DOCSLIB.ORG

Hervé Vilez-Paul Verlaine Inventory

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hervé Vilez-Paul Verlaine Inventory Hervé Vilez-Paul Verlaine Inventory Journal Box Numbered Condition Title Author Publisher City Date Illustrator Illustration Notes Description Pages Title Notes # Edition/Colophon Note and Info Oeuvres Complètes B/w and color Includes Verlaine esquisse Softbound with glassine. Deckled Tome I (Poésies Librairie de Mahn, illustrations; and 8 biographique par André Verlaine, Paul Paris edges. Uncut pages. Light green Exemplaire N. XCIV Fine Complètes de Paul France Berthold b/w and 4 color Fontainas. With two slipcase. Verlaine Tome I) loose illustrations. advertisements. 1 1931 199 Oeuvres Complètes B/w and color Softbound with glassine. Deckled Tome III (Poésies Librairie de Mahn, illustrations; and 8 Verlaine, Paul Paris edges. Uncut pages. Light green Exemplaire N. XCIV Fine Complètes de Paul France Berthold b/w and 4 color slipcase. Verlaine Tome III) loose illustrations. 1 1931 321 Oeuvres Complètes B/w and color Softbound with glassine. Some Tome IV (Poésies Librairie de Mahn, illustrations; and 8 Verlaine, Paul Paris purple staining. Deckled edges. Exemplaire N. XCIV Fine Complètes de Paul France Berthold b/w and 4 color Uncut pages. Light green slipcase. Verlaine Tome IV) loose illustrations. 1 1931 280 Oeuvres Complètes B/w and color Softbound with glassine. Deckled Tome VIII (Oeuvres en Librairie de Mahn, illustrations; and 8 Verlaine, Paul Paris edges. Uncut pages. Light green Exemplaire N. XCIV Fine Prose de Paul Verlaine France Berthold b/w and 4 color slipcase. Deuxième Volume) loose illustrations. 1 1931 342 1 Hervé Vilez-Paul Verlaine Inventory Journal Box Numbered Condition Title Author Publisher City Date Illustrator Illustration Notes Description Pages Title Notes # Edition/Colophon Note and Info Drugulin printed for the publisher Ernst Vers Verlaine, Paul Ernst Rowohlt Leipzig Red leather-bound. Rowohlt. With loose Fine photocopy with mention of Procope. 1 1910 198 1 b/w portrait of Brown half calf bound with green, Paul Verlaine et les poètes Bibliothèque- Carrière, Paul Verlaine Choix de Poésies Verlaine, Paul Paris purple, and cream paper swirl. symbolistes et décadents : Good Charpentier Eugène (Imp. Ch. Green page ribbon. p. 63-112. Whittmann) 1 1911 360 Les Contemporains Lecène, Oudin Blue half calf bound with blue Lemaitre, Jules Paris Good (Quatrième série) et Cie, Éditeurs paper. 1 1893 342 Oeuvres Poétiques Complètes Tome I Plain cream board. Deckled 16 color (Vers de jeunesse, Clouzot, edges. Both Tome I and II are Verlaine, Paul André Vial Paris illustrations (eaux- Exemplaire N. XII Fine Poèmes saturniens, Marianne contained together in cream fortes) Fêtes galantes, La slipcase. Bonne chanson ) 1 1948 172 Oeuvres Poétiques Color illustrations Plain cream board. Deckled Complètes Tome II (16 original edges. Both Tome I and II are (Romances sans Verlaine, Paul André Vial Paris Ferréro, Roger Exemplaire N. XII Fine etchings/eaux- contained together in cream paroles, Sagesse, Jadis fortes) slipcase. et naguère ) 1 1948 216 2 Hervé Vilez-Paul Verlaine Inventory Journal Box Numbered Condition Title Author Publisher City Date Illustrator Illustration Notes Description Pages Title Notes # Edition/Colophon Note and Info Oeuvres Poétiques Color illustrations Plain cream board. Deckled Complètes Tome III Saint-André, (16 original edges. Both Tome III and IV are (Amour, Verlaine, Paul André Vial Paris Exemplaire N. XII Fine Berthommé etchings/eaux- contained together in cream Parallèlement, fortes) slipcase. Bonheur ) 1 1948 220 Oeuvres Poétiques Complètes Tome IV Color illustrations Plain cream board. Deckled (Chansons pour elle, (16 original edges. Both Tome III and IV are Liturgies intimes, Odes Verlaine, Paul André Vial Paris Perraudin Exemplaire N. XII Fine etchings/eaux- contained together in cream en son honneur, fortes) slipcase. Élégies, Dans les limbes ) 1 1948 169 French/German side-by- side translation. Signed in Brown decorative board. Deckled Les Amies/Freundinnen Verlaine, Paul Midillü Exemplar N. 7 (7/100) Munich on July 24, 1928, Good edges. unknown ("qui viens laedit, morte medetur.") 