Dissertations / Theses on the topic 'Baudelaire, Charles, 1821-1867 Cygne'
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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.
Full textArts, Faculty of
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 textBoric, Ivan. "Baudelaire et la culture classique." Toulouse 2, 1990. http://www.theses.fr/1990TOU20001.
Full textIn the work of charles baudelaire, classical culture (as it manifests itself in french literature between 1549 and 1715) plays a very important part. The component elements of this culture are thought again, taken up and often recast by the poet; in baudelaire's view, modernity is inseparable from tradition. Baudelaire reaches the limits of the classical culture but remains below the breaking point where modernity comes in
Papaspyridou, Ioanna. "Les surréalistes et Baudelaire." Paris 3, 1990. http://www.theses.fr/1991PA030038.
Full textThe conclusions of this thesis discuss the part of baudelairian influence that can be found in the surrealist production. The examination of the baudelairien passages cited by breton's group allows, at first, the localization of the points of baudelairien philosophy retained by the surrealists. However, it is only an introduction to our subject. The study of the baudelairien notions found in the surrealists writings occupies the second part of this thesis. We insists, particularly, on the image of the creator-prophet, the notion of artway of knowledge, the myths of the golden age, of the lost paradise, of the orient and of the childhood. The imagination's role - "queen of the faculties" - in these two currents of thought is not at all neglected, as well as dream's, black humour's and madness's role. Another part of our work examins also the infleunce of beaudelairian form. Finally, the study of three crucial points concludes this thesis : the relation between the poet and the society, hermetism and love
Yamamoto, Satoru. "Vaporisation et centralisation dans la poésie baudelairienne." Paris 3, 1992. http://www.theses.fr/1993PA030008.
Full textThe words "vaporization" and "centralization" accurately summarize baudelaire's poetic experience. The poet must leave the immediacy of his self-consciousness as man, seeking that which he perceives as his "non-self" in order to discover the truth of his being as poet, a truth which does not yet coincide with his self. This "non-self" might be a woman, a person glimpsed in the crowd, a work of art, or a scene, elements which constitute recurring themes in his poetry. The only way for him to attain his truth, his poetry, that is, to be "centralized" is by displacing his self onto an otherness, and thus by being "vaporized". The infinite ideal, or absolute beauty, though itself a non-existent void, is nonetheless present in an infinite number of individual beauties in the real world. Thum the ideal exists everywhere, and the poet can capture it by experiencing the sum total of these beauties. In order therefore to be "centralized", the poet must "vaporize" himself, in his pursuit of a constantly new and different beauty. It is "perception enfantine" which allows the poet to discover this immanence of the ideal within the real and creates the very potential for poetry, a poetry which takes the form of symbolism, in which affective subjectivity coincides with sensorial objectivity
Pellegrin, Jean. "Réversibilité de Baudelaire." Paris 10, 1987. http://www.theses.fr/1987PA100099.
Full textThe poem Reversibilité (les Fleurs du Mal, 1861, number 44) is studied for itself, and replaced in the "cycle of Madame Sabatier", which is wholly reexamined. The concept of reversibility is prospected in its theological signification, especially drawn from joseph de Maistre. But it is more widely looked on, analyzing the elements of its lexical structure ("to pour", repetition, virtuality), putting together the bordering concept of "correspondances", setting against irreversibility. Two outstanding meanings become apparent. Firstly, a spring, stream, flow or "under-current" -material, spiritual or supernatural, from good to good ("white reversibility") or from evil to good ("black reversibility"). Secondly, a turning or reversal. This reversal does not merely concern the proper stream (reversibility is reversible), but most different fields: ethics and politics (conversion, conspiracy, revolution, subversion), logic (numbers, analogy, contradiction), space (container and contents, big and small, symmetry and dissymmetry, infinite) and time (rejuvenation, remorse, irremediable), rhetoric (metaphor, hypallage, reversion) and, last but not least, poetics
Cavali, Priscila [UNESP]. "Relação entre poesia e prosa de Charles Baudelaire." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/127910.
