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Journal articles on the topic 'Paul Verlaine'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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1

Torre, Esteban. "Unamuno y Verlaine: música y verso." Rhythmica. Revista Española de Métrica Comparada, no. 16 (February 20, 2019): 189. http://dx.doi.org/10.5944/rhythmica.23928.

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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.

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2

Richter, Mario. "Paul Verlaine, Sagesse." Studi Francesi, no. 151 (LI | I) (April 1, 2007): 205–6. http://dx.doi.org/10.4000/studifrancesi.26673.

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3

Richter, Mario. "Paul Verlaine, Correspondance générale." Studi Francesi, no. 148 (XLX | I) (April 1, 2006): 185. http://dx.doi.org/10.4000/studifrancesi.30631.

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4

Dufour, Philippe. "Naïveté de Paul Verlaine." L'information littéraire Vol. 60, no. 1 (March 1, 2008): 51–58. http://dx.doi.org/10.3917/inli.601.0051.

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5

Richter, Mario. "Paul Verlaine, Poëmes saturniens." Studi Francesi, no. 156 (LII | III) (December 1, 2008): 692. http://dx.doi.org/10.4000/studifrancesi.8687.

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6

Holmes, A. "PAUL VERLAINE: Poemes saturniens." French Studies 63, no. 2 (April 1, 2009): 222–23. http://dx.doi.org/10.1093/fs/knp026.

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7

Merello, Ida. "Paul Verlaine, Romances sans paroles." Studi Francesi, no. 142 (XLVIII | I) (July 1, 2004): 215. http://dx.doi.org/10.4000/studifrancesi.41051.

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8

Richter, Mario. "Paul Verlaine, Romances sans paroles." Studi Francesi, no. 151 (LI | I) (April 1, 2007): 206. http://dx.doi.org/10.4000/studifrancesi.26676.

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9

Ustinovskaya, A. A. "Literary Translation as a Polemic Manifestation of Program Mindsets of Silver Age Trends (translations by V. Bryusov and N. Gumilyov)." Nauchnyi dialog, no. 6 (June 29, 2020): 320–32. http://dx.doi.org/10.24224/2227-1295-2020-6-320-332.

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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.

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10

Pakenham, Michael. "Hombres by Paul Verlaine, Steve Murphy." Modern Language Review 102, no. 1 (2007): 239–40. http://dx.doi.org/10.1353/mlr.2007.0238.

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11

Turner, John R. G. "Two Religious Poems by Paul Verlaine." Comparative Critical Studies 9, supplement (October 2012): 80–83. http://dx.doi.org/10.3366/ccs.2012.0081.

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12

MURPHY, S. B. "Review. Paul Verlaine. Bivort, Olivier (ed.)." French Studies 52, no. 4 (October 1, 1998): 480. http://dx.doi.org/10.1093/fs/52.4.480.

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13

Misnikevich, Tatiana Vladimirovna. "«…LITERALLY, TO RECREATE IN ANOTHER LANGUAGE»: CONCERNING THE SPECIFICS OF THE TRANSLATION STYLE OF FYODOR SOLOGUB." Russkaya literatura 4 (2021): 123–29. http://dx.doi.org/10.31860/0131-6095-2021-4-123-129.

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The article considers the specifi c features of the translation style of the greatest symbolist poet Fyodor Sologub (1863–1927), who was one of the best translators of the French Modernists, primarily Paul Verlaine, into Russian. The analysis of various versions of the translation of Verlaine’s poem «Bruxelles. Simples Fresques. I» demonstrates how Sologub was searching for the best way to render the rhythm, phonics, vocabulary, fi gurative structure of the original, achieving «accuracy» in the rendition of a particular level of the text, yet sometimes failing to preserve its main semantic dominant.

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14

English, Alan. "'Romances sans paroles' suivi de 'Cellulairement' by Paul Verlaine, and: Jadis et nagure by Paul Verlaine." Modern Language Review 107, no. 4 (2012): 1261–62. http://dx.doi.org/10.1353/mlr.2012.0063.

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15

CHADWICK, C. "Review. Paul Verlaine en Ardennes. Croquis, lettres et poemes ardennais de Paul Verlaine. Etudes et notes de Pierre Petitfils, et al. Verlaine." French Studies 41, no. 2 (April 1, 1987): 225. http://dx.doi.org/10.1093/fs/41.2.225.

