Charles Baudelaire Research Papers - Academia.edu (original) (raw)

This paper aims to challenge and complicate the increasingly ossified understanding of the influence of Baudelaire's The Painter of Modern Life over Manet's art in art historical scholarship. It does so by first, offering an exposition of... more

This paper aims to challenge and complicate the increasingly ossified understanding of the influence of Baudelaire's The Painter of Modern Life over Manet's art in art historical scholarship. It does so by first, offering an exposition of its deployment in studies of Manet as a framing device that both historicizes and interprets the painter's works, and second, by providing a close reading and critical reconstruction of three elements of the overlooked opening passage of Baudelaire's text--(1) the Louvre as process of ideological interpellation; (2) the Louvre as scene of the production, reproduction and experience of alienated labor; and (3) the relation of technologically reproducible images and the auratic value of the "masterpiece."

Chapter 8 of "The Cool Kawaii". Abstract: Like cool and kawaii, dandyism uses ironical forms of resistance to fight bourgeois society up to the point that it produces a cultural situation that comes close to New World Modernity. Cornel... more

Chapter 8 of "The Cool Kawaii". Abstract: Like cool and kawaii, dandyism uses ironical forms of resistance to fight bourgeois society up to the point that it produces a cultural situation that comes close to New World Modernity. Cornel West’s culture of alienation, combined with an eccentric pride derived from a past of oppression and the belief in a “decadent American civilization at the end of the twentieth century”, was anticipated by Baudelaire who wrote that “dandyism is the last spark of heroism within an age of decadence”

The article examines Edward Linley Sambourne’s cartoon series ‘Mr. Punch’s Designs After Nature’ which appeared in Punch from the late 1860s onwards. The images show women morphing into animals and birds, or wearing them as exaggerated... more

The article examines Edward Linley Sambourne’s cartoon series ‘Mr. Punch’s Designs After Nature’ which appeared in Punch from the late 1860s onwards. The images show women morphing into animals and birds, or wearing them as exaggerated forms of decoration. Some of the cartoons explicitly satirise specific fashion trends or silhouettes, whilst others poke fun at fashion generally. The author’s focus is on the iconography of ‘Mr. Punch’s Designs After Nature’, the real 1860s and 1870s fashions giving rise to these images' creation, as well as the visual and textual tradition of satire within which Sambourne’s cartoons can be situated. The article pays particular attention to the re-evaluation of the relationship between human and non-human in the light of Darwin’s ideas, and to the gender-related aspects of Sambourne’s zoomorphic images.

The final chapter of Philology of the Flesh investigates the work of the German poet Paul Celan. A consideration of his "Meridian" speech is shown to rehearse most of the themes discussed to this point. This thematic overview is then... more

The final chapter of Philology of the Flesh investigates the work of the German poet Paul Celan. A consideration of his "Meridian" speech is shown to rehearse most of the themes discussed to this point. This thematic overview is then interrogated and complicated by a reading of Celan's poem "Tenebrae." To conclude, the chapter examines Celan's provocative translations of Emily Dickinson.

Les musées d’écrivains, apparus au xixe siècle, sont aujourd’hui si nombreux qu’on en compte plusieurs pour Balzac, pour Sand et pour Hugo. Aucun, cependant, n’est consacré à Baudelaire, dont la reconnaissance littéraire tend pourtant à... more

Les musées d’écrivains, apparus au xixe siècle, sont aujourd’hui si nombreux qu’on en compte plusieurs pour Balzac, pour Sand et pour Hugo. Aucun, cependant, n’est consacré à Baudelaire, dont la reconnaissance littéraire tend pourtant à surpasser celle de ses contemporains. L’absence de musée Baudelaire, à laquelle plusieurs critiques ont tenté de remédier, a eu pour conséquence la multiplication de cultes locaux ou individuels. L’histoire des musées Baudelaire projetés, temporaires ou sauvages permet de mettre en évidence un désir partagé de patrimonialisation.