Full textRésumé: Dans ce travail, nous présentons quelques réflexions sur la création poétique de Charles Baudelaire, extraites surtout de ses oeuvres Les Fleurs du mal et Petits poèmes en prose, à partir de la prémisse de ce qu'il y a une relation entre certains poèmes en vers et en prose. Dans cette perspective, nous réfléchirons sur la tension présente entre prose et poésie, soit dans le refus des formes poétiques traditionnelles de l'une (prose), soit dans la recherche d'une nouvelle forme poétique par l'autre (poésie), jusqu'à ce que nous atteignions l'essence du poème en prose. L'étude portera sur les obstacles que le poète surpasse par rapport aux textes qui, parmi les Poèmes en prose, reprennent d'autres des Les Fleurs du mal, en démontrant son domaine en ce qui concerne le travail poétique, dans la construction et reconstruction des composants qui configurent les pièces en vers, en dénonçant le changement de registre rhétorique dans la transposition à la prose. Nous chercherons à percevoir encore, selon les études realisées par Barbara Johnson, dans son oeuvre Défigurations du langage poétique, de quelle façon le poème en prose constitue une lecture desconstructive du poème en vers, vu que la relation existente entre eux a été explorée par cet auteur qui, comme point de départ, a pris parmis les textes en prose ceux qui reprenaient explicitement le thème d'un poème en vers. Ainsi, le poème en prose peut être considéré une réécriture critique du poème en vers, qui ouvre la voie à plusieurs questions et notions contemporaines comme l'exercice de la transposition, d'après les études genettiennes, présenté dans le champ de l'hipertextualité
Neste trabalho, apresentamos algumas reflexões sobre a criação poética de Charles Baudelaire, extraídas, sobretudo, de suas obras Les Fleurs du mal e Petits poèmes en prose, partindo da premissa de que existe uma relação entre determinados poemas em verso e em prosa. Nessa perspectiva, refletiremos sobre a tensão existente entre prosa e poesia, seja na recusa das formas poéticas tradicionais de uma (prosa), seja na busca de uma nova forma poética pela outra (poesia), até alcançarmos a essência do poema em prosa. O estudo tratará das barreiras que o poeta ultrapassa no que diz respeito àqueles textos que, dentre os Petits poèmes en prose, retomam outros de Les Fleurs du mal, demonstrando o seu domínio em relação ao fazer poético, na construção e re-construção dos componentes que configuram as peças em verso, denunciando uma mudança de registro retórico em sua transposição para a prosa. Buscaremos perceber ainda, segundo os estudos realizados por Barbara Ellen Johnson, em sua obra, Défigurations du langage poétique, de que maneira o poema em prosa constitui uma leitura desconstrutiva do poema em verso, visto que a relação existente entre eles foi explorada pela autora, que buscou, como ponto de partida, entre os textos em prosa, aqueles que retomavam explicitamente o tema de um em verso. Assim, o poema em prosa pode ser considerado uma reescritura crítica do poema em verso, abrindo caminhos a inúmeros questionamentos e conceitos contemporâneos, como a prática da transposition, de acordo com os estudos genettianos, presente no campo da hipertextualidade
Trono, Cosimo. "Pour une poétique de l'interprétation : Lettre et parole en littérature et psychanalyse." Paris 13, 2001. http://www.theses.fr/2001PA131027.
Full textLocatelli, Federica. "La périphrase entre rhétorique et stylistique : l'exemple de Charles Baudelaire." Paris 7, 2012. http://www.theses.fr/2012PA070003.
Full textThis thesis analyses the periphrastic figure and aims to provide a theoretical definition of the trope based on its usage in the poetics of Charles Baudelaire. Through a historical restitution of the linguistic reflections expounded by the founder of French symbolism, the aim is to identify reasons behind the recurrence of this stylistic figure within the particular symbolic economy of the French fin de siècle literary movement. By exploring the linguistic and rhetorical structure of certain poems within the Fleurs du mal, I will identify ways in which the trope becomes both an appropriate tool for expressing the poetic object, and an invisible and "unknown" element, as Baudelaire puts it, to which the poet must give an appropriate and intelligible form. From there, I aim to outline the objectives of Baudelairian poetry, in other words, to identify !("periphrastically") the "unknown," and to reveal how Baudelaire's language conveys his artistic desire both to reveal the hidden Absolute that lies beneath reality and to render it in an eternal form: the poem. Baudelaire's rhetorical devices, stylistic innovations, and linguistic choices seem to establish the route taken by modem poetry, that is, the search for a hermetic mode of writing, ;pr even for the appropriate form its transcendental content might take
Wen, Ya. "Baudelaire et la nouvelle poésie chinoise." Bordeaux 3, 2011. http://www.theses.fr/2011BOR30020.
