Le Poete en personnes: Mises en scene de soi et transformations de l'ecriture chez Blaise Cendrars, Guillaume Apollinaire et Max Jacob
01 Jan 2011-
TL;DR: The authors analyse les enjeux de la diversification des styles and des representations du poete chez trois ecrivains, Blaise Cendrars, Max Jacob et Guillaume Apollinaire.
Abstract: Cette these analyse les enjeux de la diversification des styles et des representations du poete chez trois ecrivains, Blaise Cendrars, Max Jacob et Guillaume Apollinaire. L’essentiel du corpus s’etend de 1912-1919, soit les annees de guerre et l’immediat avant- et apres-guerre. La carriere de ces trois poetes prend alors son envol; ce sont des initiateurs de l’avant-garde poetique postsymboliste. L’une des caracteristiques saillantes de leur demarche est de multiplier les representations de soi souvent divergentes ou contradictoires, accompagnees d’autoderision et/ou d’autopromotion hyperboliques, de porte-parole fictifs ou de transformations stylistiques importantes. Cela va a l’encontre d’une tendance a l’effacement du poete dans la poesie moderne et contemporaine. Mais les deux phenomenes d’effacement et de mise en scene excessive, temoignent d’une meme interrogation sur la place du poete dans la societe et du monde exterieur a l’art. Face au poeme, poser la question « qui parle? » revient a demander a quel titre il parle, de quel droit, depuis quelle position: affaire de valeur et de legitimite. Pour peu que le poete n’ait plus de role social ou symbolique clair, il peut se retirer de son poeme sous pretexte que la particularite de son existence n’a aucune pertinence, – ou bien profiter de l’indetermination de son statut pour jouer les roles qui lui plaisent; mage, oracle, soldat, paria, etc. Jacob, Apollinaire et Cendrars optent pour ce jeu de masques qui temoigne a la fois d’une inquietude – le poete n’a-t-il plus aucune place? – et d’une aspiration a l’universel: parler enfin pour tous – en devenant chacun tour a tour.
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288 citations
Journal Article•
TL;DR: The authors examined numerous individual poems and examples of common poetic forms in order to reveal the relationship between closure and the overall structure and integrity of a poem, and found that closure is essential in poetry.
Abstract: In \"Poetic Closure\", distinguished literary scholar Barbara Herrnstein Smith explores the provocative question: How do poems end? To answer it, Smith examines numerous individual poems and examples of common poetic forms in order to reveal the relationship between closure and the overall structure and integrity of a poem. First published in 1968, Smith's book remains essential reading in poetic theory.
234 citations
TL;DR: The concept of the avantgarde and the concept of a movement has been studied extensively in the history of modernity and modernism as discussed by the authors, with a focus on the two avant-gardes.
Abstract: THE CONCEPT OF THE AVANT-GARDE Prologue Terminological ups-and-downs The two avant-gardes A novel concept, a novel fact THE CONCEPT OF A MOVEMENT Schools and movements The dialectic of movements Activism Antagonism ROMANTICISM AND THE AVANT-GARDE Popularity and unpopularity Romanticism as a precedent Down-with-the-past Anticipations AGONISM AND FUTURISM Nihilism Agonism Futurism Decadence FASHION, TASTE, AND THE PUBLIC Fashion, avant-garde, and stereotype Intelligentsia and elite The intellectual elite The avant-garde and politics THE STATE OF ALIENATION Art and society Psychological and social alienation Econoimic and cultural alienation Stylistic and aesthetic alienation TECHNOLOGY AND THE AVANT-GARDE Experimentalism Scientificism Humorism Nominalistic proof AVANT-GARDE CRITICISM Prerequisites The problem of obscurity Judgment and prejudgment Criticism, right and left AESTHETICS AND POETICS Dehumanization Cerebralism and voluntarism Metaphysics of the metaphor The mystique of purity HISTORY AND THEORY Historical parallels Modernity and modernism The overcoming of the avant-garde Epilogue Bibliography Index
133 citations
[...]