Quel lecteur d’aujourd’hui n’a jamais eu en main une anthologie ? Le présent volume − fruit du travail mené dans un séminaire du Centre de Recherche Interdisciplinaire sur les Modèles Esthétiques et Littéraires de l’Université de Reims... more

Quel lecteur d’aujourd’hui n’a jamais eu en main une anthologie ? Le présent volume − fruit du travail mené dans un séminaire du Centre de Recherche Interdisciplinaire sur les Modèles Esthétiques et Littéraires de l’Université de Reims (CRIMEL-EA 3311) − explore les facettes de cet objet pluriel qu’est l’anthologie. Au cœur des processus de transmission des textes, l'anthologie est partie prenante non seulement de la diffusion, mais également de la formation des modèles, qu’ils soient esthétiques, critiques, génériques, historiques, nationaux.
Les contributions ici réunies portent sur une large période, du Moyen Âge au XXIe siècle, pour interroger les phénomènes de lecture à l’œuvre dans cette forme, et pour dégager les principes de ce qu’on pourrait appeler une dynamique anthologique, puisque le geste anthologique dépasse largement le cadre des ouvrages qui portent ce titre. Au-delà des processus de conservation, de distinction, de légitimation et de hiérarchisation, l’anthologie a une dimension créative qui suppose aussi la participation du lecteur. Cette pratique éditoriale multiforme questionne ainsi la définition de la littérature et les modes de diffusion du savoir.

Many strategies for incorporating poetry into non-poetry classes, especially outside of English and associated disciplines, appear to make poetry subservient and secondary in relation to the prose content of the course. The poet under... more

Many strategies for incorporating poetry into non-poetry classes, especially outside of English and associated disciplines, appear to make poetry subservient and secondary in relation to the prose content of the course. The poet under consideration becomes a kind of involuntary servant to one or more prose authors, forced to “speak only when spoken to,” and effectively prevented from challenging the ideas of the course’s prose writers, and thereby the instructor. Fortunately, this is not the only strategy for incorporating poetry into prose-dominated courses. In this chapter, I will suggest an alternate approach which recognizes and facilitates the agency of poets and poetry per se, which I term “empowering poetic defiance.” In brief, this approach consists of the following four steps: (1) challenge one’s own poetic self-loathing (2) position the course’s poetry’s content to challenge the course’s non-poetic contents (3) position the course’s poetry’s forms to challenge your class’s non-poetic forms (4) comport oneself as interlocutor toward the poets featured in the course as the intellectual equals of oneself and the course’s prose writers. My first section will elaborate on these four steps, and my second section will flesh out the method further with a new reading of one of the most powerfully defiant poets in the Western canon, the nineteenth-century French Symbolist poet Charles Baudelaire, in dialogue with one of the most formidable challengers to the power of poetry, the eighteenth-century Prussian philosopher Immanuel Kant.

The relationship between Charles Baudelaire and his contemporary, the occult writer Eliphas Lévi, has long interested scholars. This essay argues that instead of fruitlessly looking for evidence of direct literary influence between the... more

The relationship between Charles Baudelaire and his contemporary, the occult writer Eliphas Lévi, has long interested scholars. This essay argues that instead of fruitlessly looking for evidence of direct literary influence between the two men, we should look on their writings as parallel texts exploring remarkably similar themes but to radically different ends. Both Lévi and Baudelaire wrote about the supposed mystical origins of language and were interested in the links between poetry and black magic-a means, in both cases, to conjure up past experiences or absent people. Baudelaire's poem "Un Fantôme" also explores the connection between memory and the occult concept of "lumière astrale," the mystical, unifying force that supposedly penetrated and connected all Creation. Although Baudelaire's writing looked to such occult ideas as potential antidotes to the fragmentation and transience of existence, he saw that they were ultimately marked by a fatal and quintessentially modern irony: Although ideas akin to Levi's may have offered the semblance of plenitude and happiness in their transcendence of daily existence, they also, by definition, held such feelings out of reach in an eternally irretrievable past.

The flâneur is an urban type who first emerges in early nineteenth-century Paris. As classically understood, he is a wanderer in and voyeur of the modern city, who observes the spectacle of urban life while strolling the streets at his... more

The flâneur is an urban type who first emerges in early nineteenth-century Paris. As classically understood, he is a wanderer in and voyeur of the modern city, who observes the spectacle of urban life while strolling the streets at his leisure. This encyclopedia entry gives a historical and conceptual overview of this figure, from its origins up to the present.

