French Poet Research Articles

André du Bouchet ou l’appartenance à l’air

The aim of this paper is to initiate an approximation to the figure of the air in André du Bouchet’s Air. In this collection of poems, this element has a double meaning for the lyric I: one more basic, associated to its condition of agent, and other one which is built by this subjectivity in relation to the perceptual, motor and kinaesthetic impressions that he collects from it and that turned the air into a space. In this way, « air » is config-ured as a total synonym of « landscape », the theme par excellence in the French poet’s work. The subject does not look for being part of it but for appropriating it to himself by means of a series of cognitive operations linked to his movement and perception that constantly revitalize it.

Editor’s Note

Editor’s Note

ŚPIEWNY ŚWIATOPOGLĄD. BOLESŁAW LEŚMIAN O DIALOGU POEZJI POLSKIEJ I UKRAIŃSKIEJ

The article discusses just one of Bolesław Leśmian’s literary essays, namely, “Attempts at literary creation in Ukraine,” published in Kurier Warszawski in March 1910. In it, the poet discusses the collection of poems published in Kiev entitled Noworocznik literacki autorów polskich i ukraińskich [The Literary Yearbook of Polish and Ukrainian Authors]. Leśmian welcomes this initiative with the hope of deepening the mutual relations between the poets of the two Slavic nations. It is evident that Leśmian was aware of many problems that hindered the mutual contacts of Polish and Ukrainian writers; he was also aware of the cultural delay of the Kiev artists at the beginning of the 20th century, in particular, of their remoteness from the world centres of the emerging great Modernism. He hoped, however, for changes in this field and for deeper mutual contacts. The essay also gave Leśmian an opportunity to spell out his own literary program, in which the musical side of poetry and the relationship between the poetic verse and singing played a significant role. In this context, Leśmian referred to local traditions and to ideas concerning folk culture and the “old Ukrainian land;” however, by calling the Kyiv poets “Ukrainian félibres,” he introduced a reference to the South French poets of the second half of the 19th century and to the movement headed by Frédéric Mistral created to revive the language and culture of Provence. These analogies make it possible to introduce broad comparative contexts to the interpretation of Leśmian’s essay.

Richard Schaukal in Netzwerken und Feldern der literarischen Moderne by Cornelius Mitterer