TL;DR: Booth as mentioned in this paper analyzed how we manage to share quite specific ironies and why we often fail when we try to do so, and showed that at least some of our commonplaces about meaninglessness require revision.
Abstract: Perhaps no other critical label has been made to cover more ground than \"irony,\" and in our time irony has come to have so many meanings that by itself it means almost nothing. In this work, Wayne C. Booth cuts through the resulting confusions by analyzing how we manage to share quite specific ironies-and why we often fail when we try to do so. How does a reader or listener recognize the kind of statement which requires him to reject its \"clear\" and \"obvious\" meaning? And how does any reader know where to stop, once he has embarked on the hazardous and exhilarating path of rejecting \"what the words say\" and reconstructing \"what the author means\"? In the first and longer part of his work, Booth deals with the workings of what he calls \"stable irony,\" irony with a clear rhetorical intent. He then turns to intended instabilities-ironies that resist interpretation and finally lead to the \"infinite absolute negativities\" that have obsessed criticism since the Romantic period. Professor Booth is always ironically aware that no one can fathom the unfathomable. But by looking closely at unstable ironists like Samuel Becket, he shows that at least some of our commonplaces about meaninglessness require revision. Finally, he explores-with the help of Plato-the wry paradoxes that threaten any uncompromising assertion that all assertion can be undermined by the spirit of irony.
46 citations
References
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Book•
01 Jan 1965
TL;DR: The concept of the avantgarde and the concept of a movement has been studied extensively in the history of modernity and modernism as discussed by the authors, with a focus on the two avant-gardes.
Abstract: THE CONCEPT OF THE AVANT-GARDE Prologue Terminological ups-and-downs The two avant-gardes A novel concept, a novel fact THE CONCEPT OF A MOVEMENT Schools and movements The dialectic of movements Activism Antagonism ROMANTICISM AND THE AVANT-GARDE Popularity and unpopularity Romanticism as a precedent Down-with-the-past Anticipations AGONISM AND FUTURISM Nihilism Agonism Futurism Decadence FASHION, TASTE, AND THE PUBLIC Fashion, avant-garde, and stereotype Intelligentsia and elite The intellectual elite The avant-garde and politics THE STATE OF ALIENATION Art and society Psychological and social alienation Econoimic and cultural alienation Stylistic and aesthetic alienation TECHNOLOGY AND THE AVANT-GARDE Experimentalism Scientificism Humorism Nominalistic proof AVANT-GARDE CRITICISM Prerequisites The problem of obscurity Judgment and prejudgment Criticism, right and left AESTHETICS AND POETICS Dehumanization Cerebralism and voluntarism Metaphysics of the metaphor The mystique of purity HISTORY AND THEORY Historical parallels Modernity and modernism The overcoming of the avant-garde Epilogue Bibliography Index
536 citations
Book•
[...]
01 Jan 1974
TL;DR: Booth as discussed by the authors analyzed how we manage to share quite specific ironies and why we often fail when we try to do so, and showed that at least some of our commonplaces about meaninglessness require revision.
Abstract: Perhaps no other critical label has been made to cover more ground than "irony," and in our time irony has come to have so many meanings that by itself it means almost nothing. In this work, Wayne C. Booth cuts through the resulting confusions by analyzing how we manage to share quite specific ironies-and why we often fail when we try to do so. How does a reader or listener recognize the kind of statement which requires him to reject its "clear" and "obvious" meaning? And how does any reader know where to stop, once he has embarked on the hazardous and exhilarating path of rejecting "what the words say" and reconstructing "what the author means"? In the first and longer part of his work, Booth deals with the workings of what he calls "stable irony," irony with a clear rhetorical intent. He then turns to intended instabilities-ironies that resist interpretation and finally lead to the "infinite absolute negativities" that have obsessed criticism since the Romantic period. Professor Booth is always ironically aware that no one can fathom the unfathomable. But by looking closely at unstable ironists like Samuel Becket, he shows that at least some of our commonplaces about meaninglessness require revision. Finally, he explores-with the help of Plato-the wry paradoxes that threaten any uncompromising assertion that all assertion can be undermined by the spirit of irony.
511 citations
Journal Article•
396 citations