Academic literature on the topic 'Baudelaire, Charles, 1821-1867 Aesthetics'
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Journal articles on the topic "Baudelaire, Charles, 1821-1867 Aesthetics"
Pires, Márcia Eliza. "Charles Baudelaire e Cecília Meireles: ressonâncias poéticas sob o domínio da noite." Revista Texto Poético 15, no. 28 (October 15, 2019): 322. http://dx.doi.org/10.25094/rtp.2019n28a617.
Full textDarde, Augusto. "Correspondências e sinestesias quando Baudelaire aprecia Delacroix." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 1 (June 13, 2020): 115–43. http://dx.doi.org/10.22456/2596-0911.98990.
Full textGuilhen, Ellen. "Mallarmé redivivo em Eduardo Guimaraens." Revista Texto Poético 15, no. 28 (October 15, 2019): 338. http://dx.doi.org/10.25094/rtp.2019n28a618.
Full textWanner, Adrian. "Populism and Romantic Agony: A Russian Terrorist's Discovery of Baudelaire." Slavic Review 52, no. 2 (1993): 298–317. http://dx.doi.org/10.2307/2499924.
Full textBrandão, Gilda Vilela. "Paris no imaginário cultural e literário do Rio de Janeiro Fin-de-siècle." FronteiraZ. Revista do Programa de Estudos Pós-Graduados em Literatura e Crítica Literária, no. 29 (December 16, 2022): 110–25. http://dx.doi.org/10.23925/1983-4373.2022i29p110-125.
Full textMendonça, Paulo. "Impressões russas da modernidade: Dostoiévski em viagem pela Europa." Anuário de Literatura 21, no. 1 (June 30, 2016): 70. http://dx.doi.org/10.5007/2175-7917.2016v21n1p70.
Full textRangel, Vagner Leite, and Maria Cristina Cardoso Ribas. "DO QUILATE DO OURO AO PURO LEITE ROMÂNTICO – O QUE A LITERATURA BRASILEIRA TEM?" Cadernos do IL, no. 51 (January 18, 2016): 081. http://dx.doi.org/10.22456/2236-6385.57165.
Full textMatangrano, Bruno Anselmi. "Cisne isolado, sujeito deslocado: Mallarmé em diálogo com Apolo, Baudelaire, Andersen e Eduardo Guimaraens." Aletria: Revista de Estudos de Literatura 24, no. 3 (December 31, 2014): 127–41. http://dx.doi.org/10.17851/2317-2096.24.3.127-141.
Full textGarcía Farrero, Jordi. "Educació i carrer: mirades des de l'antropologia i des de la literatura." Pedagogia i Treball Social 2, no. 2 (June 1, 2012): 47. http://dx.doi.org/10.33115/udg_bib/pts.v2i2.1533.
Full textGomes, Polyana Pires. "As flores do mal dos contos de Murilo Rubião." Raído 12, no. 29 (December 5, 2018): 81–93. http://dx.doi.org/10.30612/raido.v12i29.7618.
Full textDissertations / Theses on the topic "Baudelaire, Charles, 1821-1867 Aesthetics"
Isal, Florelle. "Poésie et synesthésie dans l'oeuvre de Charles Baudelaire ˸ une poétique de la totalité entre imagination sensible et savoir." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030017.