Reviews 216 linked this meaningfully with an examination of the three versions of Trakl’s poem on Novalis, and this second one in particular. This would have opened up possibilities for a more in-depth exploration of Trakl’s unique contribution to Neo-Romantic trends at the time, an overdue corrective of the all-too Expressionism-oriented interpretations of this enigmatic poet. Rüdiger Görner Queen Mary University of London Richard Schaukal in Netzwerken und Feldern der literarischen Moderne. By Cornelius Mitterer. Studien und Texte zur Sozialgeschichte der Literatur, 149. Berlin: De Gruyter, 2020. 302 pp. £91.00. ISBN 978 3 11 061801 3. Richard Schaukal (1874–1942) is today mainly perceived as belonging to the Austrian Modernism of the 1890s and beyond. Although he is, in some aspects of his oeuvre, ‘wesensverwandt’ (p. 216) with protagonists of Young Vienna, he remained on the fringes of the movement socially and otherwise. Schaukal’s desire to distinguish himself is tangible throughout his correspondence; his public persona, carefully nurtured, was one of aristocratic exclusivity, in line with his most notorious literary creation, the ‘dandy and dilettante’ Andreas von Balthesser (1907). Stylistically, the use of Impressionist devices, short prose formats, translations and Nachdichtungen of Verlaine and other influential French poets, as well as his frequent opinionated use of the essay, identify Schaukal as very much part of the fabric of Austrian letters: his transition into the post-war world included a marked turn towards political conservatism. In spite of his aloofness and posturing, the realities of the literary marketplace and his own desire for recognition necessitated a wide range of contacts with colleagues and mediators. Mainly deploying network theory and a sociological toolkit derived from Pierre Bourdieu, Mitterer charts Schaukal’s attempts at accumulating social, cultural and symbolic capital, as well as his strategies for employing this capital to advance his status and manipulate the perception of him in his chosen field. Schaukal’s capital was at its height around 1900 — when his translations, poetry and prose collections were well received throughout German-speaking central Europe — only to wane shortly before the war. Mitterer draws on a broad concept of habitus to explain the ambivalent position of his subject and the often restrained reaction of contemporaries to this self-styled dandy with his precious sense of self-worth. In Schaukal’s interaction with some of the major literary figures of his time, blatant attempts at ingratiation and exploitation of a correspondent’s influence, an arrogant insistence on his own integrity and independence, and a proclivity to unmotivated offence coexist in very close proximity. This explains why most of his networking efforts were short-lived, contradictory (flattery in private, harsh criticism in public — or vice versa), asymmetrical and ultimately ineffective. The main corpus that Mitterer draws on is Schaukal’s correspondence. Three hundred of the nine hundred correspondents in his estate belong to the world of Reviews 217 literature in the widest sense, including not only fellow writers, but also editors, translators, illustrators and publishers, all potential arbiters of literary success. The list of only the most prominent names that Mitterer features reads like a Who’s Who of German letters of the time. It includes proponents of vastly different literary and ideological persuasions, generations, nationalities and social backgrounds — from Arthur Schnitzler to Richard Kralik, Marie von Ebner-Eschenbach to Hermann Hesse. Other correspondents include Hermann Bahr, Franz Blei, Max Brod and further members of the Prague scene; Arno Holz, Adolf Loos, Thomas and Heinrich Mann, Rilke, Ferdinand von Saar, Hugo Salus, Heinrich Vogeler, Herwarth Walden, Stefan Zweig. Only a fraction of this material has been published before. Its richness allows Mitterer to reconstruct Schaukal’s efforts to seek opportunities in various political and artistic milieus. He established himself with some success in Munich modernist circles, but had less success with the George circle (not for lack of trying). Schaukal’s relationship to the narrower circles of Viennese modernism was fraught with conflict and unease: he professed kinship with Karl Kraus as another incorruptible mind, yet could not rise above his own increasingly explicit antisemitic inclinations. Many of these contradictions are convincingly explained by Mitterer as anachronisms, the results of incompatibilities (for example...

«Первый» или «неудачный»: о роли перевода стихотворения Поля Верлена «Le ciel est, par-dessus le toit…» в творческой биографии Федора Сологуба

The article analyses the translation of the poem "Le ciel est, par-dessus le toit..." by Paul Verlaine (collection Sagesse (Wisdom), 1880), which marked the beginning of Fyodor Sologub’s career as one of the most successful Russian translators of the French poet’s verse. The creative history of the translation is reconstructed, using the data from the Sologub Archive that document the history of the emergence of various versions of his text. Presumable reasons why the attention of Sologub the translator was attracted by this poem by Verlaine are considered in the context of Sologub’s original work.

ARTHUR RIMBAUD'UN "SESLİLER" ŞİİRİNDE DUYULAR VE YARATICI BİLİNÇ

In this study, it is aimed to analyze the French poet Arthur Rimbaud’s poem “Vowels” through senses. Therefore, the borderlines of an approach which is formed in the frame of cognitive stylistics, also including phenomenological and synesthetic perception is defined. Synesthesia is considered as a phenomenon that transcends senses with its effect on altered states of consciousness, as well as the perception which takes place between and through senses. Because of the approach to consciousness from a different perspective in the phenomenology, the factors affecting and building the poet’s consciousness are taken into consideration in the stage of analysis. And the altered states of consciousness of the poet, his conflicting moods, the reflections on the language of his tides between the physical and spiritual universe, and his cognitive difference make it appropriate to employ cognitive stylistics as a method, all of these also provide crucial clues about how the poet interferes with cognitive processes. The figure-ground relationship is considered in cognitive, phenomenological and synesthetic context; when the subject is poetry, it is pointed out that in which area this relationship is revealed and how it is interpreted. As a result, it is shown that a poem can be analyzed through senses, however, it is observed that senses and the relationships between senses affect the language in connection with both consciousness and mood.

