ANDRADE, Aurélio L. et al. 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