Full textBaudelaire is a large French poet of the XIXe century. Its only collection of poem the Fleur of the Evil exerts an important influence on the poetry of the whole world. Its daring topics and its original theories bring to poetry the spirit of modernity. In China, we can always see the traces baudelairiennes in New Poetry at its various periods. Our thesis aims at undertaking a systematic and complete research on this influence. The thesis is composed of three parts. In the first part, we established the complete state of the reception of Baudelaire in China and showed in appendices in a more complete way information on the translation and interpretation of Baudelaire since its introduction in China. The work of the collection of the documents itself represents the fundamental stage for a study specialist in comparative literature. In support of these matters, we respectively illustrated the characteristics of each period while bringing analyses on the act of the reception. The reception of Baudelaire in China knew a relatively sinuous course, this course illustrates the evolution of the designs in the Chinese critics and reflects the complexity of the social context of the reception. In the Twenties and Thirties, the Chinese testified to a great interest towards this large French poet and introduced it with frenzy. In the Forties towards the end of the Seventies, due policy, the work of the reception of Baudelaire was in a relatively stagnant situation. The introduction of Baudelaire in China became even problematic. Since the Eighties, thanks to a favorable cultural environment, the translations and the critics on Baudelaire experience a development without precedent. Nowadays, one has satisfactory versions of the Flowers of the Evil, the Spleen of Paris, and certain articles drawn from critical works of Baudelaire; criticisms touch already almost all the aspects of Baudelaire, but we always await a monograph covering this subject systematically. The second chapter concentrated on the aspects baudelairiens which interest the Chinese poetic world. We worked the four recurring topics in works of Baudelaire: “Spleen”, “the large modern city”,« La femme » et « La mort ». Si les poètes chinois traitent les mêmes sujets, il ne s’agit pas d’une simple imitation, c’est qu’ils y voient une nouvelle possibilité d’exprimer les sentiments réels. Then we considered from the three point of view the influence for the poetic theories of Baudelaire on New Poetry chinosy: concept of “pure poetry”, the idea “to extract the of “pure poetry”, the idea “to extract the beauty from the Evil” and the famous theory of the correspondences. At the end of the chapter, we reserved a special place being studied of Liang Zongdai and with its contribution to art Symbolist bus Liang is one of poet-critical Chinese which had a major comprehension and specifies poetic baudelairienne. In the third part, we were centered on the particular cases, our study relates to the poets who have, more clearly than others, received the influence of Baudelaire: the Symbolist Li Jinfa, modernistic Dai Wangshu and the poet of today Bai Hua. Li Jinfa is called “Baudelaire of the East”, the Flowers of the Evil was its book of bedside at the time of its stay in France. Its work is tinted of a color spleenetic and strewn with the words and preferred topics of Baudelaire. But the Chinese critics often formulated opinions scorning on poetic Li Jinfa by saying that it is about an awkward imitation of Baudelaire. We inspected his design of the Evil, its conscience of the identity of poet and his similar topics to show that the loan of Baudelaire at Li Jinfa, instead of the simple plagiarism, confines with a kind of pastiche of admiration moved by an inherent impulse of creation. Dai Wangshu, one of the most important Chinese poets of the XXe century, was the first to publish the collection translates Flowers of the Evil
Dhimene, Ahmed. "Le bestiaire de Baudelaire dans "Les fleurs du mal"." Bordeaux 3, 1986. http://www.theses.fr/1986BOR30057.
Full textRacca, Davide. "Baudelaire : la messa in opera della "modernité" tra pittura e parola della poesia." Chambéry, 2006. http://www.theses.fr/2006CHAML004.
Full textKim, Jong-Guy. "Analyse stylistique de la poésie baudelairienne : de la forme fixe à la stucture discursive ou de la forme versifiée au poème en prose." Toulouse 2, 1996. http://www.theses.fr/1996TOU20038.
Full textBy comparing the traditional sonnet with baudelaire's specific actualization of this form one may be led to deduce the deep structure of baudelaire's non-prose poem (chapters 1, 2, 3 and 4). For the spleen de paris this analysis will concentrate on the linguistic function of poetry which reconciles verse with prose in poetic language (chapter 5). This is followed by an observation of the manner in which prose is realized in verse on the same deep structural model as that of the non-prose poem (chapters 6 and 7). One may thus consider the baudelairean poem as a linguistic "sign" which, like all linguistic "signs" belongs to a larger system of signs, linguistic, without a doubt, yet specifically transformed into poetical signs. Following the hjelmslevian notion of "system of signs" one may be led to enlarge the field of poetical signs to include the field of musical signs. This then permits the conclusion that baudelairean poetry represents one of the possible universal structures of art (chapter 8)
Labarthe, Patrick. "Poésie et "rhétorique profonde" : Baudelaire et la tradition de l'allégorie." Paris 4, 1996. http://www.theses.fr/1996PA040054.
Full textOur work started from a will to rehabilitate allegory as the key pattern in Baudelaire’s poetry. We have considered the various traditions of allegory which marks Baudelaire’s poetical and critical works. We have tried to show how they converge and how they are also transformed in a poetry which uses allegory as a genuine mode of thought and source of knowledge. The first part of the study deals with Baudelaire’s relation with what we have called the Christian tradition of allegory, that is to say the "neo Christian" poetics of Chateaubriand, the tradition of the 17th century preachers, or Maistre's or Ferrari's providential reading of history. The second part entitled "the adventures of psyche: baudelairian legacies and renewal of idealism" successively studies the tradition of allegory from Winckelmann to Theodore Jouffroy; the status of mythology and the model of antiquity in Baudelaire's work, and the essential dialogue with Theophile Gautier. In the third part ("the underlying rhetoric of passions"), we study the link between allegory and passion, beginning by Paris - the undeniably allegorical setting of modernity -, we then successively consider what we have called "the stakes of Baudelaire’s bestiary"; the structure of hatred which presides over the thoroughly ambivalent relationship with Musset's work; and lastly the dialectics which ties passion and compassion together
Park, Ki-Hyun. "La pensée de la couleur : esthétique et poétique chez Baudelaire." Paris 8, 1997. http://www.theses.fr/1997PA081308.
