Arthur Rimbaud
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The Myth of the City in the French and the Georgian Symbolist Aesthetics
The International Journal of Social Sciences and Humanities Invention 5(03): 4519-4525, 2018 DOI: 10.18535/ijsshi/v5i3.07 ICV 2015: 45.28 ISSN: 2349-2031 © 2018, THEIJSSHI Research Article The Myth of the City in the French and the Georgian Symbolist Aesthetics Tatia Oboladze PhD student at Ivane Javakhisvhili Tbilisi State University, Tbilisi, Georgia,young-researcher at Shota Rustaveli Institute of Georgian Literature ―Modern Art is a genuine offspring of the city… the city The cultural contexts of the two countries were also different. created new images, here the foundation was laid for the If in the 19th-c. French literature the tendencies of literary school, known as Symbolism…The poet’s Romanticism and Realism (with certain variations) co-existed consciousness was burdened by the gray iron city and it and it was distinguished by paradoxes, striving towards poured out into a new unknown song‖ (Tabidze 2011: 121- continuous formal novelties, the beginning of the 20th c. was 122), - writes Georgian Symbolist Titsian Tabidze in his the period of stagnation of Georgian culture. Although in the program article Tsisperi Qantsebit (With Blue Horns). Indeed, work of individual authors (A.Abasheli, S.Shanshiashvili, in the Symbolist aesthetics the city-megalopolis, as a micro G.Tabidze, and others) aesthetic features of modernism, model of the material world, is formed as one of the basic tendencies of new art were observable, on the whole, literature concepts. was predominated by epigonism1. Against this background, in Within the topic under study we discuss the work of Charles 1916, the first Symbolist literary group Tsisperi Qantsebi (The Baudelaire and the poets of the Georgian Symbolist school Blue Horns) came into being in the Georgian literary area. -
Again: Vowels Or Colors? by Victor Ginsburgh &Stamos Metzidakis
Athens Journal of Philology - Volume 6, Issue 4 – Pages 225-234 On Rimbaud’s "Vowels," Again: Vowels or Colors? † By Victor Ginsburgh & Stamos Metzidakis Arthur Rimbaud’s sonnet Vowels presents a poetic vision based ostensibly on a quasi- psychedelic or synesthetic experience. It has inspired writers, critics, painters, and singers for over a century mainly because of its often obscure form and content. From the first verse of the text, for instance, the author juxtaposes each of the normal five French vowels printed in capital letters with what appears to be a random choice of an "appropriate" color. As a result, the majority of readers assume that these colors somehow correspond, semantically speaking, to the selected vowels. In making such connections, however, our poet suggests that his specific fusion of basic colors and sounds is capable of generating not just one but multiple significations, be they religious, erotic, aesthetic, even anthropological. Yet the poem itself - an irregular French sonnet - already derives much of its obscurity from another odd feature: the faulty order of French vowels used by Rimbaud: A to O instead of A to U or Y. Formal explanations are often cited to justify this so-called "mistake." This paper demonstrates that his poem hides a different interpretation of the words used to expand upon these sound/color combinations. After all, vowels are metonymically linked to sounds, since they constitute the minimal elements of the latter. Contemporary linguists have discovered, however, that in almost all languages, colors come in the same fixed order of words - Black, White, Red, Green and Blue - that Rimbaud proposes. -
Chapter 4 the Commune in Exile
Chapter 4 The Commune in Exile: Urban Insurrection and the Production of International Space Scott McCracken In Chapter 11 of J.- K. Huysmans’ A Rebours (1884) (usually translated as Against Nature), Des Esseintes, its reclusive hero, inspired by reading Charles Dickens, leaves home with the intention of visiting London. He never arrives. Instead, he succeeds in experiencing the whole of London, England, and English culture, in Paris, without even getting on the train. Wearing a suit made in London, and placing ‘a small bowler on his head’, he envelops himself in a ‘flax-blue Inverness cape’ and sets off in grey, wet (typically English) weather.1 He buys a guidebook and calls into a restaurant that serves English food and drink. Surrounded by English men and women, he starts to think he is in a novel by Dickens. With time before his train leaves, he moves on to an English-style tavern, where he eats a meal of haddock, stilton, and rhubarb tart, washed down with two pints of ale, followed by coffee laced with gin.2 Satiated, he starts to lose his desire to travel: ‘What was the point of moving, when one could travel so splendidly just sitting in a chair. Wasn’t he in London now, surrounded by London’s smells, atmosphere, inhabitants, food and utensils?’