Nacido en 1821 y fallecido en 1867, fue un poeta, crítico de arte y traductor francés. Paul Verlaine lo incluyó entre los »poetas malditos», debido a su vida de bohemia y excesos, y a la visión del mal que impregna su obra. Barbey... more

Nacido en 1821 y fallecido en 1867, fue un poeta, crítico de arte y traductor francés. Paul Verlaine lo incluyó entre los »poetas malditos», debido a su vida de bohemia y excesos, y a la visión del mal que impregna su obra. Barbey d'Aurevilly dijo que fue el »Dante de una época decadente».

I vivaci studi italiani degli scritti di Benjamin sulla poesia di Baudelaire (editi da Solmi nel 1962) hanno spesso trascurato l’importanza di allargare la propria prospettiva all’edizione francese del 1974 (Payot), contenente tre... more

I vivaci studi italiani degli scritti di Benjamin sulla poesia di Baudelaire (editi da Solmi nel 1962) hanno spesso trascurato l’importanza di allargare la propria prospettiva all’edizione francese del 1974 (Payot), contenente tre importanti saggi noti in Germania dalla fine degli anni ’60. Poiché tali testi sono stati finalmente tradotti in italiano solo nel 2006 (Einaudi) e ripubblicati nel 2012 in un’edizione più articolata (Neri Pozza), ci proponiamo di rilanciare un nostro studio a partire dalla versione italiana, per mostrare come essi gettino le basi della sociologia materialista della letteratura di Benjamin, ancora insufficientemente esplorata. Formatasi proprio muovendo dalla pratica traduttiva dei Quadri parigini, essa ha analizzato il ruolo della bohème, del flâneur e della modernità nell’eroismo lirico di Baudelaire all’apogeo del capitalismo.

En este trabajo se pretende abordar la compleja figura de Salvador Dalí en relación con las artes y sus diferentes manifestaciones. Así como las analogías con otros artistas de su tiempo. En el trabajo se compara las miradas de este... more

En este trabajo se pretende abordar la compleja figura de Salvador Dalí en relación con las artes y sus diferentes manifestaciones. Así como las analogías con otros artistas de su tiempo. En el trabajo se compara las miradas de este artista y Charles Baudelaire con respecto a la mujer en general, contraponiéndose la visión de pasión y pureza.

The heart of Turrell’s work is the Roden Crater, out in Arizona. François Jonquet met the artist at his ranch, in the Painted Desert, and visited the Crater, this work which he is constantly sculpting and developing. He reports on this... more

The heart of Turrell’s work is the Roden Crater, out in Arizona. François Jonquet met the artist at his ranch, in the Painted Desert, and visited the Crater, this work which he is constantly sculpting and developing. He reports on this vertiginous experience

RÉSUMÉ – L’impossibilité d’être un poète lyrique, au sens romantique du terme, est inscrite au cœur même du projet du Spleen de Paris. Une telle impossibilité préside au choix de la poésie en prose, qui n’était pas un genre établi dans... more

RÉSUMÉ – L’impossibilité d’être un poète lyrique, au sens romantique du terme, est inscrite au cœur même du projet du Spleen de Paris. Une telle impossibilité préside au choix de la poésie en prose, qui n’était pas un genre établi dans les années 1850-1860, et permet de comprendre pourquoi le poète pastiche et détourne les modalités propres à l’expression lyrique, par divers procédés que cette étude s’applique à dégager. Ce faisant, Baudelaire prend le risque de ne plus être lyrique, pour pouvoir l’être encore.