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16

Johnson, Julian. "Present Absence: Debussy, Song, and the Art of (Dis)appearing." 19th-Century Music 40, no. 3 (2017): 239–56. http://dx.doi.org/10.1525/ncm.2017.40.3.239.

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Debussy's early song settings of Théodore de Banville and Paul Bourget foreground the Romantic topic by which the singing voice revokes lost presence. The closed aesthetic space of music becomes, in these songs, the space of the nocturnal garden in which the souls of lovers merge with the containing landscape. But Debussy's fascination with the poetry of Paul Verlaine, over a period of twenty-two years from 1882 to 1904, juxtaposes such evocations of intense sensuous presence with songs of alienated absence and ironic distance. The poems Debussy set from Verlaine's Fêtes galantes (1869) provoke both kinds of song, the latter embodied through the shadowy figures of the commedia dell'arte. In the case of two such poems, “En sourdine” and “Clair de lune,” Debussy produced two different settings of the same text, ten years apart. The usual account is that these show the composer's progression from Romantic lyricism to a more sophisticated but withdrawn style, a development paralleled by a biographical story moving from his youthful passion for the dedicatee of the early songs, Marie-Blanche Vasnier, to the breakdown of his first marriage in 1904. But neither the stylistic nor the biographical narrative provides an adequate account of the Verlaine songs, and both miss their exploration of the economy of desire at the heart of the piano song.

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17

Popovic, Pierre. "Les deux « arts poétiques » de Paul Verlaine." Études françaises 29, no. 3 (1993): 103. http://dx.doi.org/10.7202/035921ar.

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18

Pakenham, Michael. "Pour une correspondance générale de Paul Verlaine." Cahiers de l'Association internationale des études francaises 43, no. 1 (1991): 301–14. http://dx.doi.org/10.3406/caief.1991.1769.

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19

De Villena, Luis Antonio. ""Responso" / Glosa entre Verlaine y Darío." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 7-8 (June 27, 2021): 429–34. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.19977-85645.

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Cuando muere Verlaine, Rubén Darío escribe un poema en homemje a su maestro muerto (1896). Pero no se limita al habitual poema-panegírico. Darío -el lujoso Darío de Prosas profanas- evoca al sátiro Paul Verlaine para identificarse con su mundo y con su vida. Y así Responso (es el tema de este estudio) se convierte en una psicografía espléndida que define y ahonda en los mundos -exaltados, tenebrosos y luminosos- de ambos poetas. Simbolistas de tono mayor, magníficos creadores que, como todos los grandes, buscaron tradición y rebelión -avance- al mismo tiempo.

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20

Schmigalle, Günther. "Darío, Nordau, Verlaine: génesis y estructura de "Los Raros"." Anales de Literatura Hispanoamericana 49 (December 18, 2020): 117–23. http://dx.doi.org/10.5209/alhi.73112.

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Tanto la génesis como la estructura de Los Raros de Rubén Darío se aprecian mejor si se tiene presente que el poeta redactó los diversos artículos que conforman la obra como polémicas implícitas contra el famoso libro Degeneración de Max Nordau. Al mismo tiempo, en Los Raros Darío sigue el ejemplo de Paul Verlaine, quien exaltó a sus autores más admirados en su libro Les Poètes maudits. Al margen de nuestro análisis, sin querer queriendo, tropezamos con algunos aspectos desconocidos de la vida de Verlaine en el verano de 1893

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21

Merello, Ida. "Paul Verlaine, Romances sans paroles, suivi de Cellulairement." Studi Francesi, no. 165 (LV | III) (December 1, 2011): 665. http://dx.doi.org/10.4000/studifrancesi.5090.

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22

Plâa, Monique. "Paul Verlaine : un modèle imaginé par R. Dario." America 33, no. 1 (2005): 251–60. http://dx.doi.org/10.3406/ameri.2005.1730.

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23

Fernández, Teodosio. "Rubén Darío y su homenaje a Paul Verlaine." Anales de Literatura Española, no. 28 (December 15, 2016): 85. http://dx.doi.org/10.14198/aleua.2016.28.05.

