La spirale et le fragment. Auto-similarité et rupture

A poem by Robert Herrick is taken as an exemplar of the neo-classical aesthetics of imitation. Herrick appropriates the established topoi and forms of the ode and the elegy to orchestrate a seamless verbal organization with self-similar features to be found from the phonic level to the overall vision. Galway Kinnell on the other hand is representative of a modem aesthetics of incompletude : instead of redundancy and convergence his poem relies on abrupt changes, fragmentation and rupture. How does the reader deal with these two contrasted strategies ? Are the two poles of redundancy and noise mutually exclusive or cooperative ?Cordesse Gérard. La spirale et le fragment. Auto-similarité et rupture. In: Anglophonia/Caliban, n°5, 1999. Micro / Macro La partie et le tout. pp. 35-51

La science-fiction de Ray Bradbury

Cordesse Gérard. La science-fiction de Ray Bradbury. In: Caliban, n°6, janvier 1969. pp. 77-83

Avant-Propos

Cordesse Gérard. Avant-Propos. In: Caliban, n°22, 1985. L'esthétique de la science fiction. pp. 3-4

The Science-fiction of William Burroughs

Cordesse Gérard. The Science-fiction of William Burroughs. In: Caliban, n°12, 1975. Le roman américain contemporain. pp. 33-43

L’unité de Herzog

Cordesse Gérard. L’unité de Herzog. In: Caliban, n°7, 1970. pp. 99-113

Call it sleep as palimpsest

International audienc

Steven Knapp. Literary Interest. The Limits of Anti-Formalism

Cordesse Gérard. Steven Knapp. Literary Interest. The Limits of Anti-Formalism. In: Revue Française d'Etudes Américaines, N°67, janvier 1996. La poésie américaine : constructions lyriques. pp. 112-113

Binarité, linéarité, multiplicité dans "Calliope Music", The Floating Opera

My prose is a plodding, graceless thing, and I've no comprehension of stylistic tricks. Nevertheless I must begin this chapter in two voices, because it requires two separate introductions delivered simultaneously. It's not so difficult, is it, to read two columns at the same time? I'll commence by saying the same thing with both voices, so, until you've got the knack, and then separate them ever so gradually until you're used to keeping two distinct narrative voices in your head at the same ..

De la castration dans Le soleil se lève aussi

Cordesse Gérard. De la castration dans Le soleil se lève aussi. In: Caliban, n°8, 1971. pp. 89-99