Sarah Chihaya Merve Emre Katherine Hill Jill RichardsThe Ferrante Letters: An Experiment in Collective Criticism

this same panoply appears as a flourishing garden awaiting an open mind. Even the uninitiated will find that Lababidi extends a friendly hand to guide you through what seems at first to be wildly different ways of understanding the world and humanity’s place within it. In the very first essay, “The Books We Were,” the author gives us a crash course in his eclectic reading habits and how he has absorbed intellectual, aesthetic, and spiritual lessons from so many iterations of human creativity. Tracing his evolution through “one Existentialist horror writer after another,” Lababidi finds himself increasingly drawn to poetry and then to the mystical traditions throughout history. Throughout the book, these two philosophical poles frame his discourse, whether reviewing a biography of iconic French poet Arthur Rimbaud or dissecting the seemingly anomalous candidacy of Marianne Williamson within the rapid rise of “so-called spiritual leaders who presume to speak for The Universe” (in contemporary society). Placing himself in the tradition of spiritual seekers, and thus striving to draw wisdom from every available source, Lababidi decries both the fundamentalist adherence to a single belief system as well as the consumerism that treats deeply held spiritual practices more like fashion accessories to be worn when in vogue and cast off when not. Though he has spent decades in the United States, Lababidi’s affinity for his homeland of Egypt underlies much of his writing and appears most poignantly in a number of agonized and beautiful reflections on his country’s democratic revolution and subsequent slide back into dictatorship, written as it happened. As a poet, he notes with obvious pride in “Daring to Care” that poetic slogans and artists of all stripes played a critical role in the emergence of the Arab Spring. As the hopes of democratic revolution gave way to violence and repression, Lababidi does not try to gloss over the sense of betrayal; his tone remains optimistic that the original driving force of the revolution remains alive in the people’s hearts. While the book features its share of social criticism, Lababidi’s overall worldview comes off as overwhelmingly positive throughout. He may worry about the effects of technology on our common humanity, but he also still sees that a simple, honest conversation “can forge a profound human connection with a perfect stranger because, ultimately, there are no strangers.” In several essays on contemporary politics, pornography , and the #MeToo movement, Lababidi provides stark, at times uncomfortable, reflections on the ways that individuals unconsciously assume the values that their leaders—political or cultural—espouse in their words and actions. Still, heartened with centuries of mystical knowledge, despair seems to be the furthest thing from his mind, and he sees clearly that despite the pain such unsparing appraisals of ourselves and our society might cause, this is the very threshold we must cross to take the first step toward wholeness. While Revolutions of the Heart covers an extraordinary range of topics between its covers, in the end this collection clearly shows that it has one true subject: the heart of Yahia Lababidi himself. He may have fought many revolutions within his own mind to develop his distinct style of artistry, but in the mystic’s eye, these struggles are simply part of being a thinking person and just as natural as the revolutions that change the whole world each year. Z. McGrew University of Science & Arts of Oklahoma Sarah Chihaya, Merve Emre, Katherine Hill & Jill Richards The Ferrante Letters: An Experiment in Collective Criticism New York. Columbia University Press. 2020. 277 pages. HOW APPROPRIATE THAT ONE of the most incisive studies of Elena Ferrante to date has been the outcome of an experiment in criticism. As readers all around the world know, Ferrante herself is somewhat of an experiment in authorship; for nearly thirty years, she has published under a pseudonym, and the stratospheric levels of fame brought on by her Neapolitan novels has only cemented her well-documented need for privacy. This determination to eschew the role of author personality has WORLDLIT.ORG 93 Books in Review Jenny Erpenbeck Not a Novel: A Memoir in Pieces Trans. Kurt Beals. New York. New Directions. 2020. 212 pages. JENNY ERPENBECK’s fictional...