Full textThe present study proposes to shed light upon the meaning of Baudelaire’s Correspondances using a method that incorporates a close reading of passages involving the senses in the text and a cross-disciplinary approach. Our objective is to reinterpret the verse “Colors, sounds and perfumes respond as one” using the entirety of Baudelaire’s works. Does there exist a doctrine of Correspondances that would acts as an unvarying principle or is it preferable to see the question in terms of the crisis of analogy, with Baudelaire having attained the limits of this mode of expression? The mobility of the Correspondances invites us to question ourselves about the unity of the world, founding principle of the universal analogy. After a genealogical study highlighting the configuration of the world innate to the principal analogical paradigms from Antiquity to Romanticism, an analysis of Les Fleurs du Mal reveals the aspiration to portray the world in its totality in this tradition. However, as Baudelairean idealism is not compatible with industrial and positivist France of the Second Empire, Baudelaire, particularly in Spleen de Paris, attempts to recreate unity by weaving a web of new relations that are possible between humans and the world, thus beautifying modernity. Synesthesias thus appear as a “science of the senses” made efficient by the imagination. This “queen of faculties” fills the holes left by science and makes glimpses of reality literally perceptible thanks to evocative imagery that lead the reader into a hybridized lyrical euphoria. Finally, we sketch a hermeneutics of the Baudelairean creative act that examines the epistemological function of a poetry of the senses. As such, this thesis aims to highlight the existence of a synesthetic writing not only intended to move the reader, but also to be a tool that can be used to understand the world and one’s self. The poet’s access to knowledge is created by a retrospective voyage but also especially by alternating temporalities rich in meaning. Synesthesias thus allow for the creation of a nomadic writing that vigorously enters into and embraces the accidents of the present and of life
Seki, Kotaro. "L'incommunicabilité poétique chez Charles Baudelaire." Clermont-Ferrand 2, 2000. http://www.theses.fr/2000CLF20014.
Full textSlama, Marie-Gabrielle. "Malédiction de Baudelaire." Paris 4, 2007. http://www.theses.fr/2007PA040105.
Full textThis study analyses the initial critical response to Baudelaire’s works during his lifetime, in the period running from the publication of the Salons in 1845 and 1846 to the days following his death in September 1867. Based on a body of 271 texts - many of which were hitherto unknown - this study aims to debunk the Baudelairean myth of the cursed poet. In undertaking this process of demolition, this study first considers the poet’s detractors and then his supporters, before assessing the importance of the theme of the cursed artist in his works themselves. For Baudelaire deliberately created a cliché – linked to dandyism and anti-modernity – that was so compelling that it ultimately came to distort the reception of his work
Thélot, Jérôme. "Baudelaire : violence et poésie." Paris 4, 1990. http://www.theses.fr/1990PA040183.
Full textTouhami, Mounir. "Le "Beau" : catégorie ontologique dans l'oeuvre de Charles Baudelaire." Montpellier 3, 1993. http://www.theses.fr/1993MON30005.
Full textFirst we had to find how dandyism could be considered as an experience of the beautiful, as a need to distinguish oneself from the properties and the arbitrary laws which day after day, take man away from his authentic and deep reality. Conscious of these evils, baudelaire's works are more a denunciation of human perversity than a celebration of it. However, baudelaire's poetry does not escape from the ambiant reality; on the contrary it makes use of it in order to catch its deep meaning. So the notion of "modernity" must not be mistaken with the one of actuality, for the author of les fleurs du mal. It is this intense acuity and deep vision which goes beyond the appearances, to grasp the quintessence of things and to give way to the hiddel dimension of the real. From the "transitory", does the poet apprehend the "eternal" and, this is how modernity shall be understood : as an aesthetics of reconciliation in which duality is transcended. Thus, the poetical language of les fleurs du mal becomes the place in which the ontological harmony between man and the universe is achieved. For the sake of the poetical authenticity, baudelaire gets romanticism out of
Ebine, Ryusuke. "Baudelaire et le progrés." Paris 4, 2005. http://www.theses.fr/2005PA040403.
