Resistance and persistence: on the fortunes and reciprocal international influences of French romanticism

Resistance and Persistence: On the Fortunes and Reciprocal International Influences of French Romanticism Abstract This article addresses ambivalence toward Romanticism on the part of Romantic artists and writers active in France - a group that includes Heinrich Heine, Eugène Delacroix, Alfred de Musset and Théophile Gautier. In counterpoint, the argument sets forth the persistence of the Romantic legacy in the work of the ostensibly anti-Romantic Gustave Courbet. I contend that the unease of Romantics vis-à-vis Romanticism is inseparable from their quixotic quest to transgress convention; that, in the face of negation and ridicule, signal characteristics of the movement endured, affecting the outlook of even its most bitter enemies (e.g., the Catholic royalist writers associated with the paper L'Action française and their admirer, the London art critic and philosopher T.E. Hulme); that, in the art of Van Gogh and Rodin, new life was breathed into Romanticism through contact with its ostensible opposite, Realism; and that Romanticism continued to speak to the concerns of artists active long after the mid-nineteenth century. I conclude with a consideration of how the negative view of Romantic pathos fostered by twentieth-century Formalism has been challenged, since the 1950s, by revisionist art historians

Stéphane Michaud, Les tremblements de la beauté

L’A. studia il concetto di «beauté tremblante […]» (p. 952) attraverso l’opera di Jean Paul Richter, Goethe, Hoffmann, Heine e Hölderlin, autori la cui poetica influenzò dapprima Baudelaire e, in epoca più recente, Pierre Jean Jouve, Yves Bonnefoy e Michel Deguy. Michaud mette quindi in luce il rapporto Baudelaire/Nietzsche da un lato e Baudelaire/Jouve-Bonnefoy dall’altro, per concludere che, secondo Claude Pichois, editore di Baudelaire per la Biblioteca della Pléiade, questa particolare id..

Baudelaire hors de lui, «Littérature», n. 177

In gran parte omaggio al filosofo e poeta Michel Deguy, questo numero di «Littérature» vuole avere come tema unificante, di natura prevalentemente biografica, la collericità di Baudelaire. Il fascicolo prende le mosse da un’intervista fatta il 16 dicembre 2014 a Michel Deguy e Pierre Pachet da parte di Laurent Jenny, Marielle Macé e Matthieu Vernet (questi due ultimi sono i presentatori e curatori del numero). Michel Deguy è l’autore del recente libro La Pietà Baudelaire (2012), Pierre Pachet..

Pierre Laforgue, Politiques de Baudelaire. Huit études

In questa raccolta di saggi quasi tutti inediti, Pierre Laforgue ritorna sul rapporto fra Baudelaire e la politica, già messo in luce nel 2002 con Baudelaire dépolitiqué e sulla sistematica «déshistorisation» che la lettura dell’opera di Baudelaire ha subìto per far posto a interpretazioni che tendono a sottrarre Les Fleurs du Mal alle sue radici romantiche e alle sue implicazioni politiche e a consegnarlo tutto intero al «surnaturalisme» e alla modernità. «L’austère filiation du romantisme» ..

The "song triptych": reflections on a Debussyan genre

Debussy composed eight sets of three songs between 1891 and 1913. Containing almost all the mélodies of these years, the series tracks his development from post-Wagnerian maturity to ‘late’ style.While we have several fine readings of individual songs, the distinctive ‘triptych’ form of the Debussyan ‘song cycle’ has received little focused analytical attention. One reason might be glimpsed in Susan Youens’s assertion that these little cycles are not as ‘musically unified as [those] of Schubert, Schumann or Mahler’. Indeed the few existing studies of these tripartite sets generally emphasize textual links over musical ones, often in service of a narrowly ‘narrative’ sense of unity.In this paper, I take a fresh look at the various kinds of textual and musical unity on view in this distinctly Debussyan genre. I begin with a contextual glance into visual culture of the time, which saw a striking revival of interest in painted or printed triptychs. Then, in testing how such ‘painterly’ orientation can qualify our sense of multi-part literary and musical form,I outline an allegorical reading of Debussy’s successive triptychs as an evolving response to the pressures of modernist music historiography

Introduction

1996-01-01

LenORE: Poe and Baudelaire at Play

This Senior Independent Study Project is a postmodern play inspired by the work of the nineteenth-century poets Edgar Allan Poe and Charles Baudelaire. The scholar Lenore loses her grasp on reality as she studies the work of these two poets and she becomes lost in an imaginary world. This project is collaborative; music composition major Cara Haxo wrote a song cycle based on parts of the script. The play is preceded by a critical introduction

Les Fleurs du mal ou la prosodie du mystère

La plus belle réussite de Baudelaire est assurément d’avoir réussi, dans ses compositions, à illustrer cette « prosodie mystérieuse et méconnue » qu’il trouvait dans la langue française, comme il le rappelait dans son second projet de préface aux Fleurs du mal. À cet égard, son recueil constitue encore aujourd’hui la référence ad libitum de toute bibliographie poétique, aussi partielle soit-elle, l’idole cultuelle des étudiants en lettres, ou l’immarcescible « rêve de pierre » de tout poète en devenir.&nbsp