Abstract
ABSTRACT Fascinated by the limits of poetic and aesthetic form, Stéphane Mallarmé and his friend James McNeill Whistler experimented with the contextual and framing elements of their works. Mallarmé's poems in Les Loisirs de la poste were written on envelopes and sent through the post, the quatrain replacing the address of the letter, while Whistler's portrayal of blank spaces and vertical lines in the Thames Set etchings manifests a folding aesthetic. Mallarmé's poems and Whistler's etchings enact a folding which disregards the poem-addressee and subject-frame distinctions and instead foregrounds the works' own status as verbal and visual media.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