T. S. Eliot and Paul Valéry: 1926-1929

The purpose of this paper is to explore, from the perspective of biographical criticism, the relationship between T. S. Eliot, the greatest English modernist poet, and Paul Valery, the greatest French Symbolist poet during the years 1926-1929. This paper is to thoroughly trace the mutual relationship and the influential interaction between Eliot and Valery mainly through the nexus of The Letters of T. S. Eliot 3: 1926-1927 (2012) and The Letters of T. S. Eliot 4: 1928-1929 (2013). Although Eliot’s brief encounter with the French poet and critic at a London reception in 1927 inevitably and repeatedly triggered unpleasant feelings, the editor of The Criterion and a board member of Faber & Gwyer positively and supportively mediated in trying to have Valery’s friend and adjutant William McCausland Stewart’s and the latter’s friend Thomas McGreevy’s English translations of Valery’s French prose and verse published by Faber & Gwyer or the Hogarth Press or Jonathan Cape in place of the Criterion Press. Thanks to Eliot’s insistent endeavors through his correspondence, however, McGreevy’s translation Introduction to the Method of Leonardo da Vinci was published by John Rodker in 1929 and Stewart’s translation Eupalinos or The Architect finally not by the Hogarth Press but by the Oxford University Press in 1932. In short, numerous English and/or French letters of Eliot, Valery’s translators, Leonard Woolf the publisher of the Hogarth Press, a mutual friend of W. B. Yeats and Eliot Thomas Sturge Moore the poet-critic, and other men of letters over a period of four years intensively reveal the two masters’ trustworthy and respectful friendship especially with regards to publication of English translations for the worldwide spread of the French poet-critic’s work.

Modulações hesitantes do olhar

Destacando alguns momentos do meio século de escrita dos Cahiers de Paul Valéry, será possível observar como um conceito estético oriundo da música – a modulação – é transformado pelo poeta francês, sendo empregado já nos manuscritos da Introdução ao Método de Leonardo da Vinci para refletir sobre o olhar, a figura e o desenho. Com efeito, ao ser deslocada do universo musical para a artes plásticas, a ideia de modulação deixará de ser pensada como uma transição sucessiva entre tons de diferentes partes de uma obra para ser concebida como passagem hesitante, sucessiva e simultânea, entre múltiplas camadas heterogêneas da experiência estética. Desse modo, o ato de modular abrirá um campo de reverberações entre as diferentes artes no interior do qual o conceito de forma, longe de ser definido pela purificação analítica dos componentes elementares de um meio, suporte ou área de competência estética, refina-se nas hesitações e intervalos entre diferentes práticas e materiais artísticos. Assim, o diálogo entre o conceito valeryano de modulação e a artes plásticas poderá também precisar aspectos importantes do formalismo poético atribuído a Valéry.

Alle origini del vers libre: il caso Marie Krysinska

The figure of Marie Krysinska, a French poet of Polish origin who lived between the end of the 19th and the beginning of the 20th century, is at the crossroads between the metrical problem of French free verse and the cultural problem of women’s place in the history of literature. After an introduction about the relation between women’s poetry and free verse in France at the end of the 19th century, this article presents Marie Krysinska and her querelle with Gustave Kahn about the invention of French free verse. The following pages aim to develop a comparison between Kahn and Krysinska from both a theoretic point of view and a poetic one, in light of the most recent studies on the evolution of French poetic forms. While on the one hand their theoretical writings show some important similarities, due to their common symbolist background, on the other hand some formal differences in their poems prove that they followed two different ways of using the free verse and explain the difficulties of understanding Krysinska’s poems. The last part of the article resumes the development of the “Krysinska case” in literary studies: violently attacked by critics at the beginning of the 20th century, forgotten by scholars for about fifty years, Krysinska has been rediscovered and reevaluated only in the nineties, and it is now possible to recognize her importance in the literary context of her time, as well as the value of her poetic production.

Collective Creativity: Negotiating Canonicity Through Adaptations of Baudelaire

Baudelaire was ‘canonised’ in the Pléiade editions published by Gallimard in 1931. This important step in the reception history of a major nineteenth-century French poet was part of an ongoing process of interaction with Baudelaire’s work. As this article contends, musical adaptations play a significant part in Baudelaire’s global reception history, from the 1860s onwards. The article argues that as the adaptive process moves beyond the ‘one author, one adapter’ model, into a more collective creative process, it both alters the poetry for good and contributes directly to the ongoing canonisation of the poet’s work. The interplay of different artists using combinations of media formats (word, music, and moving image), crossing into different languages and updating for contemporary audiences, brings about collective responses which radically nuance understanding of (male) authorial privilege. A detailed analysis of two songs with moving image created by the Chicago-based theatre collective Theater Oobleck in their seven-year-long Baudelaire in a Box project (2010–17) reveals the importance of gendered individuation in collective works, and how this operates to break down the dominant position of the male author. The article concludes with a critique of how live music performance genres have typically masked the diverse makeup of a collective creative process (which individuates) in favour of an overarching collaborative vision (which generalises). It contends that the reuse of an established literary source continues to complicate the non-hierarchical vision of a collective creative response, giving rise to a genius paradox. On the one hand, the ‘ethic of rarity’ (Heinich 1996: 11) dictates that the modern artist is hailed as a unique figure. On the other, the collective inputs that have shaped the work remain an essential part of the creative process. Casting light on collective musical adaptations of Baudelaire thus invites a reconsideration of the value premiums we place on canonical works and their authors.

