Le Comte de Lautreamont (Isidore Ducasse) Research Papers (original) (raw)

- by
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- Maurice Blanchot, Le Comte de Lautreamont (Isidore Ducasse)

A alquimia literária de António Maria Lisboa no seu processo criativo surrealista.

- by Joana Lima
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- Surrealism, Literary Theory, Portuguese Literature, Contemporary Poetry

This paper explores Walter Benjamin’s relationship with French Surrealism from sources rarely studied or practically unknown until now. First, I will set out the direct link between the theses on “profane illumination” and the “organization of pessimism” in Der Sürrealismus. Die letzte Momentaufnahme der europäischen Intelligenz, and various texts by Pierre Naville, one of the most active figures in the Surrealist movement between 1925 and 1929. Second, I will consider Benjamin’s commentaries in Pariser Passagen and convolute “S” of the Passagen-Werk about Surrealist writings and Martin Heidegger’s Sein und Zeit, flagging up the implications of this confrontation for Benjamin’s ideas of secularization of mysticism and messianism. Lastly, I will seek to refine the meaning of Benjamin’s “anthropological materialism” and its relevance to those sections of the Passagenarbeit that are dedicated to the evolution of social movements since the French Revolution.

- by Ricardo Ibarlucía
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- German Studies, French Literature, Aesthetics, Romanticism

« Le Vertige des marges ou le Roman-poème en question », Maxime Decout & Sylvain Dournel (dir.)

- by Jérémie Majorel
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- Maurice Blanchot, Novel, Le Comte de Lautreamont (Isidore Ducasse), Poésie

On the noble jester, the ecclesiastical sickness of schadenfreude, and the Nietzschean-Bataillean philosophy of laughter.

This thesis explores the relationship between Marcel Duchamp’s oeuvre and the texts of the Comte de Lautréamont, arguing that the author’s works comprise an overlooked and undervalued source of interest and ideas for the artist. Scholars have done an extraordinary job of documenting and analyzing a number of Duchamp’s literary sources and inspirations. Their work has elucidated the roles of Raymond Roussel, Alfred Jarry, Stéphane Mallarmé, Jules Laforgue, and Jean-Pierre Brisset, among others, for Duchamp. The work of Lautréamont, however, has received proportionally little attention, despite several indications of its importance for the artist. Among the few who have proposed such a connection, none have yet offered a broadly documented or sustained argument. Other historians, generally working under the premise that Lautréamont only came to Duchamp’s attention by way of the Surrealists, have explicitly rejected the possibility that the Uruguayan-French poet had any meaningful position in Duchamp’s library prior to the Surrealist championing of the author. This thesis proposes otherwise, making the case that Lautréamont was more fundamentally important to Duchamp than yet realized. Historical documents as well as statements by the artist himself and those closest to him suggest a stronger engagement by Duchamp with the works of Lautréamont than has been previously proposed. This relationship seems to have begun by as early as 1912, well in advance of the Surrealists’ discovery of the author, and it lasted throughout Duchamp’s life. Furthermore, an examination of Duchamp’s body of work demonstrates a number of strategic and thematic resonances between artist and author that reinforce what the archival evidence suggests. These resonances should be understood as open readings, rather than exclusive readings. They are proposed as additions to the existing constellation of understanding of Duchamp’s oeuvre, rather than as foreclosures upon other ways of reading Duchamp’s body of work.

- by Tracy McNulty
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- Mathematics, Gilles Deleuze, Alain Badiou, Formalization

An exploration of the indeterminacy of the visual works of Claude Cahun and her refusal to be categorised. Cahun's ambivalent critiques of colonialism, fascism, capitalism, traditional art and literary practices, surrealism, gender and... more

- by Sarah Cliff
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- Self and Identity, Art Theory, Contemporary Art, Surrealism

This thesis proposes an intellectual biography of Raoul Vaneigem (1934-Present). Vaneigem was a member of the Situationist International (SI) between 1961 and 1970. Today the SI is widely recognised as one of the significant avant-garde groups to have contributed to the historical events that shook France in May 1968. Most people will have come to Vaneigem through his Traité de savoir-vivre à l’usage des jeunes générations (1967), which he wrote as a member of the SI and was published just months before the largest wildcat strike in French history. Vaneigem is therefore of interest from a cultural history or history of ideas perspective because his work embodies both a political moment and because it emerged out of debates that are still informing contemporary theory. Moreover, Vaneigem is something of an anomaly in that he has always worked outside and against intellectual and political institutions, he comes from a working-class background and he has lived the great majority of his life in the province of Hainaut, the old industrial heartland of Belgium, where he was born. This makes Vaneigem an outsider in a world that has ostensibly been dominated by the Parisian intellectual elite.
More often than not Vaneigem has been dismissed, even vilified, by academics interested in the Situationist International. This is all the more surprising given that his Situationist comrade Guy Debord (1931-1994) has become a cause célèbre among the intellectual left since his death, igniting a veritable publishing industry in France and the English-speaking world. The intention of this thesis is not an attempt to earn Vaneigem the dubious acclaim that has feted Guy Debord these past decades. Rather, it endeavours to contextualise, clarify and bring out the complexity of the life and work of Raoul Vaneigem, making him the focus of a critical commentary that will reassess his place in the field.