Full textTo Baudelaire belief in progress entails three forms of degradation which are inseparable. While he exercises a creative energy hard to find in modern society, he is also conscious of the Evil which this involves, and which awakens in him a feeling of guilt. But because to him the Evil is inherent in the whole of Nature, this sense of remorse confirms his moral superiority over the partisans of progress, with their faith in the original goodness of Man and Nature. Seeking like-minded spirits who share his sense of dereliction, the poet attempts to establish with them a harmonious community which he contrasts with the social disorders of the nineteenth century. Thus the first part of this treatise aims to clarify the ways in which the poet resists a society besotted with progress, aesthetically, morally, and socially degraded. The second part, however, demonstrates that this resistance always ends in failure. As his pursuit of the ideal only leads to a realization of its impossibility, so the sympathy which he feels for others breaks down the moment he encounters their true image. In the face of this dilemma of resistance, there is no ultimate solution, only a perpetual repetition. The third part examines his reactions to the art of his age. By scrutinizing his relations with the artistic developments of the age, especially progressivist art and realism, one can trace how his hostility to progress is reflected in his own poetic and critical practice
Talviste, Katre. "Baudelaire et la poésie estonienne." Université Paris-Est Créteil Val de Marne (UPEC), 2007. http://www.theses.fr/2007PA120012.
Full textThe first publication of Baudelaire’s poems in Estonian coincides with the beginnings of modern Estonian literature. His works were discovered by authors who in 1905 initiated a movement of linguistic and literary modernization in Estonia and who have deeply influenced the development of the Estonian culture in the 20th century. Their numerous fruitful initiatives include the translation and interpretation of Baudelaire’s works, which has become a permanent interest for Estonian poets while the reception of Baudelaire follows the principal movements of the 20th-century Estonian literature. That parallel development is visible both historically and poetically: preferences for certain texts (especially poems from the Fleurs du mal), translation strategies and critical positions underline the predominance of the romantic concept of literature in Estonia. In the same time, Baudelaire’s works serve as a means of poetic self-examination and of broadening the familiar horizons. The implicit dialogue between translators that takes place through the versions of Baudelaire’s texts, and the open debates about his works, about translation and about the nature of poetics in which Baudelaire has been implicated have contributed to the modification of concepts inherited from the Romanticism. In the original work of the Estonian poets who have translated Baudelaire these concepts are still quite viable. In several respects, their poetic universe differs from that of Baudelaire, which contains some fundamentally foreign elements. However, they constantly return to Baudelaire in order to explore his poetics and his imagination, finding both an experience of cultural otherness and a test of empathy
Baudelaire’i luuletuste esmailmumine Eestis langeb kokku modernse eesti kirjanduse algusega. Tema loomingu avastasid kirjanikud, kes 1905. Aastal algatasid Eestis keele- ja kirjandusuuendusliku liikumise ning avaldasid sellega suurt mõju tervele 20. Sajandi eesti kirjandusele. Nende arvukate viljakate algatuste sekka kuulub väga olulisena ka Baudelaire’i tõlkimine ja tõlgendamine, mis on eesti luuletajaid püsivalt köitnud, nõnda et Baudelaire’i retseptsioon teeb koos eesti kirjandusega läbi kogu selle keskse arengutee 20. Sajandil. See paralleelsus on nähtav nii ajaloolisel kui ka poeetilisel tasandil: kindlate tekstide (iseäranis kogusse «Les Fleurs du mal» kuuluvate tekstide) eelistamine, tõlkestrateegiad ja kriitilised seisukohad annavad märku romantilise kirjanduskontseptsiooni valdavusest Eestis. Samas on Baudelaire’i looming poeetilise enesevaatluse ning senituntud horisontide avardamise vahendiks. Tõlkijate implitsiitne dialoog, mis kujuneb Baudelaire’i tekstide versioonidest, ning Baudelaire’ile toetunud eksplitsiitsed arutelud tema enese loomingu ning tõlkimise ja poeetika põhimõtete üle on kaasa aidanud romantismist päritud kontseptsioonide ümberkujunemisele. Baudelaire’i tõlkinud eesti luuletajate algupärases loomingus on need kontseptsioonid aga alles tugevasti juurdunud. Nende poeetiline maailm erineb Baudelaire’i omast arvukate omaduste poolest ning nii mõnigi viimases leiduv element jääb neile põhimõtteliselt võõraks. Ometi pöörduvad nad aina uuesti Baudelaire’i juurde tagasi, et õppida tundma tema poeetikat ja kujutluslaadi, mis pakuvad ühtaegu kultuurilise teissuse kogemust ning empaatiavõime proovilepanekut
Steele, Elizabeth Jane. "Les images de l'eau chez Baudelaire." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26925.