ТЕОРЕТИЧНА СПАДЩИНА ШАРЛЯ БОДЛЕРА У ПЕРСПЕКТИВІ ЧАСУ

The theoretical legacy of Charles Pierre Baudelaire (1811-1867), a prominent French poet, has aroused interest for more than a hundred years. It is emphasized that Baudelaire began his literary career as an art critic, whose interest was focused mainly on the fine arts. Focusing on the current process, he was perhaps its first connoisseur and interpreter. It is shown that the articles that the critic published in the magazine SALON for several years raised a number of art problems, some of which were of a general theoretical nature. The publications of such a plan should include research, which considers the genre specifics of fine arts, artistic eclecticism, of arts. The article highlights the problem of of arts as one that was of fundamental importance for the further development of French humanities, as G. Flaubert and other members of the creative community, sharing the relevant theses of aesthetics of I. Kant, ironically treated the possibility of of aesthetic and artistic principles of different types of art and the feasibility of such experiments. At present, Baudelaire's frank focus on the of word - color, word - sound is emphasized, which significantly dynamized the poetic lines, asserting the potential of rhythm as a component of the art form. It is noted that the author's idea of CORRESPONDANCES - compliance - scrupulous consideration of the specifics of each art form, the synthesis of which the creative personality plans to carry out, was of special importance for substantiating the problem of synthesis. It is emphasized that another direction of Baudelaire’s art-critical activity is connected with the evaluation of the works of specific painters and graphic artists, whose works reflected different directions of aesthetic and artistic pursuits of the French art of that time. It is articulated that acting as a critic of both academicism and romanticism, which - according to Baudelaire - in the period 1840s - 1850s already exhausted its creative potential, he gradually began to lay the foundations of the aesthetics of decadence and symbolism, which will be fully embodied in his poetic collection Flowers of Evil (1857). Зауважено, що підтримуючи і поділяючи засади біографічного методу Ш.-О.Сент-Бьова, котрий активно входив у теоретичний ужиток за життя Бодлера, він виразно персоналізував матеріал статей, плідно використовуючи потенціал аналогій та порівняльного аналізу. It is noted that by supporting and sharing the principles of the biographical method of S.-O. Sainte-Beuve, which was in active theoretical use during Baudelaire's life, he clearly personalized the material of the articles, fruitfully using the potential of analogies and comparative analysis. The article focuses on Baudelaire's interest in the principle of interdisciplinarity, that its application allows to organically combine specific aspects of several humanities. In the artist's research field, the marker of interdisciplinarity was the conceptual-categorical apparatus he had developed: philosophy (eclecticism, pattern), aesthetics (ideal, beauty), ethics (doubt, heroism), psychology (feelings, imagination), and also shown that Baudelaire's idea of falsification of feeling is still not adequately interpreted. It is stated that Baudelaire's position on the need for a clear distinction between the concepts of complete and perfect - he formulated this thesis in the process of analyzing the work of C. Corot, which he praised - needs further understanding and elaboration. The article emphasizes that Baudelaire's theoretical legacy - in the long run - is consistent with the main trends of modern European humanities and should be taken into account in the logic of its further development.

Que faire de (la mort de) Pompée ? Analyse poétique et politique d’une tragédie double

This article proposes a double analysis, poetic and political, of the tragedy La mort de Pompée (The Death of Pompey, 1644) by Pierre Corneille. It shows the bold construction of Corneille who crosses two intrigues: an Egyptian one (what to do with the arrival of Pompey?) and a Roman one (what to do with the death of Pompey?). The French poet lends to Caesar, faced with the head of Pompey, a double reaction, worked by the tension between the joy of the defeat of his adversary and the magnanimity that he must manifest to hope to restore civil peace. By inventing a confrontation, absent from the historical sources, between Caesar and Cornelia, he introduces the question of the conditions of the end of the civil war. It thus appears that the poetics of the play unfolds a political thought. Corneille highlights the threat that imperial conquest outside Rome poses for civil peace.