2 1927 Orange decorative board. Deckled Exemplar N. 99 French/German side-by- Les Amies/Freundinnen Verlaine, Paul Midillü Good/Poor edges. (99/100) side translation 2 1927 Softbound with images of books. La Pléiade Catalogue Gallimard NRF Tours In plastic sleeve with Album Bibliothèque de la Pléiade Very Fine Analytique 1981 Verlaine . 2 1981 121 3 Hervé Vilez-Paul Verlaine Inventory Journal Box Numbered Condition Title Author Publisher City Date Illustrator Illustration Notes Description Pages Title Notes # Edition/Colophon Note and Info B/w images: Dark red leather-bound. Plastic photos, sleeve. In additional plastic sleeve Album Verlaine Petitfils, Pierre Gallimard NRF Nancy Bibliothèque de la Pléiade Very Fine documents, with La Pleiades Catalogue drawings, etc. Analytique 1981 . 2 1981 319 Unnumbered, 500 copies. ("Cette Oeuvres Libres: Edition, non mise Pour les B/w small Red half calf bound, red Amies, Femmes, Verlaine, Paul Paris dans le commerce, a Erotic. Fine Bibliophiles illustrations. decorative paper. 5". Hombres été conçue et établie pour cinq cents Bibliophiles.") 2 88 Unnumbered, 500 B/w small copies. ("Cette Oeuvres Libres: illustrations. Edition, non mise Pour les Blue half calf bound, blue Amies, Femmes, Verlaine, Paul Paris Bound with erotic dans le commerce, a Erotic. Good Bibliophiles decorative paper. 5". Hombres image before été conçue et établie cover page. pour cinq cents Bibliophiles.") 2 88 4 Hervé Vilez-Paul Verlaine Inventory Journal Box Numbered Condition Title Author Publisher City Date Illustrator Illustration Notes Description Pages Title Notes # Edition/Colophon Note and Info Verlaine, Paul. Established and annotated by Y. Green leather-bound with cream Oeuvres Poétiques G. Le Dantec. Gallimard NRF Paris paper cover insert with image of Bibliothèque de la Pléiade Very Fine Complètes Revised and Verlaine. Clear plastic book cover. presented by Jacques Borel. 2 1977 1495 9 b/w "Images de Oeuvres Libres (Les Verlaine" on Au cercle du Dark green clothbound with gold Amies, Femmes, Verlaine, Paul Paris Various glossy paper (after Exemplaire N. 3293 Preface by Étiemble Very Fine livre précieux design. Clear plastic book cover. Hombres) the preface and before the poetry) 2 1961 156 Léon Vanier, 1 b/w portrait of Half green clothbound, brown and Paul Verlaine Morice, Charles Paris Fine Éditeur Verlaine blue decorative paper. 2 1888 87 Verlaine, Paul. Meine Gefängnisse Green, brown and cream Translated by Insel-Verlag Leipzig Fine (Mes Prisons) decorative board. Johannes Schlaf. 2 62 Alphonse Signed and dedicated to Médaillons de Poètes Half tan clothbound, brown Trolliet, Émile Lemerre, Paris Georges Ruebuffort (?) by Good 1800-1900 decorative paper. Éditeur the author. 2 1900 428 5 Hervé Vilez-Paul Verlaine Inventory Journal Box Numbered Condition Title Author Publisher City Date Illustrator Illustration Notes Description Pages Title Notes # Edition/Colophon Note and Info 2 b/w copies of photographs and 1 b/w copy of a letter handwritten Société du Green half calf bound with green Paul Verlaine: Sa Vie Lepelletier, from Verlaine to Justification du tirage: Mercure de Paris and red decorative paper. Fine – Son Oeuvre Edmond Lepelletier ("Avec 3642 France Multicolored page ribbon. un portrait reproduit en héliogravure et un autographe"). 2 1907 568 2 color images Red half calf bound with La bonne Christian Poèmes Choisis Verlaine, Paul Paris (cover and decorative paper. Clear plastic Exemplaire N. 296 Fine compagnie Bérard frontispiece) book cover. 2 1954 230 Smooth cream plain board, Verlaine tel qu'il fut Porché, François Flammarion brown, gold and yellow Exemplaire N. 24 decorative paper. Deckled edges. 