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Al morir Paul Verlaine, a principios de 1896, Rubén Darío escribió el famoso “Responso” incluido después en su libro Prosas profanas y otros poemas. Con la intención de expresar sus deseos de paz para el cuerpo y el espíritu del admirado poeta fallecido, Darío elaboró una de sus creaciones más complejas, conjugando las referencias a la cultura grecolatina con las imágenes en las que él mismo había plasmado su visión de los escritores y artistas decadentes o malditos, los “raros” que por entonces ejercían sobre él una atracción irresistible y atormentada a la vez.

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24

Chirico, David. "The death of Paul Verlaine in Czech literature." French Cultural Studies 11, no. 33 (October 2000): 319–33. http://dx.doi.org/10.1177/095715580001103303.

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25

Misnikevich, T. V. "«The First» or «The Failure»: On the Impact of the Translation of "Le ciel est, par-dessus le toit…" by Paul Verlaine on the Creative Career of Fyodor Sologub." Russkaya literatura 4 (2020): 234–40. http://dx.doi.org/10.31860/0131-6095-2020-4-234-240.

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The article analyses the translation of the poem "Le ciel est, par-dessus le toit..." by Paul Verlaine (collection Sagesse (Wisdom), 1880), which marked the beginning of Fyodor Sologub’s career as one of the most successful Russian translators of the French poet’s verse. The creative history of the translation is reconstructed, using the data from the Sologub Archive that document the history of the emergence of various versions of his text. Presumable reasons why the attention of Sologub the translator was attracted by this poem by Verlaine are considered in the context of Sologub’s original work.

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26

Vaillant, Sylvie. "La politique de santé à l'université Paul Verlaine-Metz." Santé Publique 22, no. 2 (2010): 239. http://dx.doi.org/10.3917/spub.102.0239.

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27

Riddell, Fraser. "Disembodied Vocal Innocence: John Addington Symonds, the Victorian Chorister, and Queer Musical Consumption." Victorian Literature and Culture 48, no. 3 (2020): 485–517. http://dx.doi.org/10.1017/s1060150319000020.

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In the early 1890s, both John Addington Symonds and Arthur Symons were fascinated by Paul Verlaine's sonnet “Parsifal” (1886)—in particular, by its final line, which dwells on the voices of singing children. Symonds enthused to Symons that it was “a line [to] treasure forever,” while, nevertheless, noting his reservations to Horatio Forbes Brown that “fine as it is, [it] looks like it […] must be rather of the sickly school.” In an article on Verlaine, Symons praised the poem as a “triumph [of] amazing virtuosity,” echoing the sentiments of his friend George Moore, who in Confessions of a Young Man (1886) exclaimed that he “kn[ew] of no more perfect thing than this sonnet.” With its repetition of assonant vowel sounds, Verlaine's closing line captures the gentle rise heavenward of the ethereal voices of Richard Wagner's offstage choristers, resounding above the stage at the conclusion of the opera. The hiatus with which the line opens functions as a sigh of renunciation, as the listeners abandon themselves to the inexpressible force of the transcendent. In Verlaine's sonnet, these children's voices become the epitome of the “disembodied voice” that Symons sees as so characteristic of Decadent poetics. They sing of the delicate immateriality of spiritual experience, the transient fragility of existence.

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28

Le Fourn, Jean-Yves. "Arthur Rimbaud et Paul Verlaine. Les « Des-Astres » de l’Amour." Imaginaire & Inconscient 42, no. 2 (2018): 33. http://dx.doi.org/10.3917/imin.042.0033.

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29

Verine, Bertrand. "Un exemple d'actualisation textuelle en idem : « Walcourt » de Paul Verlaine." L Information Grammaticale 77, no. 1 (1998): 38–42. http://dx.doi.org/10.3406/igram.1998.2874.

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30

Гармаш, Людмила Вікторівна. "ПОЕЗІЯ ФЕДОРА СОЛОГУБА І ФРАНЦУЗЬКИЙ СИМВОЛІЗМ." Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 1, no. 99 (2021): 7–25. http://dx.doi.org/10.34142/2312-1076.2022.1.99.01.