Full textThis thesis aimes at studying baudelaire's aesthetics and poetics of color by following his thought revealed in his art critique, his translation of poe's and de quincey's texts, and his verses and proses, les fleurs du mal et le spleen de paris. Since the romantic period, conscience about the gap between seeing and telling has taken an important place in the french poetry. Baudelaire's thought about color is exposed first by his fascination at paintings and his writing on paintings, that is, the salons. Baudelaire's art critique is a poetic prose as well as a critical text, without missing one of these aspects. Recognizing himself in comparison with the plastic arts is, for him, a sublime challange against the limits of language, and thus it may become a new source of language. This intensive power of language is often exposed with colored images. Whereas the primordial idea on the poetry of the poets of romantic and post-romantic period was, by organizing images, to create some suggestive structures, baudelaire organized poetic images by means of some criteria similar to those of paiting compositions. Thus, it seems that baudelaire's thought as well as his poetics are governed by a painting model. In this sense, baudelaire has opened the horizon of modernity to the poets such as mallarme, rimbaud, verlaine, hofmannsthal, rilke, et george
Liu, Bo. "Les "Tableaux parisiens" et l'expérience esthétique de Baudelaire." Paris 4, 2001. http://www.theses.fr/2001PA040090.
Full textThe "Tableaux parisiens" both define and apply an aesthetic theory. The present study aims to explore, through the gradually rebuilt holographic image, the multiple facets of Baudelaire's outstanding genius as a poetic creator and artistic theorist. .
Évrard, Anaëlle. "Traductions et traducteurs des Petits poèmes en prose de Baudelaire en Espagne : du modernismo à la Edad de Plata." Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20136/document.
Full textWith the translations of Baudelaire’s Spleen de Paris (Petits poèmes en prose) in Spain from the 1880’s to the 1930’s as its main object, this thesis intends to examine their historical, literary and publishing context in order to determine how the book was received. The corpus includes Castilian and Catalan translations and considers their insertion into their target literary systems in Havana, Madrid and Barcelona as well as their main textual characteristics. A particular focus is placed on the translators as active recipients of the text since they are both its readers and its rewriters. Their portraits shed light on the translators’ condition, be they renowned or unknown, at a time when translation progressively acquires more dignity, at least in speeches, while translators are still largely scorned and underpaid. The translators themselves tend to waver between belittling this task, so rarely gratifying, and giving in to its temptation. These portraits also convey their conception of translation, France and Baudelaire to get a better understanding of what was at stake individually in the work they accomplished. The reception of the genre of the prose poem is addressed mainly through analysing the publishing choices and interpreting the prefaces of the studied versions
Tomando por objeto las traducciones del Spleen de Paris (Petits poèmes en prose) en España entre los años 1880 y 1930, esta tesis se propone examinar el contexto histórico, literario y editorial de su publicación, para determinar las modalidades de recepción del libro. El corpus contiene traducciones en castellano y en catalán y considera su inserción en los sistemas literarios de acogida en La Habana, Madrid y Barcelona así como sus principales características textuales. Particular atención se ha prestado a los traductores, receptores activos del texto por ser al mismo tiempo sus lectores y reescritores. Sus retratos ponen en evidencia la condición de los traductores, sean renombrados o desconocidos, en un periodo en el cual la traducción va adquiriendo mayor dignidad, al menos en los discursos, mientras los traductores siguen despreciados y mal pagados. Los mismos traductores vacilan entre el menosprecio hacia una tarea tan poco gratificante y la fuerte tentación que representa dicha tarea a pesar de todo. Esos retratos incluyen el estudio de su concepción de la traducción, de Francia y de Baudelaire para entender mejor también lo que está en juego individualmente en el trabajo que llevaron a cabo. La recepción del género del poema en prosa se analiza principalmente a través de las decisiones editoriales y de la interpretación de los prólogos en las versiones estudiadas
Kim, Hyangmi. "L'esprit de liberté dans la création poétique de Baudelaire." Paris 4, 1999. http://www.theses.fr/1999PA040108.
Full textCabello-Chauveau, Inti Jean-Christophe. "Semiotique du plaisir dans les Fleurs du mal." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32901.
Full textHirt, André. "L'exposition de la poésie : approches de Baudelaire." Paris 8, 1998. http://www.theses.fr/1998PA081394.
