Academic literature on the topic 'Aloysius Bertrand (1807-1841)'
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Dissertations / Theses on the topic "Aloysius Bertrand (1807-1841)":
Sprietsma, Cargill Bony Jacques. "Louis Bertrand dit Aloysius Bertrand : 1807-1841, une vie romantique : étude biographique d'après des documents inédits /." Cazaubon : Eurédit, 2005. http://catalogue.bnf.fr/ark:/12148/cb39995651s.
Miyazaki, Akane. "Gaspard de la Nuit, les « fantaisies » et la fantaisie." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL133.
Aloysius Bertrand, author of Gaspard of the Night: Fantasies in the Manner of Rembrandt and Callot, is regarded by French literary historians as the founder of the prose poem. He himself, however, composed his book at a time when the genre had not yet been conceived. At the time, he spoke of “fantasies” and developed his collection by integrating various literary modes. This thesis traces the origins and genesis of these fantasies from a perspective that encompasses Bertrand’s creative activity and analyzes the process by which these fantasies became associated with the prose poem by Baudelaire’s generation. The “fantasy” itself is a term whose meaning was constantly evolving in the nineteenth-century France, where it was a codeword for the freedom advocated by the Romantics. However, the “fantasies,” which Bertrand used in the plural to designate his work, encompassed other art forms of the time, including the frenetic trend, the fantastic trend, and the fantasy. The aim of this strategy was to create a freer kind of poetry, one that attempted to transcend Romanticism. By treating Bertrand not as a prose poet but as the author of fantasies, we return his work to the genre of Romantic fantasy from the 1820s to the 1860s. It is through this approach that we can understand why Bertrand is considered the precursor of a new free poetry
Silva, Matheus Victor [UNESP]. "A imagem poética grotesca no imaginário medievalista de Gaspard de la nuit." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/127904.
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Gaspard de la Nuit, obra póstuma de Aloysius Bertrand, ficou por muito tempo desconhecido do público em geral antes que os estudos em torno de sua forma poética lhe restituíssem a devida importância. Contudo, só atualmente têm surgido análises que versam a respeito de sua temática, não menos complexa do que os meandros do poema em prosa. O medievalismo de Bertrand, dessa forma, mostra-se muito mais rico do que aquele que entrara em voga na década de 1830 na França, não só pela riqueza de detalhes (muito longe de um simples pitoresco), mas sobretudo pela forma como se dispõem através de sua imagética. A forte presença de tensões em todos os níveis do poema bertrandiano levou-nos ao estudo mais apurado do caráter grotesco nas suas imagens poéticas. Considerando os diversos estudos teóricos acerca do grotesco, buscamos destacar a sua significação tanto no Romantismo quanto na Idade Média (antes mesmo da existência do termo), visando sua confluência no Gaspard, de forma a compreender como as dissonâncias do grotesco permitem ao poeta o restabelecimento de uma realidade plena
Gaspard de la Nuit, posthumous work of Aloysius Bertrand, was for a long time unknown to the public before the studies around his poetic form restituted its adequate importance. However, only today emerged analyzes that talk specifically about its theme, not less complex than the prose poem's intricacies. Bertrand's medievalism shows up much richer than the form that come into vogue in the 1830s in France, not only by the richness of detail (far from a simple form of picturesque), but especially by the way they feature through his imagery. The strong presence of tensions at all levels of Bertrand's poem took us to an accurate study of the grotesque character of his poetic images. Considering the many theoretical studies about the grotesque, we seek to highlight its significance both in Romanticism as in the Middle Ages (when the term do not exist), to its confluence in Gaspard, in order to understand how the grotesque's dissonance allow the poet the reestablishment of a plenary reality
Wanlin, Nicolas. "Du pittoresque au pictural : valeurs et usages des arts dans la poésie française de 1830 à 1872 : Aloysius Bertrand (Gaspard de la Nuit), Théophile Gautier (Poésies complètes), Paul Verlaine (Poèmes saturniens et Fêtes galantes)." Paris 4, 2006. http://www.theses.fr/2006PA040104.