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The article is devoted to a comparative analysis of the lyrics of Fyodor Sologub and his predecessors, French symbolist poets Paul Verlaine and Charles Baudelaire. The poetry of Sologub is considered in the context of the main provisions of symbolist aesthetics, set forth in the theoretical works of Jean Moréas and lectures of Dmitry Merezhkovsky. Fyodor Sologub became interested in poetry of the French Symbolists at the end of the 1880s and did not stop thereafter. The first significant poet for the Russian symbolist was Paul Verlaine, whose poems were so consonant with Sologub’s worldview that the latter considered them as an organic part of his work. The picturesqueness and musicality of Verlaine's poems, his methods of suggestion, mystical irony, as well as the highest level of verification became for Sologub a starting point and one of the most important guidelines in his work. Sologub enters into a poetic dialogue with Charles Baudelaire. The undertaken comparative analysis of their poems showed that, having common aesthetic features, aims and values (the idea of correspondences, the opposition of the sacred and profane worlds, the aestheticization of the ugly and death, the desire for infinity, theomachism, etc.) and using similar poetic techniques (cyclization, associations, suggestion, grammatical constructions, sound writing, etc.), each poet, however, creates a unique artistic world. In our opinion, the main thing that is the fundamental difference between Baudelaire’s worldview platform and Sologub’s position is the possibility (for Baudelaire) or impossibility (for Sologub) of liberating a person from an illusory and deceitful material world, in which a person is doomed to suffering, and achieving the desired Ideal. In other words, Baudelaire asks the reader riddles, the answer to which is difficult to find, but possible, and Sologub puts the reader face to face with the mystery of the universe, where each new answer is not final and produces more and more new questions.

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31

Komlós, Katalin. "“Il pleure dans mon coeur”: Verlaine, Debussy, Kodály." Studia Musicologica 58, no. 3-4 (December 2017): 321–27. http://dx.doi.org/10.1556/6.2017.58.3-4.2.

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The poetry of Paul Verlaine inspired several songs by Debussy. Il pleure dans mon coeur is no. 2 in the cycle Ariettes oubliées. The same poem is used as a motto for a short piano piece by Zoltán Kodály: no. 3 in the Seven Pieces for Piano, op. 11 (Esik a városban). The paper describes the madrigalesque word painting of Kodály’s composition on the one hand, and analyzes the modes of its melodic material on the other. In a broader context, the influence of French art (the music of Debussy in particular) on the artistic development of the young Kodály is discussed, as well as the two composers’ mutual estimation of each other.

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32

Schreiber, Tilman. "Paul Verlaine und die Rezeption der französischen Moderne in der DDR." Germanica, no. 59 (December 30, 2016): 135–42. http://dx.doi.org/10.4000/germanica.3490.

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33

Malherbe, Michel. "Analyse euphonique et stylistique des Romances sans paroles de Paul Verlaine." L Information Grammaticale 40, no. 1 (1989): 35–38. http://dx.doi.org/10.3406/igram.1989.2020.

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34

Jitrik, Noé. "Lirismo-narratividad. Reflexiones a partir del poema “Colloque sentimental” de Paul Verlaine." Acta poética 43, no. 2 (July 17, 2022): 147–52. http://dx.doi.org/10.19130/iifl.ap.2022.2.178x270s8.

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This essay explores the thin boundaries of genres in Paul Verlaine’s poem “Colloque sentimental”, where the theatrical, the lyrical, and the narrative coexist. Of these three terms, the lyrical is the most elusive, which beyond its musical substratum, would be related to the expressive side, the accent placed on the poetic subject, the extreme subjectivation and the tendency to self-representation, the varied world of explicit feelings, a singular atmosphere, something similar to a “soft” world, traversed by the exaltation of the “other”, and all the expressive consequences that these considerations have in poetry.

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35

Bagno, Vsevolod E., and Tatiana V. Misnikevich. "Rivals in Symbolism." Literary Fact, no. 19 (2021): 253–67. http://dx.doi.org/10.22455/2541-8297-2021-19-253-267.