Beyond Orientalism: When Marceline Desbordes-Valmore carried Saʿdi’s Roses to France

This article follows a thread of translation and intertextual dialogue, taking us from the thirteenth-century Persian poet Saʿdi to the nineteenth-century French poet Marceline Desbordes-Valmore. It reads Desbordes-Valmore’s poem ‘Les roses de Saadi’ (1860) with the two passages from Saʿdi’s Golestān from which it was inspired, shedding new light on the poem’s metapoetic subtext. The original Persian text is compared to two French translations that were circulating at the time when Desbordes-Valmore was writing. This analysis of the Golestān’s reception forms the basis for the argument that Desbordes-Valmore recast in secular terms Saʿdi’s discourse on poetic language, emphasizing the continuity, rather than difference, between her concerns and Saʿdi’s. The case of Desbordes-Valmore thus reveals a forgotten facet of nineteenth-century French engagements with Middle Eastern culture: one of identification and literary influence, which existed alongside the processes of “othering” for which the period is better known.

Language and Statelessness in the Poetry of Olivier Cadiot

Drawing on Gilles Deleuze and Felix Guattari’s analysis of language and literature, formulated in Kafka: pour une litterature mineure (1975), Mille plateaux (1980) and elsewhere, this article pursues the idea that certain forms of language, such as national languages or major literary discourses, might be conceptualized as states. Each operating as a locus of power, these forms of language codify regulatory rules (grammatical, lexical or stylistic, for example) that serve to stake out the boundaries of their territories; adherence to these rules and norms subsequently identifies belonging or non-belonging to a given linguistic or literary community. Concomitant with the notion of the linguistic state is the notion of linguistic statelessness, which might describe a general sense of alienation within language, such as that produced by the defamiliarizing effects of poetic discourse, or a more localized sense, prompted by the socio-political situation of certain marginalized, regional languages. Taking Deleuze and Guattari’s notion of ‘deterritorialisation’ as a point of departure, this article explores how certain forms of literature dismantle or disrupt dominant linguistic codes, pointing to a decentralized position outside of the established state. Here, literature involves a movement outside of a given linguistic territory, prompting a kind of statelessness within language. Having elaborated these notions of ‘state’ and ‘statelessness’, ‘territories’ and ‘deterritorialisation’ in greater detail, the article traces their configuration in the work of the contemporary French poet, Olivier Cadiot. It considers Cadiot’s first collection of poetry, L’art poetic’ (1988), and then his collaboration with the musician Rodolphe Burger on the album Welche: On n’est pas indiens c’est dommage (2000). In both instances, Cadiot uses ready-made language, employing cut-ups and sampling techniques that rework dominant discourses, deterritorializing them and making them ‘minor’.

Sex, Wine and Statelessness: Apollinaire’s Verse without Borders in ‘Vendémiaire’

Guillaume Apollinaire is a perfect stateless European. Originally a subject of the Russian Empire, born Wilhelm Kostrowicky in Rome to a Finland-born, Polish-Italian single mother, later becoming a prominent French poet and a soldier and eventually being granted much-desired French nationality, his biography reads like a novel. His 174-line poem ‘Vendemiaire’ (Alcools, 1913) is titled after the French Revolutionary Calendar’s windy month of grape harvest, and as such centres on wine. In this ‘chanson de Paris’, a personified Paris’ thirst for wine is met by the enthusiastic response of multiple towns and rivers, their water changed to wine, offering themselves to the capital in an orgy-like feast. This glorification of Apollinaire’s adoptive city mixes sexual double meanings with religious references, founding a half-parodic new religion. It also touches on the poet’s own painful strangeness, which leads him to dream of a liberated, borderless world of ‘universelle ivrognerie’, in which a godlike poet creates the world anew from primordial wine, and which also links to issues of national and cultural identities. This exceptionally dense poem, in which several meanings, tones and verse forms overlap, provides an exemplary specimen of Apollinaire’s daring versification, which bears an important role in the construction and circulation of meaning, and is foundational to his prominence as a modernist poet. Its disorienting blending of old alexandrines with free verse places Apollinaire both within and without a metrical tradition that he enjoys and transgresses. Ultimately, rather than a world without borders, Apollinaire offers the image of a world full of borders, and the exhilaration comes not from their abolition but from crossing them. The poet’s orphic power overrules boundaries, alters the world order: rivers of wine flow up towards Paris; a new religion allows him to create the world anew, and to gear it towards poetry, with a form of verse described as ‘tordu’, deliberately and richly imperfect.

