French Poetry Research Articles

Colourworks: Chromatic Innovation in Modern French Poetry and Art Writing

Colourworks: Chromatic Innovation in Modern French Poetry and Art Writing

Futuro pasado. la evolución del concepto Poesía en Octavio Paz

Future Past. The Evolution of the Concept of Poetry in Octavio Paz. Octavio Paz (1914) is a poet writing in Spanish whose aesthetic ideas have built a vision of relevant poetry for at least three traditions: poetry in French, English and, of course, Spanish. This study will analyze, from the metalinguistic perspective proposed by Reinhart Koselleck, how the concept of “poetry” evolved in the thought of the Mexican Nobel Prize winner. Framed by his tradition, by his space of experience, Octavio Paz wrote works that have been instrumental in understanding and valuing poetry in the twentieth century. From “Poesía de soledad y poesía de communion” (1943) to La otra voz, Poesía y fin de siglo (1990), Paz synthesized the aesthetic ideas of his time in El arco y la lira (1956), rethought the lyrical exercise in “Los signos de rotación” (1956), modified his poetic in the prologue to Poesía en movimiento and made his position explicit in Los hijos del limo and his thoughts on Lévi-Strauss and Marcel Duchamp. By focusing on these texts, as well as on a corpus of conferences, interviews, correspondence and even poetry recitals, this study explores the evolution of poetic thought and the horizon of expectations that the work of the last Spanish-speaking poet who received the Nobel Prize opens for us. Keywords: Octavio Paz, style, poetics, post-utopian time, semantics of concepts

Poésie et discours social dans le rap français et camerounais : Booba, La Fouine, Valsero et Maalhox le Viber

Au même titre que d’autres modes d’expression littéraires classiques, le rap se positionne comme un lieu d’énonciation et de dénonciation du malaise individuel et social dans tous ses états. Outre ses ressources esthétiques, poétiques, musicales et visuelles, le rap est révélateur d’un discours social. Ses thématiques s’inspirent des expériences personnelles pour exprimer le collectif. Le présent article envisage d’examiner dans une perspective transculturelle et performative les textes de quatre rappeurs : Booba (« Jimmy »), La Fouine (« Mes repères »), Valsero (« Lettre au Président ») et Maalhox le Viber (« Tu es dedans »). Les deux premiers sont français et les deux autres camerounais. Issus d’un milieu social précaire et ayant chacun vécu directement des situations difficiles (vie d’immigrés, misère, chômage, incarcérations, etc.), ces rappeurs font du rap satirique et auto/socio-thérapeutique. Ils se disent en disant le social au moyen d'une performance rhétorique. Selon eux, la réalité quoique poétisée à bien des égards, doit être (d)énoncée avec crudité ou âpreté pour susciter un changement. Ainsi, les deux rappeurs français mettent en scène un quotidien marqué par la violence et la précarité qui fixe le parcours des immigrés banlieusards. Chez leurs confrères camerounais, il est question de la jeunesse atrophiée/asphyxiée, abandonnée à elle-même avec ses rêves devenus vains à cause d’une caste politique égoïste et individualiste, engluée dans une pratique de la mauvaise gouvernance criante et révoltante (Valsero). Cette jeunesse, en perte de repères, se réfugie dans la débauche sexuelle outrancière (Maalhox le Viber). Peu importent les frontières, le rap est un discours poético-musical qui a recours à des procédés satiriques. À l’instar des écrivains dits engagés, les rappeurs allient les mots et les maux pour faire de leur art un instrument de plaisir et du progrès social.

Une « science » de la durée : Valéry lecteur de la poésie du xix e siècle

Although Paul Valéry’s lack of interest—if not outright contempt—for literary history is by now well known, as is his rather singular conception of reading, this article argues for the importance of reexamining the many texts in which he positions himself first as a reader of nineteenth-century French poetry. A constant preoccupation of Valéry’s when reviewing Hugo, Baudelaire or Mallarmé (among several others) is the capacity of any given text to resist at once its reader and the unavoidable flight of time. At stake in Valéry’s meditation, as this article demonstrates, is what he comes to label as a “science” of duration (durée).