. He decides: ‘In fact, I have experienced and seen what I wanted to experience and see. Ever since leaving home I’ve been steeped in English life’.3 Returning home to Fontenay ‘with his trunks, packages, suitcases, rugs, umbrellas, and walking sticks’, he feels ‘as physical exhausted and morally spent as a man who comes home after a long and hazardous journey’.4 Des Esseintes’ trip is normally seen as a classic example of aestheticism, just one example of many where the self-obsessed hero values sensation over the real. -
French Poetry and Contemporary Reality C. 1870 - 1887
Durham E-Theses French poetry and contemporary reality c. 1870 - 1887 Watson, Lawrence J. How to cite: Watson, Lawrence J. (1976) French poetry and contemporary reality c. 1870 - 1887, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/8021/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk FRENCH POETRY AND CONTEMPORARY REALITY c 1870 - 1887 A study of the thematic and stylistic implications of the poetic treatment of the modern and the ephemeral LAWRENCE J WATSON Thesis submitted in the University of Durham for the degree of Doctor of philosophy December 1976 VOLUME TWO FULL COIIMtfTS Oi VULTJlli, TwO P^T TWO ^CMTIlilJiJ) onapter Two: Contemporary Subjects (f) Everyday Lue 478 (g) The World of Sens<?Tion 538 Chapter Three: The Impact of Contemporary Speech 582 (a) 'The Particulcrisation of Poetic Language in the /.ge of Science and ilc^terialism P. -
The Poetry of Symbolism and the Music of Gabriel Fauré
THE POETRY OF SYMBOLISM AND THE MUSIC OF GABRIEL FAURÉ A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF MUSIC IN PERFORMANCE BY LYNNELL LEWIS ADVISOR: DR MEI ZHONG BALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2009 TABLE OF CONTENTS 1. Introduction ................................................................................... 1 2. Gabriel Fauré .................................................................................. 3 3. Fauré‟s Work and the Influences of Late 19th Century France .... 7 4. Paul Verlaine ................................................................................. 9 5. Fauré, Verlaine and Symbolism ..................................................... 14 6. Description of Songs and Performance issues ............................... 17 . Mandolin .............................................................................. 17 . En Sourdine .......................................................................... 18 . Green .................................................................................... 19 . A Clymène ........................................................................... 21 . C‟est l‟exstase ...................................................................... 23 7. Conclusion ...................................................................................... 25 Appendix of Poetry .............................................................................. 27 Mandoline ...................................................................................... -
1. Corona La Chanson
«AGON» (ISSN 2384-9045), n. 8, gennaio-marzo 2016 René Corona DIVAGATIONS POÉTIQUES ET MUSICALES: LA CHANSON D’AMOUR TUE VICES ET VERTUS DE LA MUSIQUE: SILENCES ET NON-DITS RÉSUMÉ. Le titre de ce texte explique bien, il s’agit de divagation dans le sens mallarméen [«Vagabondage, errance, égarements de l’esprit» (Mallarmé, Œuvres, éd. Y. A. Favre, Paris, Bordas 1992, p. 108) – «Divagations se dit d’une rivière qui sort de son lit, d’un animal qui s’égare hors de son pâcage habituel, d’un auteur qui s’écarte de son sujet» (Ibid.)] et un peu à la manière de Montaigne «à sauts et à gambades» (Essais, III, IX) sur le thème de la musique et de la littérature, de la langue bien entendu, en passant toutefois par les chansons américaines, les tubes de l’été, Proust, les troubadours et autres poètes de différents siècles. Ce qui nous a paru intéressant c’est que l’on retrouve à travers l’intertextualité de divers auteurs (et à tous les niveaux : musicaux, poétiques, en variation diachronique, diastratique et diaphasique) les mêmes thèmes exprimés différemment pour célébrer la fin de l’amour. La figure du canteur apparaît et se rencontre avec celle du narrateur. La musique adoucit les mœurs dit-on, mais «énerve» – dans le sens étymologique – en même temps les auditeurs, du moins certains auditeurs. Le débat se fait ensuite sur les participes homophones de taire et de tuer. Au bout du compte, quelque chose nous échappe et c’est bien le poème. MOTS-CLÉS. Amour. Chagrin. Chanson. Canteur. -