Full textNot only does baudelaire found modern poetry, but his work embodies the factual setting in wich the recognition of modernity is engaged. Poetry is therefore a thought, i. E. Productive of thruths. Baudelaire puts an end to the old ritual of poetry (idealization, the model, perfection) by emphasizing its modern status of exposition. That is why poetry is not only steeped in things and in the prosaic, but also compelled to assume the infinity of the modern world of commodity, of thought and of language. On the other hand, poetry is exposed in that it opens itself the the infinite of thruths. Through its critical function, it necessarily shifts all the constitutions of the senses of the world and of history ( wich, for his part, baudelaire sees concentrated in the idea of " progress"). The name of the exposition of poetry is " evil". Baudelaire does not set a conceptual architecture, but an operative device of poetic rationality: evil, correspondances, spleen, modernity form the cardinal points of this thought. These " approaches to baudelaire ", attempted philosophically hut while paying regard to baudelaire's language and the thinking peculiarity of poetry, a concept of wich we gradually endeavour to nroduce, are as much purely theoretical ( sens and thruth, modern-modernity, evil and infinite, time and eternal return), as aesthetic ( imagery, alleqory, arabesque, the " colour" of truth in painting, translation) or existential ( spleen, aura, drug and drunkenness). Beside such great supports of the history of philosophy as plato and hegel, we go through the distirbutions of the matter wich are essential to us, with heldegger, benjamin and foucault
Brown, Douglas. "Baudelaire and the sonnet on the threshold of modernity." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59254.
Full textHadeh, Maya. "La mythologie dans l'oeuvre poétique de Charles Baudelaire." Thesis, Clermont-Ferrand 2, 2012. http://www.theses.fr/2012CLF20018.
Full textThe aim of this work is to explain the mythological plan which structures Charles Baudelaire's poetic work. Considering the various texts that refer to the Greco-Roman tradition, as well as the biblical one, will enable us to release a mythological corpus which confers to Baudelaire's poetry a symbolic and irrefutable dimension. Our purpose is to analyse this corpus in his poetic work where a biblical imaging and ancient myths mix and complement each other within an interesting syncretism. This mythocritical analysis will enable us to reveal some major archetypes underlying the style and to observe the ambiguity of a convoluted language which is at the same time structured around this archtypal plan. Does this mythological corpus respond to a specific requirement of the poet? Does it acquire a particular status in a 19th century which is also rich in mythical efflorescences? Therefore, we should observe the way this corpus works within Baudelaire's text and how the poet rewrites it in order to elaborate its own mythology. Thus acquiring a form and a sense within a poetic style of which it highlights the essential stakes
Zimmermann, Laurent. "L' ivresse dans la littérature française depuis Baudelaire." Paris 8, 2004. http://www.theses.fr/2004PA082421.
Full textIn this study intoxication is defined as a temporal emergence that links two realms (one is related to drug and the other to the theme of inspiration) and questions a specific stake, the stake of the tension, a constituent of literature, between knowledge and pleasure. Within this frame, the study of a whole range of literary texts connected to intoxication leads to the reversal of the paradigm generally in use : intoxication considered as it is in the study, is not in opposition to theory but, on the contrary, combines with it. After these two parts more specifically concerned with problems related to theory but also to questions of methodology, three further parts are dedicated to text analyses and organized in such a way as to first bring about the foundation of speech, then of its development and finally of the limits encountered
Semichon, Laurent. "Charles Baudelaire's translations of Edgar Allan Poe." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/6871.
Full textCaniaux, Isabelle. "L'inspiration exotique chez Baudelaire." Bordeaux 3, 1985. http://www.theses.fr/1985BOR30042.
Full textLancha, Christine. "Baudelaire, Guys, images de femmes." Aix-Marseille 1, 2001. http://www.theses.fr/2001AIX10024.
Full textBerat, Fanny. "Les origines journalistiques du poème en prose ou Le siècle de Baudelaire." Lille 3, 2006. http://www.theses.fr/2006LIL30014.
Full textThe genealogy of prose poem has already been studied : origins have been found in the poetic prose of the 17th and 18th centuries, and the "inventors" of the genre in early 19th century have also been explored. My work wants to add a point to this genealogy, showing that prose poem can have journalistic origins. In the Spleen de Paris, Baudelaire re-creates the prose poem : he focuses in on the present, having in view to give a "description of modern life". Thus, he meets the designs of his time's press, more specifically of the "petite presse" ones, which delivers a painting of modern life in a satirical way. He also crosses the literary movements of realism, "bohème" and "fantaisie". First, I have studied the "petite presse", which is a specific phenomenon of the 19th century mediatic landscape. I have pointed out its protagonists and also Baudelaire's place in it. The second part analyses prose poems published in papers between 1845 and 1865, and underlines the idea that the notion of modernity has a journalistic origin. The third part examines the journalistic genres and their topics, to confront them with Baudelaire's prose poetry. Finally, I prropose a new definition of baudelairian prose poem, which emphasizes its caricatural manner
Almeida, Maria Gorete de. "A modernidade poética em Charles Baudelaire e Walter Benjamin." www.teses.ufc.br, 2005. http://www.repositorio.ufc.br/handle/riufc/6470.