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The article examines the reception of Western European modernism in Russia in the late 19 th — early 20th centuries, with the emphasis on the phenomenon of the “crooked mirror” of a different nation perception, which not only endows the work of a foreign author with new functions, but sometimes also gives it a new scale (as with Byron, Zola, some of whose novels were published in Russian translation earlier than in the original in France, the Parnassian poet Jose Maria de Heredia, who received real fame in Russia, in contrast to the very short recognition in his homeland). The subject of the analysis is the texts that are maximally indicative and convincing for the stated topic, above all the translations from Paul Verlaine by Fyodor Sologub, who, along with Bryusov, opened the French poet to the Russian reader, and his original poems, created in the course of and largely as a result of work on translations. The systematization of observations on specific texts makes it possible to conclude that Russian Symbolists, adhering to sometimes opposite views on art, relying on the authority of Baudelaire and Verlaine who are perceived in France more as predecessors of Symbolism than its representatives, walked alongside them, never meeting along the way, but recognizing the “other” as “equal”.

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36

Kozłowski, Krzysztof. "Wiersz o jesieni. O Frantzu François Ozona." Przestrzenie Teorii, no. 32 (March 15, 2019): 77–92. http://dx.doi.org/10.14746/pt.2019.32.3.

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Kozłowski Krzysztof, Wiersz o jesieni. O Frantzu François Ozona [A Poem on Autumn. Frantz by François Ozon]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 77–92. ISSN 1644-6763. DOI 10.14746/pt.2019.32.3. The film Broken Lullaby ([1932] Ernst Lubitsch) and the novel L’Homme que j’ai tué ([1921, 1925, 1930] Maurice Rostand) are seen to be the main inspirations for Frantz (2016) by François Ozon. On the basis of methodology broadly understood as the concept of bringing into relief (Domański, 1992, 2002), this article aims to demonstrate the means by which the French director expanded upon the literary-film material, imbuing it with a totally singular meaning. Ozon’s inventiveness did notlimit itself to transformations typical for adaptations, but ventured towards feature film understood as a synthetic work of art that by exploiting the audiovisual properties of the medium itself, acts as a unifying force of poetry (Verlaine, Banville), music (Chopin, Debussy) and painting (Manet). The famous poem recited by the heroine, Ann, Chanson d’automne (Paul Verlaine), serves as the analytical starting point for the above. It is thus used as a pivot for the entire film, a veritable lodestarfor guiding motifs, allowing important aspects of the film to be highlighted and consequently, bring its main theme to the fore.

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37

Pérez-Sánchez, Yolanda. "Rituales de distinción del artista moderno: flânerie, dandismo y bohemia." Arte, Individuo y Sociedad 34, no. 3 (April 21, 2022): 1051–67. http://dx.doi.org/10.5209/aris.76590.

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Este texto analiza tres actitudes con las que el artista moderno, a modo de ritual, expresó públicamente sus signos de distinción en el París decimonónico: la flânerie, el dandismo y la bohemia. Estas actitudes lo distinguen en el escenario de una metrópoli tomada por las masas y la burguesía en la que el artista se identifica, principalmente, con el flâneur, figura clave de la modernidad que inaugura un nuevo tipo de mirada sobre una ciudad que, a su vez, lo observa. Así lo exponen tempranamente Georg Simmel, Walter Benjamin o Siegfried Kracauer, además del propio Charles Baudelaire, epítome del artista moderno y de un modo de vida continuado por célebres del “malditismo” como Paul Verlaine y Arthur Rimbaud. El análisis de estas actitudes se ilustra con algunas obras litográficas, fundamentalmente de Honoré Daumier y Paul Gavarni, cuya perspectiva aguda y sarcástica revela algunos de los rasgos claves de la vida metropolitana y de sus tipos más característicos.

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38

Yunisty, Icha Priliskha, Nurul Hayana, and Yuliarti Mutiarsih. "Gaya Bahasa Asonansi dan Aliterasi pada Antologi Puisi Romances Sans Paroles." Nusa: Jurnal Ilmu Bahasa dan Sastra 15, no. 3 (August 30, 2020): 395–408. http://dx.doi.org/10.14710/nusa.15.3.395-408.