This study explores the ways in which Honoré Daumier introduced the spectacle into his satiric urban scenes. I argue that Daumier conceptualized the public sphere as a site for daily urban spectacles, using satire as a means to represent... more

This study explores the ways in which Honoré Daumier introduced the spectacle into his satiric urban scenes. I argue that Daumier conceptualized the public sphere as a site for daily urban spectacles, using satire as a means to represent them and at the same time nurture the very mechanism through which they operated by publishing his caricatures in the satirical press, which circulated them publicly. By doing so, Daumier actively contributed to the spectacularization of reality. My paper analyzes a number of representative caricatures in which Daumier described spectators in the public sphere. First, I discuss the emergence of the figure of the spectator in Daumier's caricatures. Second, I demonstrate how Daumier created spectacles by placing spectators in the streets of Paris to observe mundane events. Finally, I attempt to unravel the performative function of the spectator’s gaze in Daumier’s caricatures, and to show how the gaze became a dynamic means that created the satirical content of his caricatures. Specifically, I focus on cases where Daumier manipulated the gaze and disrupted its normal performance, thus undermining the essential logic of urban spectatorship.

This article discusses the ways in which Auguste Rodin came to associate the poetical universes of the Divine Comedy and Les Fleurs du Mal. It concentrates par- ticularly on the original edition that the bibliophile Paul Gallimard... more

This article discusses the ways in which Auguste Rodin came to associate the poetical universes of the Divine Comedy and Les Fleurs du Mal. It concentrates par- ticularly on the original edition that the bibliophile Paul Gallimard commissioned to Rodin, the different drawing techniques Rodin used, and the ways in which he drew on former sculptures for his monumental and unfinished Gates of Hell. It goes on to examine several drawings – Une charogne, La Béatrice and Les Bijoux – that embody a peculiar link to Baudelaire's poetry.

With his uncompleted Paris Spleen, whose writing was interrupted by illness and a soon coming death, Baudelaire made a last attempt to reflect upon the situation of the artist in society of the Second Empire, “in the age of high... more

With his uncompleted Paris Spleen, whose writing was interrupted by illness and a soon coming death, Baudelaire made a last attempt to reflect upon the situation of the artist in society of the Second Empire, “in the age of high capitalism”, to quote the famous – but also problematic, as we will see – phrase by Walter Benjamin’s. Following Marc Berdet’s proposal, what Baudelaire did in his prose poems could be compared to a ragman’s work, the poet collecting wastes of the Napoleonian Paris to reveal the true face of the society he is living in. But metaphorical rags of the 19th century are not only objects, places or monuments, they are also people living on the margins of society, and especially female figures as comedians, prostitutes, lesbians, black women, freaks, whose shadows haunt the Paris of Baudelaire – which will lead us to reevaluate women’s role in his work.

Em O Pintor da Vida Moderna, Baudelaire faz uma abordagem ao conceito de beleza do passado artístico transmitido pelos grandes mestres da pintura, como um marco interessante pelo seu valor histórico, mas também como uma ruptura dos... more

Em O Pintor da Vida Moderna, Baudelaire faz uma abordagem ao conceito de beleza do passado artístico transmitido pelos grandes mestres da pintura, como um marco interessante pelo seu valor histórico, mas também como uma ruptura dos padrões da antiguidade clássica. Referindo--se ao belo moderno presente na sociedade parisiense do séc. XIX, Baudelaire traduz este "novo estar" como um tempo que se consome a si próprio. É precisamente nesse ponto que ele defende o artista da vida moderna como aquele que consegue reinventar esse novo paradigma do modernismo através da auto--consciência desse presente.

Between 1859 and 1860, Charles Baudelaire penned “The Painter of Modern Life.” His essay is an extended series of observations on the emergence of modernity in what was at the time contemporary society for Baudelaire. Nearly 150 years... more

The purpose of this work is to comprehend the importance and scope of chance in the poetry of Mallarmé. In order to do that, we will proceed according to a three-pronged approach; recompose the political, poetic and philosophical context... more

The purpose of this work is to comprehend the importance and scope of chance in the poetry of Mallarmé. In order to do that, we will proceed according to a three-pronged approach; recompose the political, poetic and philosophical context that made possible the emergence and establishment of chance as an event both revolutionary, creative and conceptual. Since Baudelaire, poetry sings the failed revolutions, but willing to preserve the desire for a different world. Chance in this context is the unpredictable bursts, lightning and transient of a desire that can not find its place within the social life, to keep alive and vivid the dream of a different world, poetry must: provide evidence that its action, even restricted, counts; make last chance doomed to fade, constituting a space where it can remain, multiply itself and thus find the consistency to remain. Prolonging a contingency that creates novelty is the task that Mallarmé attributes to his poetry. Philosophically, this approach requires a radical critique of reason and representation. In this context, Mallarmé has not only announced chance, but he sought to discover the logic of what escapes from reason composing a work capable of making real, visible and intelligible, the unpredictable and inexhaustible power that chance grips.