Forms of Poetic Attention

Forms of Poetic Attention

The reception of French symbolism in Georgian Literature

The comparative study of Georgian modernist poetry in the context of French poetry reveals that Georgian poetry of the early XXth ventury is not an epigenetic appendage or periphery of European poetry. It creates its original invariant, which in a way expands and expands the mythohraphic discourse and mythological character of French poetry, chronotopes, cultural and landscape spaces.At the beginning of the XXth century the blueroks could not hide their amdiration for the work of French Symbolists, which they considered to be evidence that the path of Georgian literature was directed towards Europe. They had adored poets: Edgar Allan Poe, Baudelaire,Rimbaud, Verlaine… However, I think the announcement of the Blue roks as Georgian symbolists is very controversial… Therefore, I consider it important to establish the basic principles of French symbolism and, consequently, to connect it with the Georgian poets of the XX century, ib paerticular with the poetry of Galaktioni.

Leonardo Reviews Online

October 14 2021 Leonardo Reviews Online Author and Article Information Online Issn: 1530-9282 Print Issn: 0024-094X ©2021 ISAST2021ISAST Leonardo (2021) 54 (5): 589. https://doi.org/10.1162/leon_r_02131 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Leonardo Reviews Online. Leonardo 2021; 54 (5): 589. doi: https://doi.org/10.1162/leon_r_02131 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentAll JournalsLeonardo Search Advanced Search Colourworks: Chromatic Innovation in Modern French Poetry and Art Writing by Susan Harrow. Reviewed by Robert Maddox-Harle. Critical Zones: The Science and Politics of Landing on Earth, edited by Bruno Latour and Peter Weibel. Reviewed by Jussi Parikka. The Farm by Joanne Ramos. Reviewed by George Gessert. Fiction-Science—Sur une proposition de Buvard et Pichet (exhibition). Reviewed by Edith Doove. Grammaire de Formes written and edited by Danièle Méaux; photos by Éric Tabuchi, Jordi Ballesta and Guillaume Bonnel. Reviewed by Jan Baetens. Magritte et les Philosophes by Sémir Badir. Reviewed by Jan Baetens. Orozco’s American Epic: Myth, History and the Melancholy of Race by Mary K. Coffey. Reviewed by Mike Mosher. Éloge du mauvais lecteur by Maxime Decout. Reviewed by Jan Baetens. A History of Art History by Christopher S. Wood. Reviewed by Edith Doove. Pioneers of the Global Art Market, Paris-Based Dealer Networks, 1850–1950 edited by Christel H.... You do not currently have access to this content.

AHMET HAŞİM’İN ŞİİRLERİNDE MEKÂN

Ahmet Haşim, Tük edebiyatının önemli isimlerinden biridir. Önceleri Tanzimat sanatçıları olan Abdülhak Hamit ve Muallim Naci’nin şiirlerinin etkisinde kalan şair daha sonra Servet-i Fünun sanat anlayışına uygun şiirler yazar. Fransız şiiri ise onun sanat anlayışını derinden etkiler. Şiiriyle bireysel sanat anlayışını kendi döneminde koruyan şair ilk şiir kitabı olan Göl Saatleri’ni 1921’de çıkarır. Daha sonra Piyale’yi 1926’da kaleme alır. Modern Türk şiirinin kurucularından biri olan Ahmet Haşim, kendisinden sonra Cahit Sıtkı Tarancı, Ahmet Hamdi Tanpınar, Ahmet Muhip Dıranas ve Necip Fazıl Kısakürek gibi birçok sanatçıyı etkiler Sanatçının şiirleri üzerine birçok çalışma yapılmış ve kitap çıkarılmıştır. Aynı zamanda onun bireysel odaklı sanat anlayışı dönemin sanatçıları ve kendisinden sonra gelen sanatçılar tarafından da tenkit edilmesine neden olur. Özellikle Haşim’in “hayal havuz”u gibi mekânsal çağrışımları bu eleştirilerin hedefidir. Genellikle mekân, daha çok roman ve hikâye unsurlarından biri olarak görülmektedir. Ancak mekân kavramı son yıllarda çeşitli çağrışımlarla yeniden anlam kazanmakla beraber şiirde de yerini bulur. Mekân ve insan karşılıklı bir etkileşime sahiptir. Dolayısıyla mekân ile şair de etkileşim içindedir. Ahmet Haşim’in şiirlerinde ise zaman kavramı öne çıkarılır. Hâlbuki zaman dışında ve zamanla birlikte şiirde vücut bulan, gerçek ve hayal ile iç içe geçmiş bir mekân meselesi Ahmet Haşim’in şiirlerinde mevcuttur. Çalışmanın amacı, Ahmet Haşim’in şiirlerinden hareketle mekân unsurlarını tespit etmek ve mekân unsurlarının sanatında nasıl kullanıldığını incelemektir. Mekânın şair için ne anlamlar ifade ettiğini -biyografisinden hareketle- ortaya koymak çalışmanın esas amacıdır.

