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Volume 178 in the North Carolina Studies in the Romance Languages and Literatures series.
Reviewing the previous scholarship for seventeen of the most important poems in Alcools, this book provides a detailed analysis of each work and includes a state-of-the-art survey of current Apollinaire criticism. Besides acquainting readers with the existing scholarship, the book considers all the interpretations that have been proposed and indicates profitable directions to pursue. Each poem is subjected to a rigorous, line-by-line analysis that engages in a succession of dialogues with previous critics. The studies themselves are arranged in roughly chronological order, beginning with the “Rhénanes” in 1901-1902 and concluding with “Zone” in 1912. Although each chapter is basically conceived as an independent unit, readers are able to follow the evolution of Apollinaire’s aesthetics from his first mature creations through his subsequent experiments with fantastic, hermetic, visionary, and cubist poetry. At the same time, they witness Apollinaire’s personal evolution from his infatuation with Annie Playden through a period of deep depression, his love affair with Marie Laurencin, and the aftermath of that relationship.
Volume 178 in the North Carolina Studies in the Romance Languages and Literatures series.
In seeking to give voice to absent things or lost experiences, Richard Stamelman says, modern poetry attempts to give absence a shape. Loss, in his view, is both the cause and the subject of the modern poem. Fittingly, in Lost beyond Telling he formulates and develops what he calls a poetics of loss, with which he frames his treatment of modern French poetry.
More than anything, perhaps, this volume strives to elucidate the concept of poesie critique, which has received very little attention. This omission is surprising since the genre influenced the Surrealist invention of poesie synthetique as well as many writers who followed Apollinaire, trying to reconcile poetry and criticism.
Guillaume Apollinaire's Alcools appears to be a haphazard accumulation of allusions, myths and neologisms. Biographically and historically oriented attempts to elucidate a structure in this work have usually been frustrated. The semiotic approach to myth and poetry developed in this book shows that the key lies in the poetic function of mythology. In a close analysis of several poems, poetic figures are shown to be grafted upon the primary metaphors in the poems' titles, which in turn derive from conventional linguistic expressions. Proposed here is a new approach to which mythification and remythification generate patterns of multiple meanings which separate literature from common message-based discourse.