Μία πολύπλευρη ερμηνευτική προσέγγιση του ποιήματος "Σαν δέσμη από τριαντάφυλλα", του Κ. Γ. Καρυωτάκη, με βασικό γνώμονα την ισχυρή επίδραση του παρακμιακού κοινωνικοπολιτικού οικοδομήματος της μεσοπολεμικής εποχής, στον εύθραυστο ψυχισμό... more

Μία πολύπλευρη ερμηνευτική προσέγγιση του ποιήματος "Σαν δέσμη από τριαντάφυλλα", του Κ. Γ. Καρυωτάκη, με βασικό γνώμονα την ισχυρή επίδραση του παρακμιακού κοινωνικοπολιτικού οικοδομήματος της μεσοπολεμικής εποχής, στον εύθραυστο ψυχισμό του μελαγχολικού διανοούμενου. Το στίγμα αυτής της δυσμενούς επίδρασης διοχετεύεται στον ποιητικό λόγο, μετατρέποντας κάθε δυνάμει θετικό σύμβολο σε φορέα καταστροφολογίας και απαισιοδοξίας.

Breve recensão ao texto de Baudelaire.....

Analyse du poème "L'Âme du Vin" publié dans l'oeuvre "Les Fleurs du Mal" (1857) de Charles Baudelaire.

Este ensayo estudia la obra poética de Charles Baudelaire en relación con la modernidad y su visión de París, al igual que su concepción del arte, la alquimia, las correspondencias, la naturaleza, entre otros elementos fundamentales de su... more

Este ensayo estudia la obra poética de Charles Baudelaire en relación con la modernidad y su visión de París, al igual que su concepción del arte, la alquimia, las correspondencias, la naturaleza, entre otros elementos fundamentales de su poesía, vinculándolos con la obra de Michel Foucault y Hugo Friedrich.

Wiener Slawistischer Almanach. Bd. 93. 2017. p 133–145.

Per Baudelaire la liricità, sia essa da intendersi in poesia, o in prosa, è sinonimo di brevità. Nel 1862, venti componimenti di Baudelaire, dal titolo Petits Poëmes en prose sono pubblicati ne La Presse. Se sono note le esitazioni del... more

Per Baudelaire la liricità, sia essa da intendersi in poesia, o in prosa, è sinonimo di brevità. Nel 1862, venti componimenti di Baudelaire, dal titolo Petits Poëmes en prose sono pubblicati ne La Presse. Se sono note le esitazioni del poeta riguardo al titolo della futura raccolta, è interessante notare che l’espressione menzionata, in cui è tematizzata la brevità (petits) della forma scelta (poëme en prose), appare principalmente nei titoli delle pubblicazioni sui periodici, dal 1862 al 1864. Ancora nel 1866 Baudelaire parlava di Petits poèmes lycanthropes, tralasciando dunque l’indicazione del genere (il poema in prosa) per insistere piuttosto sulla forma succinta, sullo stile epigrammatico.
La brevità è dunque un valore, paragonabile a quell’effetto di “concentration” che Baudelaire intende come necessaria qualità del genio letterario (Fusées, IV e XVII). La forma breve s’impone dunque come nuovo idéal da raggiungere fin dalla prefazione a A. Houssaye (“mon cher ami, je vous envoie un petit ouvrage”). In questo sforzo si coniugano, paradossalmente e magistralmente, due istanze: anzitutto la poesia della città moderna (cfr. Le spleen de Paris, l’altro titolo della raccolta), la quale impone la rapidità nella fruizione dei singoli componimenti. In essa è altresì visibile la vena antiromantica di Baudelaire, che aborre la prolissità della prosa di G. Sand. In secondo luogo, in alcuni poemetti Baudelaire sembra ereditare tutta quella cultura da salon, dalla maxime alla pointe, per rigenerarla nella forma breve del poème-boutade.
Alla luce delle considerazioni contenute nei diari Fusées e Mon cœur mis à nu, ci proponiamo di indagare come la poetica di alcuni Petits poèmes en prose possa generare precise strutture retoriche, finalizzate alla brevità, coerenti con il loro contenuto ideologico.