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This research aims to explain the analysis figure of speech of assonance et alliteration in poems anthology by Paul Verlaine. The research questions discussed in this research are how the assonance and the alliteration found in those poems by focusing on the repetition of vowels and consonants phonemes in an array. The method used in this research is descriptive-qualitative, by analyzing data contained in the poetry anthology Romances Sans Paroles in the form of sentences. The repetition of phonemes both assonance and alliteration was encountered 137 times. 61 assonances and 76 alliterations were found. The data is dominated by the phoneme [R] which is a type of vibrating shear consonant that found 11 times.

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39

Darde, Augusto. ""RESTER VIVANT", DE MICHEL HOUELLEBECQ: UMA ATUALIZAÇÃO DO POETA MALDITO." Non Plus, no. 9 (December 23, 2016): 103–23. http://dx.doi.org/10.11606/issn.2316-3976.v0i9p103-123.

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A maldição literária não é uma exclusividade do tempo dos Poetas malditos; trata-se de um discurso convencional em literatura, atualizado por Paul Verlaine em seu Poètes maudits, texto que inscreve o termo na história literária. O presente trabalho busca expor os elementos que fundamentam esse importante mito de poeta do final do século XIX francês, partindo dos primeiros mitos da poesia moderna. Em seguida, trarei a figura de poeta apresentada no método Rester vivant, de Michel Houellebecq, propondo uma comparação com seus antecessores do século XIX. Assim, em um percurso de diferentes mitologias, formadas por contextos políticos e culturais distintos, creio ser possível reconhecer algumas heranças mitológicas que estimulam a reflexão sobre a importância do gênero poético.

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40

Verlaine, Paul. "Intermède : Extrait de Paul Verlaine (1890) Clair de Lune in Poèmes Saturniens, éditions Messin." Imaginaire & Inconscient 26, no. 2 (2010): 45. http://dx.doi.org/10.3917/imin.026.0045.

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Holmes, A. "`Sagesse', `Amour', `Bonheur' de Paul Verlaine. By Michel Viegnes. Paris, Gallimard, 1998. 208 pp." French Studies 54, no. 2 (April 1, 2000): 238–39. http://dx.doi.org/10.1093/fs/54.2.238.

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Bigun, Olga. "Narrative Strategy of Paul Verlaine’s Prose Poems." Journal of Vasyl Stefanyk Precarpathian National University 8, no. 2 (June 2, 2022): 92–99. http://dx.doi.org/10.15330/jpnu.8.2.92-99.

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The article analyses historical and genetic origins of the genre of prose poem. It singles out the genus-genre syncretism of prose poem, the foundation of which lies in the intertwining and interpenetration of epic, dramatic and lyrical principles, "overlapping" of different modifications. The material under study is represented by a collection of prose poems by Paul Verlaine Les mémoires d'un veuf. The aim of the article is to study the narrative peculiarities of a prose poem given the syncretic nature of the genre, and its delivery, which allows to analyze artistic works from the standpoint of their composition and structure. According to the internal genre-style dominant, three forms of narrative modeling are distinguished: a narrative with the predominance of epic-realistic elements, a narrative with the predominance of lyrical-impressionistic elements and dramatization of the narrative. According to its plot-compositional structure works of the epic-realistic block can be divided into two categories: the first one is determined by the dominance of the linear principle of the beginning, the second one is characterized by the fragmentary principle of composition with the increased aestheticization and intellectualization, in-depth psychological insights, and appeal to “eternal themes”. The works of the lyrical-impressionist model include an internal psychologized plot, attention to feelings and changes in emotional states, as well as stylistic syncretism. The lyrical semantics of the work is closely connected with the position of the lyrical character, personal author's experience. The entire plot of the poem is centered on the inner world of the poetic lyrical character; therefore, it is not the work itself that conveys the plot line but the character’s emotional experiences do that. It is the ability to express a particular feeling, a state without adhering to the plot line that becomes decisive for the dramatized type of story.

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Gomes Cavalcante, Cristovam Bruno, and Adalberto Luis Vicente. "MELANCOLIA EM POÈMES SATURNIENS." Miscelânea: Revista de Literatura e Vida Social 23 (September 12, 2018): 113–33. http://dx.doi.org/10.5016/msc.v23i0.1162.