Carducci y Gutiérrez Nájera: dos ejemplos de lectura de Horacio en la tradición clásica del siglo XIX

Manuel Gutiérrez Nájera and Giosuè Carducci are two of the most important authors of Mexico and Italy respectively. Both were inspired by the French poetry of their time and shared a literary ideal of definition and construction of their national identity. Among the different ways to do this work, the use of Classical tradition, and specifically in the presence of Horace, allows us to recognize the differences and similarities of the nineteenth-century ideas of both authors.

Against Archaeology

Tell things as they are. * * * —Anderlecht/Amay Nathaniel Rudavsky-Brody has published essays and poetry in both English and French. He is also a translator, most recently of The Idea of Perfection: The Poetry and Prose of Paul Valéry (Farrar, Straus and Giroux).

Anglo-French Poetic Exchanges in the Little Magazines, 1908–1914

This article demonstrates the extent and significance of exchange between English and French poets in the years leading up to World War I, a crucial period for the development of modern Anglophone poetry. Through archival research, I trace the growing interest in French poetry of Imagist poets F. S. Flint, Ezra Pound and Richard Aldington, exhibited in various little magazines including the New Age, Poetry Review, Poetry and Drama, Poetry, the New Freewoman and the Egoist. Moreover, I show that such interest was reciprocated by contemporary French poets, notably Henri-Martin Barzun and Guillaume Apollinaire, who published works by English poets in their respective little magazines Poème et Drame and Les Soirées de Paris. This suggests that not only were modern English poets influenced by their French counterparts, but they were also given a voice in the Francophone artistic world, resulting in a unique moment of cross-channel poetic exchange before the war.

Susan Harrow, Colourworks: Chromatic Innovation in Modern French Poetry and Art Writing

Colourworks interroge le chromatisme de la poesie moderne francaise a travers l’etude de Stephane Mallarme, Paul Valery et Yves Bonnefoy. Du poeme « L’Azur » de Mallarme en 1864 jusqu’au recueil Les Planches courbes de Bonnefoy en 2001, ces trois ecrivains, analyses par Susan Harrow dans trois parties distinctes, recouvrent une chronologie large de la modernite. Leur corpus poetique, selectif plutot qu’exhaustif, est augmente d’extraits de leurs ecrits sur l’art. Ce choix atteste de la perspe...

The Works of Marc Chagall in Polish Poetry (from the 1950s to the 1980s)

The article presents a profound and artistically very successful phenomenon of the reception of Marc Chagall’s works in Polish poetry form the 1950s to the 1980s. Different from the reception of Chagall in other “Western” literatures (examples discussed in the article derive from French poetry), the Polish reception is marked first of all by the events of the Second World War and the Holocaust. As during the war almost all material and cultural traces of the Jewish presence in Poland were annihilated, the works of Chagall became a point of reference for many poets (e.g. Jerzy Ficowski, Joanna Kulmowa, Janusz S. Pasierb, Tadeusz Śliwiak), enabling them to express a part of Polish culture which was tragically deprived of its own forms of expression and existence.

Onze poèmes de Marinetti dans “Anthologie-Revue” (1898-1900). Édition et commentaire

This paper provides the first integral edition of eleven poems by Filippo Tommaso Marinetti, the founder of Futurism. These eleven poems were all published from march 1898 to january 1900 in a now very rare journal: “Anthologie-Revue de France et d’Italie”. In these pages one can see Marinetti at work, ten years before the foundation of Futurism, both as a french poet and as a fin-de-siècle poet, both as a poet in verse and as a poet in prose. Since “Anthologie-Revue” was printed in Milan by a parisian editor, its redaction group was deeply concerned with franco-italian cultural relations. In this context, along the Milan-Paris axis, we can examine Marinetti’s earliest poetry and its evolution from sonnet to free verse. A decade before launching his avant-garde movement, young Marinetti faces the very last wave of the nineteenth-century Symbolism, showing a general predilection for french poetry. Moreover he had composed french verse since his adolescence. A main editorial principle is at the basis of the present work: the dedication preceding each poem and the place and date following it are always transcripted and possibly commented. New data about european literary contacts are thus documented. New information and details about circumstances of composition are often offered. Texts receiving a new light from either a contemporary historical event or a particular place and landscape.