PENDAHULUAN Puisi adalah salah satu genre sastra yang dikenal dan cukup digemari di beberapa kalangan masyarakat dunia. Puisi memiliki bahasa yang lebih padat dan indah. Selain itu, pemaknaan dalam puisi adalah multi tafsir. Istilah "... more

PENDAHULUAN Puisi adalah salah satu genre sastra yang dikenal dan cukup digemari di beberapa kalangan masyarakat dunia. Puisi memiliki bahasa yang lebih padat dan indah. Selain itu, pemaknaan dalam puisi adalah multi tafsir. Istilah " puisi " seringkali disamakan dengan " sajak ". Akan tetapi, keduanya tidak sama, puisi merupakan jenis sastra yang melingkupi sajak, sedangkan sajak adalah individu puisi. Dalam bahasa Perancis, istilah puisi adalah poésie dan sajak adalah poème. Larousse (1933:796) mendefinisikan puisi sebagai berikut: Une poésie est l'art de combiner les sonorités, les rythmes, les mots d'une langue révoquer des images suggérer des sensations, des émotions. Puisi adalah seni dalam mengkombinasikan suara, irama, kata dalam bahasa untuk menghidupkan khayalan, ingatan kesan, luapan perasaan. Pada masa kini, secara etimologis makna puisi telah menyempit, yaitu merupakan hasil seni sastra yang kata-katanya disusun menurut syarat tertentu dengan menggunakan irama, sajak, dan kata kiasan. Bellefonds (1993:789) mengungkapkan bahwa " Un poème est un texte poétique en vers ou en prose; Puisi adalah kalimat puitis dalam bait atau prosa " Selain itu, puisi selalu berubah-ubah sesuai dengan evolusi selera dan perubahan konsep estetiknya (Riffaterre via Pradopo, 2005:3). Dalam pemaknaan terhadap sebuah puisi dapat dikaji dengan beberapa pendekatan salah satunya yaitu secara semiotik mengingat bahasa dalam puisi mengandung tanda yang menyimpang dari arti sebenarnya atau semantik, multi makna dan bahasa kias. Maka dari itu diperlukan pengkajian puisi guna memperoleh kesatuan makna secara utuh dari suatu puisi.

The ubiquitous din of Paris’s street hawkers, known as the cris de Paris or the “cries of Paris,” has captured the Parisian imagination since the Middle Ages. During the 1850s and 1860s, however, urban demolition severely disturbed the... more

The ubiquitous din of Paris’s street hawkers, known as the cris de Paris or the “cries of Paris,” has captured the Parisian imagination since the Middle Ages. During the 1850s and 1860s, however, urban demolition severely disturbed the everyday rhythms of street commerce. The proliferation of books, poetry, and musical works featuring the cris de Paris circa 1860 reveals that many in the Parisian literary community feared the eventual disappearance of the city’s iconic sights and sounds. These nostalgia discourses transpired into broader criticism of Georges-Eugène Haussmann and the discriminatory mode of urbanism that he practiced. Haussmannization irrevocably altered the Parisian soundscape by displacing, policing, and thus silencing the working-class communities that made their living with their voices. As an ideological device, nostalgia offered a counternarrative to Second Empire ideas of progress by suggesting that urbanization would vanquish any remaining image of what came to be known as le vieux Paris. An analysis of Jean-Georges Kastner’s symphonic cantata Les cris de Paris (1857) shows how representations of the urban soundscape articulated a distinctly Parisian notion of modernity: a skirmish between a utopian “capital of the nineteenth century” and a romanticized Old City.