2 1933 441 Color illustrations; and Pour la société Hard cream plain board sleeve. external folder Oeuvres Libres Verlaine, Paul des amis du Paris Unbound. Accompanying folder Exemplaire N. 688 Erotic. Very Fine with loose b/w symbolisme of illustrations. copies of illustrations. 2 88 6 Hervé Vilez-Paul Verlaine Inventory Journal Box Numbered Condition Title Author Publisher City Date Illustrator Illustration Notes Description Pages Title Notes # Edition/Colophon Note and Info 31 b/w Brown half calf bound with Femmes Verlaine, Paul Paris illustrations Exemplaire N. 197 Erotic. Fine brown decorative cloth. (gravures s/ bois) 2 1917 129 Verlaine, Paul. Privatdruck B/w cover Hard brown plain board. Image of Translated by Freundinnen (Private illustration of a face on cover. One of three copies Very Fine Alfred Richerd Printing) face. in bubble wrap. Meyer. 2 1866 12 Verlaine, Paul. Privatdruck B/w cover Hard brown plain board. Image of Translated by Freundinnen (Private illustration of a face on cover. One of three copies Fine/Good Alfred Richerd Printing) face. in bubble wrap. Meyer. 2 1866 12 Verlaine, Paul. Privatdruck B/w cover Hard brown plain board. Image of Translated by Freundinnen (Private illustration of a face on cover. One of three copies Good Alfred Richerd Printing) face. in bubble wrap. Meyer. 2 1866 12 La Renaissance Verlaine Verlaine, Paul Tournai Louis Joos Color illustrations. Black plain paper board. Very Fine du Livre 2 2003 143 Tan decorative board with cupids and flowers. Hard tan sleeve with Georges 21 color drypoint Poèmes d'Amour Verlaine, Paul Paris Bécat, P.-E. cupids and flowers. Large book Exemplaire N. 513 Erotic. Fine Guillot, Éditeur illustrations. (~8"x10"), unbound. Deckled edges. 2 1946 135 Tan stamped hard cover. Large Les Amis du Lluis
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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 ......................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • INTERDISCIPLINARY JOURNAL of DECADENCE STUDIES Issue 1 Spring 2018 Hierophants of Decadence: Bliss Carman and Arthur Symons Rita
    INTERDISCIPLINARY JOURNAL OF DECADENCE STUDIES Issue 1 Spring 2018 Hierophants of Decadence: Bliss Carman and Arthur Symons Rita Dirks ISSN: 2515-0073 Date of Acceptance: 1 June 2018 Date of Publication: 21 June 2018 Citation: Rita Dirks, ‘Hierophants of Decadence: Bliss Carman and Arthur Symons’, Volupté: Interdisciplinary Journal of Decadence Studies, 1 (2018), 35-55. volupte.gold.ac.uk This work is licensed under a Creative Commons Attribution- ShareAlike 4.0 International License. Hierophants of Decadence: Bliss Carman and Arthur Symons Rita Dirks Ambrose University Canada has never produced a major man of letters whose work gave a violent shock to the sensibilities of Puritans. There was some worry about Carman, who had certain qualities of the fin de siècle poet, but how mildly he expressed his queer longings! (E. K. Brown) Decadence came to Canada softly, almost imperceptibly, in the 1880s, when the Confederation poet Bliss Carman published his first poems and met the English chronicler and leading poet of Decadence, Arthur Symons. The event of Decadence has gone largely unnoticed in Canada; there is no equivalent to David Weir’s Decadent Culture in the United States: Art and Literature Against the American Grain (2008), as perhaps has been the fate of Decadence elsewhere. As a literary movement it has been, until a recent slew of publications on British Decadence, relegated to a transitional or threshold period. As Jason David Hall and Alex Murray write: ‘It is common practice to read [...] decadence as an interstitial moment in literary history, the initial “falling away” from high Victorian literary values and forms before the bona fide novelty of modernism asserted itself’.1 This article is, in part, an attempt to bring Canadian Decadence into focus out of its liminal state/space, and to establish Bliss Carman as the representative Canadian Decadent.