Poetry at the Margins: Jacques Darras’s Neo-Epic La Maye

Jacques Darras’s La Maye, an opus in eight cantos composed between 1988 and 2012 constitutes a singular attempt in the field of contemporary French poetry to reinvest the topos of the region (his native Picardy) and interrogate key elements of the Long Poem tradition. Rather than reverse the power differential in the center/margin dichotomy, Darras deploys a series of geographic and literary drifts to map out a trans-local vision of the North that complicates a notion of regional identity construed as immediate and solvable. Whether by delving into records of site-specific history that were glossed over in the grand récit of the nation or by appealing to the poetic traditions of the North for specific meters and multilingual borrowings—drawing inspiration from frontier territories such as Quebec or the Orkney Islands and their vexed historical and linguistic relationships with the center—Darras’s project participates in a form of critical memory. Following a brief discussion of the major characteristics of his oeuvre, I turn to its formal elements—the frequent use of toponyms and allusions to Anglo-American modernists, in particular—as crucial markers for Darras’s visionary poetics of place and for defining its fraught relation with the Long Poem.

Stanza-Linking in Sir Gawain and the Green Knight: The Phenomenology of Narrative

Stanza-linking, also known as concatenation, is a stylistic flourish drawn into English from French and Welsh poetry. The poet of Sir Gawain and the Green Knight makes extensive use of stanza-linking and turns it to unusual poetic effects, principally montage and dialogue. In some twenty-six cases, one stanza overlaps diegetically with the next, with or without repeated words. This article enumerates and discusses these stanzaic junctures, concluding that the poet uses stanza-linking to make Gawain both less and more than the continuous romance narrative that it appears to be.

New Books across the Disciplines

New Books across the Disciplines

Arachnotopia

Arachnid and insectile lifeforms form an apocalyptic literary cluster linking early Islam, Lautréamont, Stéphane Mallarmé, and Salah Stétié. This essay begins by reimagining dialogues and interpersonal affections between the prophet Muḥammad and his close friend Abū Bakr al-Ṣiddīq, who were granted safe passage through the mountains of Mecca by a spider. The story highlights the central role of animal life in the Qurʾān, which reads like a bestiary of elect creatures for the end of the world. Spiders and insects likewise populate french poetry, carrying it over from post-Enlightenment modernity to the mid-twentieth century and beyond. In this convergent literary historical view, when Stétié evokes arachnids and insects, he always means Qurʾānic apocalypse, while simultaneously rewriting Lautréamont and Mallarmé. The spider infiltrates spoken idiom. In turn and time, vernacular infiltrates poetic obscurity. Poetry emerges out of a continual process of skimming old cobwebs.

La traducción del pantún al francés o el vuelo impreso de la mariposa

El pantún es una forma fija poética proveniente de Malasia que se incorpora a la poesía francesa de una manera peculiar en el siglo XIX. La estructura comienza a difundirse en Francia mediante una traducción en una nota al final de Les Orientales de Victor Hugo, en la que aparece acompañada de otras traducciones árabes y persas proporcionadas por un reconocido orientalista de la época, Ernest Fouinet. En conjunto, esta serie de traducciones participan en la justificación de la estética romántica. Tras esta primera aparición, el pantún será objeto de exploración de sensibilidades poéticas diversas a lo largo del siglo XIX: algunas de sus imágenes son evocadas con insistencia en diversos textos de algunos poetas, y su forma incita a explorar en los efectos de la repetición alternada y organizada de los versos. Con el paso del tiempo, “Harmonie du soir” de Baudelaire se convertirá en el modelo de referencia más inmediato de esta estructura poética. El pantún que se desarrolla en Francia plantea un mecanismo singular de repetición de versos (el segundo y cuarto verso de cada estrofa son retomados en el primero y tercer verso de la siguiente) y crea una analogía que distingue de forma precisa naturaleza y experiencia. Además de observar las características y condiciones de esta primera inserción en la nota al final de la obra mencionada de Victor Hugo, el propósito de este artículo es reflexionar sobre las funciones que cumple una forma fija importada de otra cultura, y las circunstancias que permiten su asimilación en la historia literaria francesa.

Amy V. Odgen, ed. and trans., The Life of Saint Eufrosine. In Old French Verse, with English Translation. MLA Texts & Translations. New York: Modern Language Association of America, 2021, 192 pp.

Saints are no strangers to Prof. Odgen who has already published a critical analysis of Wace s hagiography (2013), and a study of the representation of Saint Eufrosine in the genre of saints lives (2003). Here, she provides us with a most accessible and useful Old French edition with facing English translation of a poem about this transgender saint.