- by Alastair Hemmens
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- Critical Theory, Social Movements, Working Classes, Surrealism

BA Thesis, University of Notre Dame, 2012

In this paper we provide a new solution to the nihilist dilemma of non-being's precedence over being. Starting from proponents of nihilism like Arthur Schopenhauer, Friedrich Nietzsche and Emil Cioran, we move to the anti-systemic "war machine" of Romanian-French poet Gherasim Luca, who inspired by anarchistic theoreticians and Symbolist poets, asserted that only direct and concrete action could harass and sabotage the hegemonic power. His poem, Tragedies Which Are Meant To Happen is not only an important text of Romanian surrealist poetry, but also a page of the modern history of anarchistic philosophy.

- by Stefan Bolea
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- Poetry, Anarchism, Friedrich Nietzsche, Schopenhauer

La poética de Alejandra Pizarnik circunscribe la impronta del autor de Los cantos de Maldoror y de Poesías, Isidore Ducasse, conde de Lautréamont, un cometa negro en la literatura hispanoamericana. Rubén Darío dio a conocer su producción en Los Raros; retomó del crítico Léon Bloy juzgar al poeta de blasfemo y alienado, sin dejar de reconocer su genialidad. Tras la advertencia–invitación de Darío, Leopoldo Lugones escribió la primera referencia intertextual de Lautréamont en su poema «Metempsicosis». Autores y artistas advertirían la presencia de Los cantos de Maldoror en Hispanoamérica a través de Darío y en Europa a partir de su redescubrimiento por André Breton. El influjo de estas vanguardias se percibe en la creación de Alejandra Pizarnik: la evocación
de la figura de Maldoror comienza en sus diarios y se agudiza en Extracción de la piedra de locura, El infierno musical y Textos de sombra. En contigua tesis, concibió a La condesa sangrienta, de Valentine Penrose, como su ideal poético y el deseo por la reescritura de Los cantos de Maldoror como una obsesión.

Remy de Gourmont (1858-1915) est une figure littéraire majeure, à la fois poète, romancier, journaliste multipliant les collaborations aux périodiques, essayiste infatigable et prolifique. Son œuvre demeure toujours aussi pertinente par... more

- by Vincent GOGIBU and +1
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- Art Nouveau, Marcel Duchamp, Le Comte de Lautreamont (Isidore Ducasse), Remy de Gourmont

Programa del II Congreso Internacional de Literatura Francesa y Francófona, Coloquio Internacional Montevideana X y XXXI Jornadas de la Asociación Argentina de Literatura Francesa y Francófona.

La literatura de Isidore Ducasse está atravesada por los saberes que han monopolizado el conocimiento científico del siglo XIX. Sin embargo, probablemente sea la matemática la que se erige como una fuente inagotable de conocimiento a partir de su búsqueda o domesticación del infinito. Ahora bien, esto no pretende anular o abrogar este problema matemático de envergadura filosófica, sino subrayar el rol activo de la literatura para aprehender, interrogar y proyectar el conocimiento científico sobre el entramado cultural y epistemológico. Por este motivo, el presente artículo pretende analizar la influencia de la matemática en Ducasse, la metáfora del mar como signo del infinito y la mirada poética que discurre entre lo discreto y lo continuo bajo el signo de Proteo.

Cet article porte sur les œuvres du Comte de Lautréamont (Isidore-Lucien Ducasse), d’Arthur Rimbaud et d’Alfred Jarry. Les trois proposent une approche inédite de la figure du monstre, qui devient un paradigme de l’écriture : à la fois le principe de l’architecture du texte et la manifestation de la présence de l’auteur. En plus, la figure de monstre, impliquant l’idée de la métamorphose, permet à lier l’œuvre littéraire à l’univers du théâtre. Ainsi s’interrogeant sur la fonction du monstre et de monstrueux chez Lautréamont, Rimbaud et Jarry, cette intervention demande de montre comment le texte littéraire peut devenir l’espace spectaculaire au profit de son créateur.

Dans Les Chants de Maldoror, la figuration est paradoxalement indexée sur un principe de défiguration : les déscriptions littéraires de violences exercées contre des corps se présentent sur un plan métafictionnel comme revers d’une violence esthétique exercée contre la forme en tant que telle. De cette façon, la (dé-)figuration devient un processus à la fois créateur et destructeur, soit un perpétuel travail sur les formes au profit d’une émergence de l ’informe.
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In Les Chants de Maldoror, figuration is paradoxically linked to a principle of disfigurement: the literary descriptions of violence against bodies appear on a metafictional level as the flipside of an aesthetic violence exerted against form itself. In this way, (dis)figuration becomes a process that is both creative and destructive, a perpetual work on forms in favor of the emergence of the formless.