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A partir dos apontamentos feitos por Jean Starobinski (2014, 2016), por Julia Kristeva (1989) e por Moacyr Scliar (2003) sobre o chamado sentimento ou temperamento melancólico, termo genérico usado para designar vários estados de disposições anímicas disfóricas, este estudo pretende analisar, por meio da presença de alguns elementos imagéticos sugeridos por esses estudiosos, como o humor melancólico se formaliza na obra Poèmes saturniens, do autor francês Paul Verlaine, nome emblemático para o Decadentismo e o Simbolismo francês. A partir da busca pela identificação de traços na expressão poética que remetam ao tema, verificar-se-á se a caracterização da poética verlainiana como melancólica pela história literária é justificável. Assim, será possível também compreender como essa poética dialoga com a estética romântica, que, sobremaneira, é marcada pela nostalgia e, por vezes, pela negatividade.

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TAYLOR-HORREX, S. "Review. Review. Memoires de ma vie. Preface et notes par Michael Pakenham. Verlaine, Ex-Madame Paul." French Studies 47, no. 4 (October 1, 1993): 485. http://dx.doi.org/10.1093/fs/47.4.485.

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Ricieri, Francine. "Crótons, haydéias, amorfófalas e súcubos: imagens do feminino entre decadentes ..." O Eixo e a Roda: Revista de Literatura Brasileira 17 (December 31, 2008): 45–57. http://dx.doi.org/10.17851/2358-9787.17.0.45-57.

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O presente texto realiza breve levantamento das convergências entre imagens por meio das quais se estabelecem as parcerias femininas dos sujeitos poéticos configurados em versos de poetas brasileiros de fins do século 19, em que se manifestam procedimentos técnicos e formais, bem como recorrênciastemáticas ou imagéticas usualmente identificados às tendências simbolistas e/ ou decadentes em poesia. A partir de uma amostragem de poemas (de Cruz e Sousa, Bernardino Lopes, Alphonsus de Guimaraens, Maranhão Sobrinho e Emiliano Perneta) pretendem-se analisar algumas das aproximações que se poderiam realizar entre as imagens do feminino e a configuração de um sujeito poético que se autorrepresenta, bem como ao fazer poético, a partir de alguns traços que se podem relacionar ao termo malditos, desde a obra de 1883, de Paul Verlaine (Les poètes maudits), convertido em categoria críticade análise e categorização de um determinado grupo de escritores, na França e fora dela.

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Dianina, Katia. "Museum and Society in Imperial Russia: An Introduction." Slavic Review 67, no. 4 (2008): 907–11. http://dx.doi.org/10.1017/s0037677900018180.

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At the turn of the twentieth century, European critics who were distressed about contemporary developments in the fine arts tended to use medical, psychopathological terms to diagnose the existing state of the field. In 1892-1893, an Austrian physician and writer, Max Nordau, publishedEntartung(Degeneration). Drawing on positivist psychology and anthropometry, Nordau expressed his pessimistic views on the mental and physical health of the leading figures of European fin-de-siécle culture: Friedrich Nietzsche, Paul Verlaine, the impressionists, the symbolists, and many others. In Russia this book went into nine editions, in three different translations. The patriarch of Russian liberal-nationalist criticism, Vladimir Stasov applied Nordau's metaphors to Russian “decadent” artists in such reviews as “Podvorl'e prokazhennykh” (Lepers’ inn, 1899) or “Dve dekadentskie vystavki” (Two decadent exhibitions, 1903). He sarcastically remarked that, when viewing canvases by some contemporary painters, he felt as though he were “walking amidst a madhouse.”

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Кихней, Любовь Геннадьевна, and Алена Александровна Устиновская. "«SUR L’HERBE» BY VERLAINE IN SOLOGUB’S AND BRYUSOV’S TRANSLATIONS: TO THE PROBLEM OF STYLISTIC INNOVATIONS IN RUSSIAN SYMBOLISM." Вестник Тверского государственного университета. Серия: Филология, no. 3(66) (November 6, 2020): 50–57. http://dx.doi.org/10.26456/vtfilol/2020.3.050.