    [Show full text]
  • Arthur Rimbaud
    Arthur Rimbaud Jean Nicolas Arthur Rimbaud (/ræmˈboʊ/[2] or las Frédéric (“Frédéric”), arrived nine months later on 2 /ˈræmboʊ/; French pronunciation: [aʁtyʁ ʁɛ̃bo] ; 20 Oc- November.[3] The next year, on 20 October 1854, Jean tober 1854 – 10 November 1891) was a French poet Nicolas Arthur (“Arthur”) was born.[3] Three more chil- born in Charleville, Ardennes.[3] He influenced modern dren followed: Victorine-Pauline-Vitalie on 4 June 1857 literature and arts, and prefigured surrealism. He started (who died a few weeks later), Jeanne-Rosalie-Vitalie writing poems at a very young age, while still in primary (“Vitalie”) on 15 June 1858 and, finally, Frédérique school, and stopped completely before he turned 21. He Marie Isabelle (“Isabelle”) on 1 June 1860.[17] was mostly creative in his teens (17–20). The critic Ce- Though the marriage lasted seven years, Captain Rim- cil Arthur Hackett wrote that his “genius, its flowering, [4] baud lived continuously in the matrimonial home for less explosion and sudden extinction, still astonishes”. than three months, from February to May 1853.[18] The Rimbaud was known to have been a libertine and for be- rest of the time his military postings – including active ing a restless soul. He traveled extensively on three con- service in the Crimean War and the Sardinian Campaign tinents before his death from cancer just after his thirty- (with medals earned in both)[19] – meant he returned seventh birthday.[5] home to Charleville only when on leave.[18] He was not at home for his children’s births, nor their
    [Show full text]
  • Günther Schmigalle Rubén Darío Y Paul Verlaine
    Günther Schmigalle Rubén Darío y Paul Verlaine: una nueva lectura de su desencuentro en 1893 Badische Landesbibliothek, Karlsruhe, Alemania [email protected] Darío tiene 26 años cuando se cumple por fin su gran deseo de conocer personalmente a su admirado Paul Verlaine. En julio de 1893, cinco años después de la publicación de Azul …, Darío, todavía en los inicios de su ascenso a la gloria, llega a París por primera vez. Verlaine, por su parte, el célebre autor de Poèmes saturniens, Fêtes galantes, Romances sans paroles y Sagesse, a pesar de su fama está marcado por la pobreza, la enfermedad y el alcoholismo. Tiene 49 años, pero aparenta tener 70, y se ha convertido en una figura folklórica y escandalosa en el Barrio Latino. El encuentro tan anhelado por Darío resulta completamente decepcionante. 33 meses después, cuando Verlaine muere el 8 de enero de 1896, Darío redacta un artículo necrológico para La Nación, después incluido en Los Raros, donde menciona que “a mi paso por París, en 1893, me había ofrecido Enrique Gómez Carrillo presentarme a él” (Darío, “Paul Verlaine” y Los Raros 26), pero no dice nada más. Será hasta en 1911, casi dieciocho años después del traumatizante encuentro, que lo narra por primera vez en una crónica de La Nación: Desde luego, mi conocimiento del gran Fauno no fué en el François I, ni en otros cafés que se citan siempre que se habla de Verlaine, adonde me llevaron a presentarme a Morré du Plessis [sic]1 y Alejandro Sawa, sino en el D’Harcourt. Mucha gente rodeaba al Sócrates lírico.