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French, Hispanic, and Italian Studies, Department of
Graduate
Shimizu, Masashi. "L' inspiration nordique de Baudelaire." Valenciennes, 2003. http://ged.univ-valenciennes.fr/nuxeo/site/esupversions/ab8e2ce0-9ee9-4279-ba6d-eeb587129660.
Full textThis work has the object to explain, with the thematic method, the importance of "the North" in the aesthetic and artistic theory of 19th century french poet Charles Baudelaire (1821-1867). There are two texts of 1846 which permit to know that Baudelaire is interested in the schematic relation between the romanticism and the North, since Madame de Stae͏̈l. But this role of schema the Middle / the North in his aesthetic and artistic theory was neglected until now in these Baudelaire's studies. This work aims to define the relations between the romanticism and the North, and that between the artist's temperament and the North, in analysing his articles about the art and the literature, and the poem "The Lighthouses". This point of view permits especially to explain the choice of artists and their order in the poem "The Lighthouses" and equally to know the Baudelaire's idea of history against the 19th century Progress
Fisher, Martine. "Du commerce épistolaire : Baudelaire et ses correspondants, 1832-1866." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35701.
Full textBooks on the topic "Baudelaire, Charles, 1821-1867 Aesthetics"
Blood, Susan. Baudelaire and the aesthetics of bad faith. Stanford, Calif: Stanford University Press, 1997.
Find full textA poetics of art criticism: The case of Baudelaire. Chapel Hill: U.N.C. Dept. of Romance Languages, 1989.
Find full textAlastair, McEwen, ed. La folie Baudelaire. New York: Farrar, Straus and Giroux, 2012.
Find full textMaterial figures: Political economy, commercial culture, and the aesthetic sensibility of Charles Baudelaire. Amsterdam: Rodopi, 2012.
Find full textPainted poetry: Colour in Baudelaire's art criticism. Oxford: Peter Lang, 2011.
Find full textBaudelaire's media aesthetics: The gaze of the Flâneur and 19th century media. New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing Inc, 2015.
Find full textPichois, Claude. Baudelaire. London: Vintage, 1991.
Find full textPichois, Claude. Baudelaire. London, England: H. Hamilton, 1989.
Find full textLeakey, F. W. Baudelaire, Les fleurs du mal. Cambridge: Cambridge University Press, 1992.
Find full textCharles Baudelaire. London: Reaktion Books, 2008.
Find full textBook chapters on the topic "Baudelaire, Charles, 1821-1867 Aesthetics"
Weir, David. "Introduction." In Decadence: A Very Short Introduction, 1–12. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780190610227.003.0001.
Full text"B: BAUDELAIRE, CHARLES (1821-1867)." In Encyclopedia of Time, 53–71. Routledge, 2013. http://dx.doi.org/10.4324/9780203054147-2.
Full text"Charles Baudelaire (1821–1867; French)." In Romanticism: 100 Poems, 164–65. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108867337.053.
Full textConstable, Elizabeth. "Charles Baudelaire (1821-1867) and Stéphane Mallarmé (1842-1898)." In Edinburgh Encyclopaedia of Modern Criticism and Theory, 43–51. Edinburgh University Press, 2022. http://dx.doi.org/10.1515/9780748672554-006.
Full textConstable, Elizabeth. "Charles Baudelaire (1821-1867) and Stéphane Mallarmé (1842-1898)." In Introducing Literary Theories, 43–51. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474473637-006.
Full textConstable, Elizabeth. "5. Charles Baudelaire (1821±1867) and Steéphane Mallarmé (1842-1898)." In Modern European Criticism and Theory, 41–49. Edinburgh University Press, 2006. http://dx.doi.org/10.1515/9780748626793-006.
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