- by Christoph Groß
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- French Literature, Aesthetics, Violence, Literature
- by Jaime Brenes Reyes
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- Rubén Darío, Le Comte de Lautreamont (Isidore Ducasse), Poesía, Modernismo

In 1939 Gaston Bachelard published a book Lautréamont on the poem The Songs of Maldoror (Les Chants de Maldoror) by Isidore Ducasse. Bachelard’s Lautréamont was inspired by the method of psychoanalysis. The purpose of this article is to analyze Bachelard’s interpretation of the Chants, to compare his version of psychoanalysis with the versions of Freud and Jung, and to show its meaning in the historical and philosophical context.

- by Maxime Decout
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- French Literature, English Literature, Literature, Intertextuality And Plagiarism

This book explores the nature of artistic and literary imagination, creativity, aesthetic experience, and genius, while offering a critique of the post-structuralist assault on transcendent values. This involves distinguishing between the aesthetics of art and the sociology of art, a subject addressed in Part 1. In Part 2, the principal arguments by major thinkers, such as Pierre Bourdieu, Norman Bryson, Jacques Derrida, Terry Eagleton, Stanley Fish, Michel Foucault, Paul de Man, Edward Said, Barbara Herrnstein Smith, and Hayden White, are subjected to an analytical critique.

- by Richard Etlin
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- Discourse Analysis, Religion, Philosophy, Kant

En varios y diversos textos, Federico García Lorca (1898–1936) hace mención explícita a la obra de Isidore Ducasse (1846–1870). Ya sea en el texto breve “Monasterio de Silos” (Impresiones y paisajes, 1918), en su célebre conferencia “Teoría y juego del duende” (1933) o en su “Presentación de Pablo Neruda” (c. 1934), en la que habla del “uruguayo y nunca francés Conde de Lautréamont”, su presencia, siempre bajo el seudónimo con el que se publicaron los Cantos de Maldoror, es sostenida.
Aunque todo parece indicar que su conocimiento viene de la mano de Rubén Darío y Los raros (1896), generalmente se ha buscado la marca de Lautréamont en los textos “surrealistas” de Lorca (sobre todo los de Poeta en Nueva York), privilegiando así la visión bretoniana de la poética de Ducasse. En esta delimitación se pierde, consecuentemente, mucho de la lectura de García Lorca, que estuvo más mediada por la experiencia hispánica de recepción de la obra y figura del Conde, primero a través de Darío, que no lo leyó, luego de Salvador Dalí y más tarde de Pablo Neruda, uno de los principales reivindicadores de su origen latinoamericano. Este trabajo se propone estudiar ese complejo trasiego sin perjuicio de las críticas mencionadas, pero buscando otras conexiones.

La Rencontre est un des thèmes-phares de la littérature, à l'origine de bien des récits, comme l'a montré Jean Rousset. Mais que se passe-t-il lorsque la rencontre est ratée ? La rencontre n'est-elle que celle des personnages ? Repenser la rencontre par delà la scène-clé inaugurale du récit, tel est l’objet du colloque qui s’est tenu à Lille 3 en 2012, dont cette publication constitue les actes. Partant d’une définition que Milan Kundera donne de la rencontre, « étincelle, éclair, hasard », les contributions proposent de réinterroger la notion de rencontre en littérature : rencontre stylistique (comme la métaphore), rencontre de textes sous forme d’intertextualité, de La Princesse de Clèves à Hiroshima mon amour, de Max Broch à Vila-Matas, cet ouvrage propose de sortir des sentiers battus et de nous interroger sur les représentations sociales de la rencontre amoureuse, représentations dont nous serions peut-être parfois les victimes…

- by Juliette Lormier
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- Literary Stylistics, Poetics, Intertextuality, Marcel Proust

European Network of Comparative Literary Studies (REELC/ENCLS) 6th Biennial Congress. Organised in collaboration with CLAI (Comparative Literature Association of Ireland) Themes: “Longing and Belonging” Places: Dublin City University... more

European Network of Comparative Literary Studies (REELC/ENCLS) 6th Biennial Congress. Organised in collaboration with CLAI (Comparative Literature Association of Ireland)
Themes: “Longing and Belonging”
Places: Dublin City University and National University of Ireland, Galway
Dates: 24-28 August 2015

- by Brigitte Le Juez
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- Creative Writing, Fiction Writing, American Literature, Mythology And Folklore

Si le Mal comprend entre autres la signification de la destruction et de la négativité, le texte lautréamontien, un texte omnivore qui s’élabore et croît en se nourrissant de la vie des autres textes, pourrait en incarner l’exemple par excellence. Ce texte hétérogène, en s’appropriant une telle absorbation dévoratrice, avance une conception novatrice du texte et de l’écriture, et exige une nouvelle lecture, qualifiée de périlleuse, dont le présupposé est le discrédit des notions tels la création et l’auteur. Pour expliquer le mécanisme complet de ce texte dont a été assez démontré le côté subversif, la présente étude se réfère aux idées du formalisme russe et de Jauss portant sur l’évolution littéraire. Mais ce mouvement négatif reste incomplet, voire stérile, sans sa contrepartie qui met plutôt l’accent sur l’idée du Bien qui ne pourrait être ni nommée ni pensée sans celle du Mal qui la précède. En exploitant largement la parodie, ce texte textophage et autophage, après avoir extra...