    [Show full text]
  • Writing Against the Reader: Poetry and Readership in France 1840-1880
    Writing Against the Reader: Poetry and Readership in France 1840-1880 Jacqueline Michelle Lerescu Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Jacqueline Michelle Lerescu All rights reserved ABSTRACT Writing Against the Reader: Poetry and Readership 1840-1880 Jacqueline Michelle Lerescu This dissertation examines the changing ways in which nineteenth-century French poets addressed readers and constructed relationships with them from the late Romantic period through the rise of the Symbolist movement. While poetry’s increased isolation from the public is recognized as an important facet of the evolution of nineteenth-century poetry, the specific reasons for this have not been broadly studied. This dissertation first examines the poet-reader relationship in prefaces to poetic works, examining the shift from Romantic poets such as Victor Hugo and Alphonse de Lamartine, who considered addressing humanity an important part of their vocation, to mid-century poets such as Charles Baudelaire, Lautréamont and Charles Cros, who used prefaces to criticize and chase away readers, to later poets such as Stéphane Mallarmé and Arthur Rimbaud, who abstained from addressing readers by not writing prefaces or publishing their poetry. In order to understand the reasons for this shift, this dissertation examines new media and new readers which these poets rejected as the antithesis of poetry: the press, women and working-class readers. This dissertation studies poetry and critical articles in the mainstream press, women’s publications and publications by and for workers to reveal the models of the poet-reader relationship they presented.
    [Show full text]
  • FRENCH LITERATURE – 19Th Century Buckner B Trawick, Ph.D
    HUMANITIES INSTITUTE FRENCH LITERATURE – 19th Century Buckner B Trawick, Ph.D. PART I : Early 19th Century Literature -The Romantic Age1800-1842 OVERVIEW Historical Background.* Many exciting political events which helped determine national thought and literature took place in France in the first half of the nineteenth century. As has been mentioned, Napoleon Bonaparte was made consul in 1799 and emperor in 1804. It soon became clear that he was not merely continuing a revolution which had once aimed at freedom from tyranny and oppression, but that he was waging an aggres-sive war of conquest. His fortunes continued to rise till his unsuccessful invasion of Russia in 1812. He met disaster again at the Battle of Leipzig (1813), was exiled to Elba (1814), but escaped (March, 1815)—only to lose his final battle at Waterloo (June, 1815). He was exiled again - this time to the island of St. Helena, where he died in 1821. The Bourbons were restored to the throne in the person of Louis XVIII, who ruled from 1815 till 1824. He was succeeded by Charles X, whose despotic methods led to another revolution (July, 1830). France was proclaimed a constitutional monarchy, andLouis Philippe was called to the throne. Another revolution (1848) overthrew this monarchy, and the Second Republic was proclaimed.Louis Napoleon, a nephew of Napoleon I, served as president from 1848 till 1851. Then by a coup d‟etat he establish himself as dictator, declared France an empire again, and was crowned EmperorNapoleon III in December, 1851. The political unrest is, of course, reflected in the temper of the times.Both the failure of the French Revolution to establish and maintaina just and democratic government and the defeat of Napoleon I were inevitably followed byperiods of disillusionmentamong many groups.
    [Show full text]
  • Con Hugo Fuerte Y Con Verlaine Ambiguo”: El Reino Interior O Los Peligrosos Itinerarios Del Deseo En Rubén Darío?
    Revista Iberoamericana, Vol. LXXII, Núms. 215-216, Abril-Septiembre 2006, 481-495 “CON HUGO FUERTE Y CON VERLAINE AMBIGUO”: EL REINO INTERIOR O LOS PELIGROSOS ITINERARIOS DEL DESEO EN RUBÉN DARÍO? POR FRANCISCO MORÁN Southern Methodist University Con Hugo fuerte y con Verlaine ambiguo Rubén Darío Es conocida la gran influencia de los poetas franceses de la segunda mitad del siglo XIX en los modernistas hispanoamericanos, Baudelaire por supuesto, y sin duda Paul Verlaine, quien fue, por cierto, el que más influjo ejerció sobre Rubén Darío. Tal influjo, sin embargo, estuvo profundamente marcado por la ansiedad que la homosexualidad de Verlaine no dejó de suscitar en Darío. Como afirma Oscar Montero, la lectura que hace Darío “del legado del poeta simbolista francés [...] revela que el modernismo debía ser expurgado de los inquietantes signos de desviación sexual que se vinculaban con la llamada escuela decadente que encabezaba Paul Verlaine, aunque de manera no oficial” (“Modernismo y homofobia” 164). Mi intención aquí es demostrar que, puesto que la lectura que hace Darío de Verlaine atraviesa, articula y amuebla el propio reino interior del poeta nicaragüense, esa lectura no podía sino empantanarse entre la fascinación y el pánico. Verlaine es una figura pivotal en la poesía de Darío, no una exterioridad, y esto crea un espacio de fricción que desmantela los artificios retóricos a través de los cuales Darío intenta mantener a raya, desde una distancia segura, su entusiasmo por el poeta francés. Así, si bien es cierto que Darío emprende la purga a que se refiere Montero, también lo es que en el éxito de ese cometido se interponía un obstáculo insalvable: los demonios verlaineanos no eran simplemente intrusos en el reino interior dariano, sino ciudadanos, invitados seductores a quienes el propio Darío –y a espaldas de sí mismo– levanta las restricciones aduanales.