Arthur Rimbaud: Le Bateau Ivre Französisch -Deutsche Lesung in Klangräumen Récitation Française-Allemande Et Sons-Images Musicals
originalzeichnung: rimbaud arthur rimbaud: le bateau ivre französisch -deutsche lesung in klangräumen récitation française-allemande et sons-images musicals ulrike klamp, kontrabass reinhold wolf, flöte chris portele, percussion peter hug, sprecher (französisch) dieter koller, keyboard, sprecher (deutsch) 2 Inhalt: Zur Biographie von Arthur Rimbaud 4 Bildergalerie, Zitate 6 Lettres du Voyant (die Seher-Briefe) 8 Le Bateau Ivre, Text (franz./deutsch) 10 Wassertrunkenheit 17 Ivresse de l’Eau 18 Weltgeräusche, Bruit du Monde 20 Devotions: (P. Smith, R.M. Rilke, P. Neruda) 22 3 Rimbaud wurde am 20. Oktober 1854 in Charleville (heute Charleville-Mézières) im Departement Ardennes geboren. Bereits mit zehn Jahren begann er, Lyrik zu verfassen. Mit 17 Jahren schrieb er das esoterisch-seherische Gedicht Le Bateau ivre (1871; Das trunkene Schiff), das er Paul Verlaine vortrug. Deutlich zeigte sich die Arbeit von Charles Baudelaire beeinflusst, war in ihrer metaphorischen Originalität und dem Assoziationsreichtum ihrer dunklen Chiffren jedoch äußerst eigenständig, was er in einer Mischung aus Selbst- bewusstsein und Resignation auch selbst vermerkte („Oui, on n’a rien écrit de semblable, je le sais bien"). Auf Anraten Verlaines zog Rimbaud 1871 nach Paris, wo beide bis 1873 ein homophiles Verhält- nis unterhielten. Zum Bruch kam es, als Verlaine Rimbaud beim Versuch, ihn zu ermorden, schwer verwundete. Rimbaud hielt dies in dem autobiographisch gefärbten, stark rhythmisierten Prosagedicht „Une Saison en enfer“ (1873; Eine Zeit in der Hölle) fest, das durch seine Dynamik und seine radikal-entgrenzende Stilistik einen Wendepunkt der Literaturgeschichte markierte. Danach begann ein rastloses Wanderleben, das den Dichter nach England, Deutschland, Italien, Java, Skandinavien und Zypern führte. -
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Embracing Nontraditional Scales and Tonal Structures, Claude Debussy Is
QUICK FACTS Claude Debussy, Composer BIRTH DATE August 22, 1862 DEATH DATE March 25, 1918 EDUCATION Paris Conservatory PLACE OF BIRTH Saint-Germaine Laye France, PLACE OF DEATH PARIS, FRANCE QUOTES “Music is the space between the notes.” Embracing nontraditional scales and tonal structures, Claude Debussy is one of the most highly regarded composers of the late 19th and early 20th centuries and is seen as the founder of musical impressionism. Synopsis Claude Debussy was born into a poor family in France in 1862, but his obvious gift at the piano sent him to the Paris Conservatory at age 11. At age 22, he won the Prix de Rome, which financed two years of further musical study in the Italian capital. After the turn of the century, Debussy established himself as the leading figure of French music. During World War I, while Paris was being bombed by the German air force, he succumbed to colon cancer at the age of 55. Early Life Achille-Claude Debussy was born on August 22, 1862, in Saint-Germain-en-Laye, France, the oldest of five children. While his family had little money, Debussy showed an early affinity for the piano, and he began taking lessons at the age of 7. By age 10 or 11, he had entered the Paris Conservatory, where his instructors and fellow students recognized his talent but often found his attempts at musical innovation strange. Clair de lune, meaning moonlight, was written by the Impressionist French composer Claude Debussy. Here’s everything you need to know about this piano masterpiece Claude Debussy started wrote the incredibly romantic piano piece Clair de Lune in 1890 when he was just 28, but it wasn’t published for another 15 years! The title means ‘Moonlight’ and the piece is actually part of the four-movement work Suite Bergamasque. -
From Poe to Rimbaud: a Comparative View of Symbolist Poetry
