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Essays on various aspects of the work of the French poet Stephane Mallarme on the centenary of his death (1998).
Romance monographs ; no. 25 (er)
The writings of the great Symbolist poet Stephane Mallarme (1842-1898) were to become uniquely influential in twentieth century literary criticism. For critics and philosophers such as Maurice Blanchot and Jacques Derrida, Mallarme's name came to represent a rupture in literary history, and an opening of literature onto a radically new kind of writing. Through close readings of key works, Norman retraces Mallarme's trajectory as a poet, showing in particular how he positioned his work in relation to Hegel's Aesthetics. Analysing the motif of the sunset Norman argues that Mallarme situated his work at the conclusion of the history of art, in Hegelian terms, and it is this that made him so interesting for Blanchot and Derrida. Their readings, born of their wish to subvert Hegel's totalizing impulse, give rise to an entirely new view of works now almost universally seen as masterpieces.
Anna Sigrídur Arnar explores how the book became a stretegic site for encouraging a modern public to actively partake in the creative act, an idea that informed later 20-century developments such as conceptual and performance art.
The essential work of Mallarmé, collected in a bilingual French and English edition.
A number of sections are devoted to Mallarme's great magazine of wit and opinion, La Derniere Mode, or The Latest Fashion, every page of which he wrote himself under various pseudonyms of both genders.