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Baudelaire's Prose Poems is the first full-length, integral study of the fifty prose poems Baudelaire wrote between 1857 and his death in 1867, collected posthumously under the title Le Spleen de Paris. Edward Kaplan resurrects this neglected masterpiece by defining the structure and meaning of the entire collection, which Kaplan himself has translated as The Parisian Prowler. Engaging in a dialogue with deconstructionists whose critical methods often obscure the meaning of the whole, Kaplan rejects the view of prose poems as a random assemblage of melodic rhapsodies. Instead, he sees a coherent ensemble of "fables of modern life" that join lyricism and critical self-awareness. Kaplan defines three dimensions of experience that inform The Parisian Prowler from beginning to end: the esthetic includes art, ideal beauty, and especially the intense immediacy of sensations, fantasy, and dream; the ethical includes principles of right and wrong, relations between intimates or between individuals and the community; and the religious--not to be confused with church or dogma--points to the province of ultimate reality, whether it be God or an absolute standard of truth, justice, and meaning. These dimensions are explored by a narrator, a complex, highly self-conscious writer whose passion for pure Beauty continually frustrates his yearning for affection. He begins his tour through 1850s Paris alienated from reality, becomes aggravated by conflicts between his "ethical" and "esthetic" drives--to the point of despair--and ends by expressing loyal friendship. Analyzing the fables in relation to one another in pairs or groups, Kaplan demonstrates how later pieces intermingle or even confuse the narrator's esthetic and ethical drives, and how the most advanced "theoretical fables"--through ironic puns on their form--further undermine this simplistic dualism. Baudelaire's fables of modern life radically challenge us to examine our presuppositions, Kaplan argues. Though rarely didactic, the narrator's Socratic irony engages readers in a volatile dialogue, provoking them to form their own judgments. He often betrays self-destructive anger, rebelling against injustice or stupidity--or against women who might love him. At times he insults our complacency and self-deception with vicious glee; at other times, he recognizes his own frailty, nurturing a sense of fellowship with the oppressed. Seeking both to analyze experience objectively and to sympathize with isolated individuals like himself, Baudelaire's narrator joins criticism and poetry in a voyage of self-discovery, finally accepting experience as impure and mixed. Kaplan contends that the "prose poems" constitute a genre parallel to the poems Baudelaire added to the 1861 edition of Les Fleurs du Mal, both of which illustrate fundamental principles of the theory of modernity he developed in his essays on art. The self-reflective fables in The Parisian ProwlerM/i>--depicting a way of thinking beyond ideologies--clarify Baudelaire's development as poet, critic, and thinker.
The aim of this book is to offer a new reading of Baudelaire's Petits Poemes en prose which demonstrates the significance of ironic otherness for the theory and functioning of the work and for the genre of the prose poem itself. The book considers Baudelaire's choice of this genre and the wayin which he seeks to define it, both paratextually and textually. It examines the ways in which the prose poem depends on dualities and deboublements as forms of lyrical and narrative difference which, in their turn, reveal ideological otherness and declare the oppositionality of the prose poem.Finally, the book demonstrates a relationship between these forms of otherness and Baudelaire's theory of the popular comic arts and, in doing so, proposes that the prose poems should be read as literary caricature.
Enth.: Petits poèmes en prose / Charles Baudelaire.
Edited by Anna Balakian, this volume marks the first attempt to discuss Symbolism in a full range of the literatures written in the European languages. The scope of these analyses, which explore Latin America, Scandinavia, Russia, Poland, Hungary, Serbia, Czechoslovakia, and Bulgaria as well as West European literatures, continues to make the volume a valuable reference today. As René Wellek suggests in his historiographic contribution, the fifty-one contributors not only make us think afresh about individual authors who are “giants,” but also draw us to reassess schools and movements in their local as well as international contexts. Reviewers comment that this “copious and intelligently structured” anthology, divided into eight parts, traces the conceptual bases and emergence of an international Symbolist movement, showing the spread of Symbolism to other national literatures from French sources, as well as the symbiotic transformations of Symbolism through appropriation and amalgamation with local literary trends. Several chapters deal with the relationships between literature and the other arts, pointing to Symbolism at work in painting, music, and theatre. Other chapters on the psychological aspects of the Symbolist method connect in interesting ways to a vision of metaphor and myth as virtually musical notation and an experimental emphasis on the play afforded by gaps between words. The volume is “a major contribution” to “the most significant exponents” and “essential themes” of Symbolism. The theoretical, historical, and typological sections of the volume help explain why the impact of this important movement of the fin-de-siècle is still felt today.
Maria Scott's study of the operation of irony in Baudelaire's Le Spleen de Paris contends that the principal target of the collection's spleen is its own readership. Baudelaire, as one of the most perceptive cultural commentators of the nineteenth century, was naturally very keenly aware of the growing dominance of the bourgeoisie in France, not least as a market for art and literature. Despite being dependent on this market for his own writing, the poet was highly critical of bourgeois values and attitudes. Scott builds on existing criticism of the collection to argue that these are indirectly mocked in Le Spleen de Paris, often in the person of the poet's supposed textual alter ego. The contention is that the prose poems betray the trust of readers by way of an apparent transparency of meaning that functions to blind us to their embedded irony. Though focused on Le Spleen de Paris, Scott's study engages with the full range of Baudelaire's writings, including his art and literary criticism. Her book will be of interest not only to Baudelaire scholars but also to those engaged more generally with nineteenth-century French culture.
A prolific poet, art critic, essayist, and translator, Charles Baudelaire is best known for his volumes of verse (Les Fleurs du Mal [Flowers of Evil]) and prose poems (Le Spleen de Paris [Paris Spleen]). This volume explores his prose poems, which depict Paris during the Second Empire and offer compelling and fraught representations of urban expansion, social change, and modernity. Part 1, "Materials," surveys the valuable resources available for teaching Baudelaire, including editions and translations of his oeuvre, historical accounts of his life and writing, scholarly works, and online databases. In Part 2, "Approaches," experienced instructors present strategies for teaching critical debates on Baudelaire's prose poems, addressing topics such as translation theory, literary genre, alterity, poetics, narrative theory, and ethics as well as the shifting social, economic, and political terrain of the nineteenth century in France and beyond. The essays offer interdisciplinary connections and outline traditional and fresh approaches for teaching Baudelaire's prose poems in a wide range of classroom contexts.
The prose poem, Jonathan Monroe asserts, is the genre that does not want to be itself. In his view, the dominant literary historical role of the prose poem has been to test the limits of generic constraints. Monroe here undertakes a comparative and historical investigation of the problematic relationship between prose and poetry and of the development of the prose poem over the past two centuries.
Baudelaire's work entered China in the twentieth century amidst political and social upheavals accompanied by a "literary revolution" that called for classical models and modes of expression to be replaced by vernacular language and contemporary content. Chinese writers welcomed their meeting with the West and openly embraced Western literature as providing models in developing their "new" literature. Baudelaire's reception in China provides a representative study of this "meeting of East and west." His work, which has been declared to stand between tradition and modernity, also lies at the intersection between classical and modern literature in China. Many of the best known and most highly regarded writers in twentieth-century China were drawn to Baudelaire's work, and some addressed it directly in their own writings. Bien draws upon H.R. Jauss's theory of the shifting and expanding horizons of expectation in the reading and interpretation of a literary work, and upon James J.Y. Lin's notion of "worlds" received and created by both author and reader, to show how poetic lines, images, and ideas, as well as Chinese critics' comments, eventually weave into a rich picture of Baudelaire's reception in China.