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This dissertations’s central theme is the presentation of the concept of modernity in Walter Benjamin since the reading of Charles Baudelaire’s poetic work. The objective of this reading to identify the true vision of reflexion is about modernity that was built between the modern and ancient categories. Through these connections, Benjamin could reflect the modern experience of the 19 th century. Reminding the fetish merchandising category, indispensable to na analysis of the 20 th century industrial society. Besides the themes allegory, time and history.
O tema central desta dissertação é o da apresentação do conceito de modernidade em Walter Benjamin, a partir das leituras que fez de Charles Baudelaire. O objetivo desta pesquisa é identificar a verdadeira visão da modernidade. Esta reflexão se ergue sobre as categorias de moderno e antigo interpenetradas. O que permitiu Benjamin refletir a experiência moderna do século XIX, recorrendo a categoria do fetichismo de mercadoria indispensável para uma análise da sociedade industrial do século XX.
Brunet, Jacqueline Nunes. "Une brève lecture du Speen de Paris, recueil en prose de Charles Baudelaire." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/55969.
Full textCharles Baudelaire é considerado um dos mais importantes expoentes da poesia moderna do século XIX, em razão do seu estilo particular, na poesia e na prosa, e da sua consciência estética. Duas obras ressaltam seu talento poético: Les Fleurs du Mal e Le Spleen de Paris. A presente dissertação centra no Spleen de Paris, coletânea publicada postumamente, em 1869, formada de cinquenta poemas em prosa. Começo meu estudo apresentando algumas informações prévias e fundamentais para o conhecimento de Baudelaire e para a localização do Spleen de Paris em sua obra: inicialmente, faço um breve panorama da vida e da produção literária de Baudelaire; em seguida, apresento, de forma concisa, sua obra prima, Les Fleurs du Mal, debruçando-me sobre sua estrutura e sua temática; depois, destaco as principais características do gênero poème en prose. Após ter apresentado estes aspectos introdutivos, passo a uma leitura do Spleen. Começo por apresentar a coletânea; em seguida, desenvolvo uma análise de cinco poemas e, como estes poemas apresentam traços de Paris, aponto estes e elaboro um estudo da importância da cidade de Paris do século XIX para a obra de Baudelaire e para a literatura. Concluindo meu trabalho, reúno e mostro alguns dos aspectos mais notáveis do Spleen. Nos anexos, apresento algumas das considerações que Marcel Raymond, um importante estudioso, tece sobre a poesia moderna; limito-me a suas análises sobre as origens da poesia moderna, sobre Baudelaire, Verlaine, Mallarmé, Rimbaud e sobre o simbolismo.
Martins, Gabriel Villamil. "Lírica e capitalismo : uma interpretação do tempo na poesia de Charles Baudelaire." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/149545.
Full textPartindo de considerações teóricas sobre os gêneros literários em geral e sobre a poesia lírica em particular, analisa-se o tema da passagem do tempo no poema “L’horloge”, de Charles Baudelaire, bem como a posição social e intelectual do autor no alvorecer da modernidade europeia, juntamente com a transformação das relações de produção literária durante o estabelecimento do capitalismo industrial e do segundo império na França. Para tanto, aportes da antropologia cultural, da sociologia, da teoria literária e de uma análise discursiva da literatura são mobilizados, ao lado das reflexões de Walter Benjamin e Colin Campbell sobre a natureza da experiência e do desejo no hedonismo moderno. O poema de Charles Baudelaire permanece um desafio à interpretação unívoca sobre o significado da passagem do tempo no interior da nova ordem econômica e social configurada pelo capitalismo em seus primeiros estágios de desenvolvimento.
Ouakaoui, Malek. "Le fantastique chez Baudelaire : la poétique de l'insolite." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100055.
Full textTzvetan Todorov defines the fantastic as being a genre at the interface between the strange and the wonderful, a genre characteristic of the novel but not of poetry. Baudelaire's poetry, however, seems to depart from this rule, both formally and thematically. The Little Poems in Prose is a hybrid between the collection of short stories and that of poetry. In The Flowers of Evil, the order of the plays obeys the logic of a narrative. As for the translations of the works of Edgar Allan Poe, Baudelaire indulged into poetry. Thematically, the fantastic patterns are present in Baudelaire's work almost systematically. Some of them are unique and unusual forms to the writer. Given that he exalts the formal and thematic bipolarity, Baudelaire’s romance is not reminiscent of Hoffman's approach to writing. Bearing in mind the theory of Todorov, we attempt, step by step to demonstrate the existence of a Baudelairean fantasy which seems to have inspired even some films
Cho, Hee-Won. "Le thème du flâneur chez Baudelaire et le dualisme non-dualiste du Son bouddhisme coréen." Paris 1, 2008. http://www.theses.fr/2008PA010592.
Full textVerduci, Didier Cédric. "La relation solitude-multitude dans les petits poèmes en prose de Baudelaire /." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83155.
Full textMoussaron, Jean-Pierre. "A défaut - la littérature : (Baudelaire, Flaubert, Proust, Deguy)." Paris 8, 1997. http://www.theses.fr/1997PA08A001.