ARTS & HUMANITIES From Poe to Rimbaud: A Comparative View of Symbolist Poetry William Pietrykowski*, Dr. Elizabeth Renker Department of English Though geographically isolated from each other in the latter half of the Nineteenth Century, Walt Whitman, Edgar Allan Poe, and their French contemporaries, Charles Baudelaire, and Arthur Rimbaud, worked analogously to revolutionize poetic representation. Baudelaire and Rimbaud worked in the Symbolist tradition, while Whitman and Poe stood together in the United States as revolutionary poetic thinkers. While French civilization created the social and artistic contexts for Symbolism, French Symbolists probably appropriated much of their formally artistic ideas from Poe and Whitman. Most critics agree Poe was most likely more influential to the formation of Symbolist thought, while Whitman’s force is a bit unclear. Aligning Baudelaire and Poe, as analogous artists, and Whitman and Rimbaud, From Poe to Rimbaud, a Comparative View of Symbolist Poetry will defend American importance in the formation and development of French Symbolist poetry. Introduction Between the 1850’s and the 1870’s, an early Symbolist aesthetic emerged in the French literary and artistic scenes. Charles Baudelaire, considered by many the father of French Symbolism, defines modern art in “L’Art Philosophique” (1869) as “[Creating] a magic containing at once the object and the subject, the outside world of the artist and the artist himself” (qtd by Erkkila 56). This definition, as indicative of the way Symbolists viewed aesthetics, suggests that Symbolist art takes into account three main factors: the artist’s external world, the artist’s internal world, and a less tangible but important “magic” which bonds the two. -
Best Western Hôtel Littéraire Arthur Rimbaud
Arthur Rimbaud Hôtel Littéraire 6, rue Gustave Goublier, 75010 PARIS Tél. +33 (0)1 40 40 02 02 www.hotel-litteraire-arthur-rimbaud.com 1 « …Et d’ineffables vents m’ont hélé par instants. » Arthur Rimbaud, notre premier poète ; celui qui bouleverse les adolescences paisibles, renverse notre vision de la littérature et nous ouvre les yeux sur un monde saturé de couleurs, d’émotions, de vie. Arthur Rimbaud, celui qui, par son souffle épique, a emporté notre jeunesse ; nous aussi nous avions 17 ans et avec lui, nous allions « sous le ciel », nous descendions « les fleuves impassibles » et avec lui, nous avons su « …les cieux crevant en éclairs, et les trombes Et les ressacs et les courants... » Il faut se laisser emporter par le rythme, la fulgurance des mots, le chatoiement des images et du style de Rimbaud pour découvrir dans un seul poème, voire un seul vers, le génie du plus précoce et du plus important des poètes. « Ce n’était ni le diable ni le Bon Dieu, c’était Arthur Rimbaud, c’est à dire un très grand poète, absolument original, d’une saveur unique ». (Verlaine). C’est ce bouleversement que nous voulons partager avec vous, à travers 42 chambres, des éditions originales, une bibliothèque de 500 livres, des dizaines de références, de clins d’œil. Retrouver ensemble, l’émotion de Rimbaud : il est celui, disait François Mauriac « qui ne se retourne même pas pour regarder la trace que ses pas d’enfants ont laissée sur le monde ». Arthur Rimbaud, our first poet; the poet who disrupts the peaceful years of adolescence, turns our vision of literature upside down and opens our eyes to a world full of colour, emotions and life. -
Rimbaud, Entre Le Parnasse Et La Prose — Parcours Du Signifiant
UNIVERSITÉ DU QUÉBEC À CfflCOUTIMI MÉMOIRE PRÉSENTÉ À L'UNIVERSITÉ DU QUÉBEC À TROIS-RIVIÈRES COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN ÉTUDES LITTÉRAIRES OFFERTEÀ L'UNIVERSITÉ DU QUÉBEC À CHICOUTIMI EN VERTU D'UN PROTOCOLE D'ENTENTE AVEC L'UNIVERSITÉ DU QUÉBEC À TROIS-RIVIÈRES par Jocelyn Lord Rimbaud, entre le Parnasse et la prose — parcours du signifiant 20 février 1995 UIUQAC bibliothèque Paul-Emile-Bouletj Mise en garde/Advice Afin de rendre accessible au plus Motivated by a desire to make the grand nombre le résultat des results of its graduate students' travaux de recherche menés par ses research accessible to all, and in étudiants gradués et dans l'esprit des accordance with the rules règles qui régissent le dépôt et la governing the acceptation and diffusion des mémoires et thèses diffusion of dissertations and produits dans cette Institution, theses in this Institution, the l'Université du Québec à Université du Québec à Chicoutimi (UQAC) est fière de Chicoutimi (UQAC) is proud to rendre accessible une version make a complete version of this complète et gratuite de cette œuvre. work available at no cost to the reader. L'auteur conserve néanmoins la The author retains ownership of the propriété du droit d'auteur qui copyright of this dissertation or protège ce mémoire ou cette thèse. thesis. Neither the dissertation or Ni le mémoire ou la thèse ni des thesis, nor substantial extracts from extraits substantiels de ceux-ci ne it, may be printed or otherwise peuvent être imprimés ou autrement reproduced without the author's reproduits sans son autorisation.