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Essays on various aspects of the work of the French poet Stephane Mallarme on the centenary of his death (1998).
This «guide and commentary» offers an elucidation of all the difficult passages of Mallarmé's Divagations, his influential main body of critical writing. It provides the information essential to an understanding of each article and of his critical project as a whole. The running commentary deals extensively with the relationship between Divagations and the other major writings of Mallarmé, particularly the Coup de Dés, his crowning creation which is his closest approach to his lifelong dream and project of a Great Work.
In this concise and illuminating study, Jacques Rancière, one of the world's most popular and influential living philosophers, examines the life and work of the celebrated nineteenth-century French poet and critic, Stéphane Mallarmé. Ranciere presents Mallarmé as neither an aesthete in need of rare essences and unheard-of words, nor the silent and nocturnal thinker of some poem too pure to be written. Mallarmé is the contemporary of a republic that is seeking out forms of civic worship to replace the pomp of religions and kings. If his writing is difficult, it is because it complies with a demanding and delicate poetics that is itself responding to an exceptional awareness of the complexity of an historical moment as well as the role that poetry ought to play in it.
This volume presents a new proposal for the link between philosophy and art. Badiou identifies and rejects the three schemes of didacticism, romanticism, and classicism that he sees as having governed traditional "aesthetics," and seeks a fourth mode of accounting for the educative value of works of art.
This highly original book takes as its starting point a central question for nineteenth- and twentieth-century literature and philosophy: how to represent the poor? Covering the period from the publication of Les Fleurs du Mal in 1857 to the composition of Benjamin’s final texts in the 1930s, Untimely Beggar investigates the coincidence of two modern literary and philosophical interests: representing the poor and representing potential. To take account of literature’s relation to the poor, Patrick Greaney proposes the concept of impoverished writing, which withdraws from representing objects and registers the existence of power. By reducing itself to the indication of its own potential, by impoverishing itself, literary language attempts to engage and participate in the power of the poor. This focus on impoverished language offers new perspectives on major French and German authors, including Marx, Nietzsche, Mallarm, Rilke, and Brecht; and makes significant contributions to recent debates about power and potential in thinkers such as Agamben, Deleuze, Foucault, Hardt, and Negri. In doing so, Greaney offers significant insights into modernity’s intense philosophical and literary interest in socioeconomic poverty. Patrick Greaney is assistant professor of German studies at the University of Colorado, Boulder.
"This is a book just the way I don't like them," the father of French Symbolism, Stéphane Mallarmé, informs the reader in his preface to Divagations: "scattered and with no architecture." On the heels of this caveat, Mallarmé's diverting, discursive, and gorgeously disordered 1897 masterpiece tumbles forth--and proves itself to be just the sort of book his readers like most. The salmagundi of prose poems, prose-poetic musings, criticism, and reflections that is Divagations has long been considered a treasure trove by students of aesthetics and modern poetry. If Mallarmé captured the tone and very feel of fin-de-siècle Paris, he went on to captivate the minds of the greatest writers of the twentieth century--from Valéry and Eliot to Paul de Man and Jacques Derrida. This was the only book of prose he published in his lifetime and, in a new translation by Barbara Johnson, is now available for the first time in English as Mallarmé arranged it. The result is an entrancing work through which a notoriously difficult-to-translate voice shines in all of its languor and musicality. Whether contemplating the poetry of Tennyson, the possibilities of language, a masturbating priest, or the transporting power of dance, Mallarmé remains a fascinating companion--charming, opinionated, and pedantic by turns. As an expression of the Symbolist movement and as a contribution to literary studies, Divagations is vitally important. But it is also, in Johnson's masterful translation, endlessly mesmerizing.
This series of bibliographical references is one of the most important tools for research in modern and contemporary French literature. No other bibliography represents the scholarly activities and publications of these fields as completely.
The International Yearbook of Futurism Studies was founded in 2009, the centenary year of Italian Futurism, in order to foster intellectual cooperation between Futurism scholars across countries and academic disciplines. The Yearbook does not focus exclusively on Italian Futurism, but on the relations between Italian Futurism and other Futurisms worldwide, on artistic movements inspired by Futurism, and on artists operating in the international sphere with close contacts to Italian or Russian Futurism. Volume 4 (2014) is an open issue that addresses reactions to Italian Futurism in 16 countries (Argentina, Armenia, Brazil, Egypt, France, Germany, Great Britain, Greece, Holland, Hungary, Japan, Portugal, Russia, Slovenia, Spain, USA), and in the artistic media of photography, theatre and visual poetry.
This volume assembles twelve interdisciplinary essays that were originally presented at the Second International Conference on Word and Music Studies at Ann Arbor, MI, in 1999, a conference organized by the International Association for Word and Music Studies (WMA). The contributions to this volume focus on two centres of interest. The first deals with general issues of literature and music relations from culturalist, historical, reception-aesthetic and cognitive points of view. It covers issues such as conceptual problems in devising transdisciplinary histories of both arts, cultural functions of opera as a means of reflecting postcolonial national identity, the problem of verbalizing musical experience in nineteenth-century aesthetics and of understanding reception processes triggered by musicalized fiction. The second centre of interest deals with a specific genre of vocal music as an obvious area of word and music interaction, namely the song cycle. As a musico-literary genre, the song cycle not only permits explorations of relations between text and music in individual songs but also raises the question if, and to what extent words and/or music contribute to creating a larger unity beyond the limits of single songs. Elucidating both of these issues with stimulating diversity the essays in this section highlight classic nineteenth- and twentieth-century song cycles by Franz Schubert, Robert Schumann, Hugo Wolf, Richard Strauss and Benjamin Britten and also include the discussion of a modern successor of the song cycle, the concept album as part of today’s popular culture.