L'exotisme synesthésique dans la poésie de Baudelaire Introduction

This study shed the light on the sensory homogeneity phenomenon Synesthesia by presenting the scientific definition for it, and applying it in the literary work of Baudelaire. This paper will present how this neurological and physiological phenomenon passed successfully to art domains, not just in theater and in music, but it went beyond to literary field. In fact, Baudelaire was one of the first who believed in this phenomenon. He found it a rich source for inspiration, and a first step toward a modern literary revolution for the French poem. Therefore, the French poet created , by this theory, his own aesthetic theory The Correspondences, which sees the human senses beyond its main function and aims to mix them, all this to arrive to idealism in expression and to pave the road toward symbolism which Consider Baudelaire one of its pioneers loyal. However, the poet has a strange intuition in this area. He starts to study every things psychologically and to establish a network, on the one hand, between the reality and the symbol, and on other hand, between the past and the future to connect the poem to the immortality What is Synesthesia? How did our poet develop this sensory phenomenon of physiological origin into a wonderful color adorned by the French poem and boasted through the ages? How did he benefit from the previous sensory theories in his work? And, finally, how did he treat this sensory phenomenon in his poetic works? We will try to answer to all of these questions with an amount of exceptional examples from literary production of Baudelaire

Overview Of Story- Le Morte D' Arthur

The legend of King Arthur and his knights of the Round Table is immemorial. The heroic knights and their king’s tales contribute western society a great literature that is still well- known today. King Arthur along with the theme of chivalry greatly impacted not only western civilization, but all of society throughout the centuries. King Arthur and his Knights of the Round Table have been around for thousands of years but are only legends. The first reference to King Arthur was in the Historia Brittonum written by Nennius a Welsh monk around 830A.D. The fascinating legends however did not come until 1133 A.D in the work Historia Regum Britaniae written by a Welsh cleric, Geoffrey of Monmouth. His work was actually meant to be a historical document, but over time many other writers added on fictional tales. The Round Table was added in 1155 A.D by a French poet Maistre Wace. Both the English and French cycles of Arthurian Legend are controlled by three inter-related themes:

Literary Translation and Stylistic Figures

This article discusses the need for more detailed analysis of linguistics and translational linguistics in the process of literary translation, usage of some other specific linguistic research methods, including the use of content analysis and analysis of situations, in which comparable two different units have different values and meanings. The works of the Uzbek and French poets and writers, have scientifically proved these methods, which serve to fulfill each other, in particular, the works The relevance of the essay and the content of the translation texts requires equivalence to be recognized as a fundamental requirement of the translation. The idea of a complete translation of the work is just a dream of the reader and the interpreter. Sometimes it is not widely accepted that the translation of the work, which is well-deserved by the general public as well as the experts of this field, is complete. Unfortunately, asacademician A.A. Shcherba points out, "You can only understand what your language is like when you compare your language to other languages," and there are it can be seen that both languages have the ability to use them and to use them efficiently.of R. Parfi and the French writers Le Clezio and F. Moriacprovide a thorough and objective assessment of translations.It also analyzes what is described on the literary work as a means of visualization and emotionality, not as a defining feature of the poetic language, but as a means of “expressive means and stylistic devices” which serves to uncover emotions and descriptiveness. The relevance of the essay and the content of the translation texts requires equivalence to be recognized as a fundamental requirement of the translation. The idea of a complete translation of the work is just a dream of the reader and the interpreter. Sometimes it is not widely accepted that the translation of the work, which is well-deserved by the general public as well as the experts of this field, is complete. Unfortunately, asacademician A.A. Shcherba points out, "You can only understand what your language is like when you compare your language to other languages," and there are it can be seen that both languages have the ability to use them and to use them efficiently.

Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”

Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”