Full textSuzuki, Keiji. "Essai sur la poetique sensualiste de baudelaire." Paris 3, 1986. http://www.theses.fr/1986PA030100.
Full textThe purpose of this thesis is to show the sensualism of baudelaire proved not only in his aesthetics but also in his poetics. I don't mean by "sensualism", any absolute theory, of which the poet's works would be no more than the mere examples of application. On the contrary, this word describes an attitude observed commonly in condillac and baudelaire: refusal of all the innate ideas and of all the a priori; priority given to sensations. On a aesthetic level, this sensualism produce a certain relativism of the beauty, that consistes in believing the beauty is not in the object a priori but it is engendered by persons who feel it. It is the essential part of baude. -laire's aesthetics of "modernite". But this sensualiste perspective let us also re-examine the relation between baudelaire and the realism. And we can conclude that baudelaire was not so hostile to all the realistic mouvement; at least, he shared with realists. The idea of the importance of the direct contact with the nature and the reality, as well as the refusal to pursue blindly the ideal beauty in contempt of the sensitive experiences. On a poetic level, baudelaire's sensualism takes a form of the "plaisir du texte". It is a famous mimesis of baudelaire in question. The poet identifies himself with various texts he read and he employs it to write his poems. And if i call this phenomenon "intertextualite", it is because on one hand, the poet himself was very conscious of the recourse to texts of others, to the point of considering it as his poetics, and because on the other, it is absent from these borrowings, the hierarchical relation of the model and its copies. Thus, baudelaire's texte seems a mosaic composed by infinite quotations of others'texts, which are often arranged in a contradictory way, and it is a clash of these contradictory fragments that makes possible an eternal and dynamic production of sens to the
Almeida, Mônica de. "Réinventions du "Spleen de Paris" : traduire Baudelaire." Paris 8, 2006. http://www.theses.fr/2006PA082698.
Full textThe prose poem is considered as a problematic notion in language studies and despite many attempts to find a definition to this writing, it still remains an irregularity in the universe of literature. In Paris Spleen Baudelaire refers to his poems as an “accident”, as a work “that has neither head nor tail, since everything, on the contrary, is both head and tail, alternatively and reciprocally”. The goal of this research is to discuss some aspects concerning the principles of composition and the peculiarity of the Small Prose Poems, based on the translations of this work in Portuguese (Brazil), and also taking into account fragments of versions in English and in Spanish. These reinventions frame independent literary projects and they are oriented by distinct conceptions of language. In this way, each rewriting presents elements to think on different strategies and theories of Translation
Hammond, Nicholas Gascoigne. "Pascalʾs Pensées and Baudelaireʾs Les fleurs du mal : a study of the parallels and development of the theme of ʺennuiʺ." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1002009.
Full textKim, Hyangmi. "La morale baudelairienne." Paris 4, 1991. http://www.theses.fr/1991PA040137.
Full textTo study Baudelaire’s morals is to represent the personal morals of Baudelaire through his sentiments, his poetic and "philosophic" ideas. Baudelaire possesses an indomitable volition to live in the ideal universe. "The taste for the infinity", the spontaneous sentiment for the beauty push him to surmount the adverse circumstances of his life; this instinct of "pass over" contain a germ which can be transformed into the light, a factor of the moral beauty. In short, the substance of Baudelaire’s life is translated by the duty that the exceptional spirit in the quotidian world must perform, in other words, by the devotion for the humanity, namely, by the art. The principal idea of Baudelaire' morals, which is expressed by the charity, by the brotherliness, is neither preachified, nor pedantic by the didactic tone, but "the inspired morals which is imbibed, invisible, in the poetic material"
Rivera, Barraza Carolina. "Borges y Baudelaire. Dos visiones de la ciudad moderna." Tesis, Universidad de Chile, 2004. http://repositorio.uchile.cl/handle/2250/110165.
Full textEn el presente trabajo, utilizaré la figura del flâneur que Walter Benjamin da a luz basándose en la figura de Charles Baudelaire. A partir de esta definición, tomaré los puntos más importantes de dicho concepto para posteriormente poder confrontar el artículo del profesor Cristián Cisternas y su teoría del “otro flâneur” presente en Borges, reflexión aparecida recientemente, a propósito de un proyecto Fondecyt y publicada posteriormente por la Revista Chilena de Literatura. Tal confrontación, no pretende refutar los postulados del profesor Cisternas a propósito de un “otro flâneur”, sino re-pensar las implicancias del concepto de flâneur, incluso más allá de las connotaciones teóricas que adquirió la palabra francesa desde la aplicación que Walter Benjamin sugirió para Baudelaire. En este sentido, el informe que sigue, hace una revisión tanto de las poéticas como de los espacios en las que se insertaron, de Jorge Luis Borges y Charles Baudelaire, en Fervor de Buenos Aires y Las flores del mal, respectivamente. Se trata de recorrer los espacio-tiempos de la modernidad sintomatizados en las obras de estos dos creadores y las similitudes, tanto como las diferencias, que se pueden rastrear en ambos.