Nineteenth-century French poets have used the arts as a major reference in their poetry. This work deals with Aloysius Bertrand’s Gaspard de la Nuit, Théophile Gautier’s poetry, and Paul Verlaine’s Poèmes saturniens and Fêtes galantes. It brings to light which artistic values are handled by the poems and for what purpose. As it is not possible to give account of the historical and social grounding of poetic practices by transsemiotic approaches, our method will be pragmatic, sociological and historical. We will reassess the notion of transposition d’art, and highlight the differences between works of art and poems. Referring to the arts in a poem means drawing the works out of a context into another, twisting and reinterpreting them by force. Works, artists, techniques, genres and trends are referred to by poetry because of the values they are likely to promote. To Bertrand, art reveals the value of humbleness, and he grounds a poetics of popular History on it. Gautier first passes from a poetics of the picturesque to a secular spirituality. To him, art is a means to express the dialectic of desire and frustration, beyond the split of neo-Platonism and materialism. His references to the world of arts imply a social strategy of positioning, while they also reflect an aesthetic creed. Verlaine concludes a course : he takes for granted that poetry defines itself through artistic analogy and thus defines its own originality. Further, he finds in painting the values of superficiality and fake. The plastic paradigm comes to an end and is replaced by other, less systematic, relationships to the arts
Vincent-Munnia, Nathalie. "Les premiers poèmes en prose : généalogie d'un genre dans la première moitié du dix-neuvième siècle français." Lyon 2, 1994. http://www.theses.fr/1994LYO20006.
The expression "prose poem" does not appear in the nineteenth century : throughout the eighteenth century, it is used to distinguish a prose which can pretend to a poetical status, in the same way as verse (that from then on neither systemat ically nor exclusively determines the existence of poetry). But, during the first decades of the nineteenth century, after the more definitive recognition of this prose poetry, the prose can be elaborated more specifically as a poem (in the modern use of the term, and no longer in the classical and analogical sense of "work in poetic style" or "prose epic"). It creates then a new type of poeticity, abandoning the predefined norms and thus benefiting from non predetermined poetic effects which make any systematic and modelising definition of the genre impossible. This kind of original poetic owes its actualization uniquely to the recognition activity of its reader. The prose poem is consequently dependent on its receipt - problematical at the beginning of the nineteenth century. Furthermore, the authors of these first prose poems (ludovic de cailleux, alphonse rabbe, aloysius bertrand, xavier forneret, maurice de guerin and jules lefevre-deumier) not only make this new poetics instrument the object but also the means of a new order poetical quest. The prose poem thus acquires an exploratory and experimental value. Initiator of new types of poeticity, it also elaborates some processes of poetical reflection (by itself and upon itsel), which will determine the subsequent evolutions of poetry. Open and uncertain, the genre therefore also appears as eminently virtual and paradoxical : its generic identity being built upon its capacity to inaugurate new modes of poeticity and genericity, it is doomed to see this generic specificity dissolve at the very moment that it accedes to an entire recognition
Melo, Franco Lenon Rogerio de. "A maldição como processo = leituras de Gaspard de la Nuit." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270320.
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituo de Estudos da Linguagem
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Resumo: A dissertação se ocupa da recepção da obra francesa Gaspard de la Nuit: fantaisies à la manière de Rembrandt et de Callot desde sua publicação nos anos românticos até nossos dias. As leituras de Sainte-Beuve, Baudelaire, Mallarmé e André Breton, sobretudo, são revisadas à luz de exames sincrônicos e diacrônicos. Os diferentes acolhimentos do texto são oportunidade e aporte para discutirmos seus aspectos prevalentes, tais como a relação da poesia com as artes plásticas, a fundação de um novo gênero que é o poema em prosa moderno e a noção de poète maudit. Após o decantamento crítico de numerosos leitores, apresentamos então nossa exegese particular da obra - que se acrescenta a esses registros recepcionais que foram analisados
Abstract: Not informed
Mestrado
Literatura Geral e Comparada
Mestre em Teoria e História Literária