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Статья посвящена сравнительному анализу двух переводов стихотворения Поля Верлена «На траве», выполненных русскими поэтами Ф.К. Сологубом и В.Я. Брюсовым. Оригинальный текст воплощает в себе принципы импрессионизма, которые были по-разному переданы и поняты двумя переводчиками - в ключе их собственных стилистических поисков русского символизма. The article is devoted to a comparative analysis of two translations of Paul Verlaine’s poem «On the Grass», made by Russian poets F.K. Sologub and V.Ya. Bryusov. The original text embodies the principles of impressionism, which were transmitted and understood in different ways by the two translators - in the vein of their own stylistic innovations characteristic for the Russian symbolism.

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Scott, Clive. "Paul Verlaine: A Bilingual Selection of his Verse. Translated by Samuel N. Rosenberg. Edited by Nicolas Valazza." French Studies 74, no. 4 (October 1, 2020): 635. http://dx.doi.org/10.1093/fs/knaa174.

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Ní Riordáin, Jeanna. "‘Victor Hugo, the Irish ‘Misérables, and Fenian women in the nineteenth-century’." Boolean: Snapshots of Doctoral Research at University College Cork, no. 2015 (January 1, 2015): 131–35. http://dx.doi.org/10.33178/boolean.2015.27.

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When W.B. Yeats first met Maud Gonne, he told her of his ambition to be an ‘Irish Victor Hugo.’ Indeed the influence of France’s greatest national poet on Yeats appears to have been profound and lasting. In his youth Yeats claims to have read Hugo’s entire works, he quotes frequently form Hugo, and he spoke of Hugo at his meeting with the French poet Paul Verlaine in Paris. While the leader of French Romanticisim no doubt very pleasingly appealed to Yeats’ literary sensibilities, his political humanism, and his somewhat outlandish spiritual beliefs, the links between France’s greatest national icon and Ireland are in fact far greater than has ever been acknowledged. This article seeks to explore Hugo’s little-acknowledged, though decisive role as a spokesperson for the Irish ‘Misérables’ during the nineteenth-century. As well as examining Hugo’s much-overlooked support for the plight of the irish, this article will move on to ...

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Halchuk, Oksana. "Tragic fool of French literature as a topos of identity (from Victor Hugo and Paul Verlaine artistic experience)." Synopsis: Text Context Media 26, no. 3 (2020): 73–83. http://dx.doi.org/10.28925/311-259x.2020.3.1.

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The symbol, as an archetype with inexhaustible meanings, remains a relevant object of scientific research. Especially when it comes to symbols used by different national cultures. One of such symbols, an image of the tragic fool, is quite favoured by the writers of romanticism and the turn of the twentieth century. A general interest in their artistic and aesthetic systems, the multiplicity of interpretations of archsymbols, and the specifics of their authorial and national manifestations in literature determine the relevance of this study. The subject of the study is the specifics of the image of the tragic fool in the works the French writers iconic for romanticism (Victor Hugo) and symbolism (Paul Verlaine). Historical and literary, comparative and typological, archetypal scientific methods are used in the work. Their potential made it possible to consider the functioning peculiarities of the image of a tragic fool through the prism of identity. The broad context of this problem made it possible to solve several objectives: to outline the origins of the image; determine the factors of its actualization in the romanticism and modernism works; and analyze the authors’ versions of interpretation. Herein is the novelty of the study. The results of the study are as follows: in French literature of romanticism and symbolism — given such a common ideological and artistic basis for their aesthetics as individualism — in Hugo’s romance the tragic fool is a grotesque mark of the era, a symbol of unresolved complex social problems. In contrast, the symbolist Verlaine perceives the tragic fool an alter ego of the contemporary artist in particular and a man of the era in general, giving preference to aesthetic and philosophical priorities over social. The high potential of the autobiographical content of the image of the tragic fool is a peculiar feature of the modernist interpretation. He functions both as a lyrical hero and a mask of an autolyrical character. In literary mystifications, it is a character under a double mask. In the artist’s chosen strategy of realization of the life scenario, this symbol is expressed in the form of feigned asociality, épater le bourgeois, primitivism as an imitation of creativity, self-parody. Further studies are promising; the image of the tragic fool in various national literatures is a common tool for writers to mockingly demonstrate the “interior” of the social and world order. At the same time, the tragic accent of this image lies in the tradition to perceive one’s work as a manifesto of “hateful love” for one’s time, homeland, and the world.

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