Dorneles, Giele Rocha. "Paisagem e viagem em Guilhermino César e Charles Baudelaire." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/26727.
Full textEl paisaje y los viajes como metáforas de la subjetividad, a menudo expresado a través de la iconografía de la ciudad, tanto de sus elementos humanos tales como paisaje, indican que el recóndito de la subjetividad hace uso de numerosas y variadas formas de configurar. Interconexión entre el sujeto y su relación con unos a otros y el mundo que rodea inserta la comprensión de la interconexión entre el fondo cultural y la subjetividad de cada uno, en un intercambio de percepciones que son complementarias en las conversaciones sobre el mundo y yo. Lo sublime está marcada por la revelación constante que retrasan el contacto con el mundo de otro de Charles Baudelaire y su César da sus producciones y el intermedio de sus textos, cuando el propósito de exhaustividad causantes de estos autores en tema lector es reflejado en el análisis intenso, lectura sistemática celebrada para la comprensión del representante simbólico y textual en sus tejidos. El daydream este elenca en el otro una ensoñación particular pero que al final es simplemente otra representación del paisaje de I en contacto con el mundo. Una visión general de información construido sobre su César y Charles Baudelaire, cuyo mayor objetivo de presentar los figurations del paisaje y los viajes como metáforas para un mundo, ya sea recónditas de interior, el tema, o fuera, por la arquitectura de la palabra y la palabra como un verbo está presente. La ciudad imaginaria como vínculo entre el paisaje de I y en el mundo, a través de un viaje fuera o dentro del si impregna de un significado que trasciende la evidencia y recoge una gran cantidad de imágenes y nociones la reconstrucción de la esencia misma de la ciudad dentro de los textos que se leen. Viaje a través de la ciudad de espacio prepara una toma de conciencia del sujeto mientras se separó con viajar en busca de un ID, una autoconciencia que nunca es suficiente.
Kim, Ok-Ryon. "Baudelaire : l'infini dans le fini." Paris 8, 1994. http://www.theses.fr/1994PA080864.
Full textBaudelaire occupies a privileged position in this thesis he is the passage from the finite to the infinite. This is due in the first place to his reflexion on poetic rhythm his intuitions about the"mysterious and little known prosody of french poetry in the preface to les fleurs du mal,and about the rhythm of prose in the preface to the preface to the preface to the petits poemes en prose(spleen de paris) determine a radical change in the 19th centry from a conception that dominated western thought for centries to a new way of thinking. This thesis takes up a systematic development of his insights. In order to develop baudelaire's idea we have taken as a star ting point the notion of rhythm elaborated by h meschonnic who devoted a book to the subject entitled critique du rythme 1982. At same time we have tried to show that baudelaire's oeuvre creates a rhythm containing a mysterious and little known prosody"the thesis is composed of four parts,entitled:free poetics free poetry,free prose,and free trans lation. Rather than sacralize poetry by accoding it the monopoly of rhythm,this thesis takes it as the activity of language,whether in prose,in poetry or in translation,of a poet: charles baudelaire
Grigorian, Lilith. "La postérité de Baudelaire dans la poésie symboliste russe ou le mal de l'idéal." Paris 4, 2005. http://www.theses.fr/2005PA040082.
Full textThe present thesis is concerned with the discovery of the poetry of Charles Baudelaire (1821 – 1867) by the Russian poets around the 20-th century. Who are the followers of Baudleaire in the Russian symbolist movement, and what transformations have they brought about? Baudlaire's works are compared, to various extents, to the readings of three poets. The thesis consists four parts. The first one touches on with the aesthetic criteria according to Baudelaire and their comparison with those of V. Soloviov (1853 – 1900), philosopher and poet, who has also given a new sense to the poetic art. P. Yakoubovich (1861-1911), an ardent translator of Baudelaire, though opposed to symbolism, is presented with all his contradictions. The second part is devoted to the quest of the time of the Russian symbolists through the personality of V. Brioussov (1873-1924), founder of that movement in Russia. Our comparison sets up a constant development between his translations and his own creations. The third part considers the baudlairean space through the criticism, the translations and the poetry of I. Annenski (1855-1909). The analysis of the poems and their translations, included in the present work, show the difficulties of the accurate transposition of one language to another; nevertheless, the intentional distortions practised by the poets, lead on to new creations substituting for the original. In last part, the study reveals the immense contribution of Baudelaire to the Russian poetry. However, in spite of the external influence, the modern Russian poetry, lack of ideal, is built up through the symbolist movement, preserving at the same time its authenticity
Kennedy, Sarah Alice. "The masks of the poet : Baudelaire's petits poèmes en prose in English translations : a methodological study." Thesis, Swansea University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678660.
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