    [Show full text]
  • Describe the Development of Modernism in Literature
    Running head: DESCRIBE THE DEVELOPMENT OF MODERNISM IN 1 LITERATURE Describe the Development of Modernism in Literature Student Name School Affiliation Instructor Due Date DESCRIBE THE DEVELOPMENT OF MODERNISM IN LITERATURE 2 Modernism is a movement in art, literature, architecture and music that appeared following World War I. It differed greatly from all other styles and tendencies that were accepted in the world of culture during the periods of classicism and romanticism. The movement had strong influences that created the foundation for its development. World War I, as well as a number of revolutions, had a tremendous influence on society, everywhere. These historical events, harsh consequences, and technical progress led to the search for new values and perspectives. Thus, the beginning of the 20th century is viewed as the starting point for the literary movement called 'modernism' (Gay, 2007; Hughes, 2012). It was a new way of thinking and of expressing those thoughts. After World War I, people were completely disillusioned and suffered from despair. There were no reasons to feel optimistic; thus, the plots presented in literature were also rather pessimistic. All social events and processes seemed pointless. It was quite clear that there was no way back to the life society had before the Great War, so a search for new morals began, and with it, a cultural transformation also began (Hughes, 2012). This new thought permeated all forms of expression in art and literature. Modernism can be viewed as a rejection of classicism and its characteristics. Moreover, it was a step away from the moral norms and tendencies previously accepted by society and as a part of culture.
    [Show full text]
  • Exposition Arthur Rimbaud – Je Est Un Autre
    Exposition Arthur Rimbaud – Je est un autre. Strauhof Zürich, 15.12. 2004 – 27. 2. 2005 Ou bien Rimbaud: Secouer une fois la langue avec un cœur impétueux, pour la mettre divinement «hors d'usage» pour un moment – et puis s'en aller, ne pas se retourner, être négociant. (Rainer Maria Rilke, Le Testament, Berg am Irchel 1921) Présentation des salles Salle 1 L'homme aux semelles de vent / Der doppelte Rimbaud – Der Mythos Rimbaud Le monde est très grand et plein de contrées magnifiques que l'existence de mille hommes ne suffirait pas à visiter. [...] Mais pour vivre toujours au même lieu, je trouverai toujours cela très malheureux. (Rimbaud aux siens, Aden, 15 janvier 1885) «Je suis un piéton, rien de plus» a écrit le jeune Rimbaud de dix-sept dans une lettre. Par la suite, ses longs voyages lui ont valu les surnoms de «l’homme aux semelles de vent», «le voyageur toqué», ou «le nouveau Juif errant». Après avoir marché dans toute l’Europe, Rimbaud a traversé le Gothard à pied et a pris le bateau de Gênes pour l’Egypte. Il a alors commencé une nouvelle vie de négociant en Arabie et en Afrique. Le livre de Victor Segalen, Le double Rimbaud, se réfère à ces deux existences: le silence de Rimbaud et son départ de l’Europe sont-ils une trahison à son œuvre poétique ou en sont-ils la conséquence logique? La vie et l’œuvre de Rimbaud ont nourri les imaginations et les interprétations les plus diverses – variations sur un mythe que l’écrivain Étiemble a rassemblées avec ironie dans plusieurs volumes.
    [Show full text]