Arthur Rimbaud (1854–1891) & Paul Verlaine (1844–1896)

1997 ◽  
pp. 372-378
Author(s):  
Dirck Linck
Keyword(s):  
Author(s):  
Emile De Rosnay

Along with Arthur Rimbaud and Paul Verlaine, Stéphane Mallarmé is a preeminent poet of the latter part of the nineteenth century, notably as the head of Symbolism (with Verlaine). Like many of his generation, Mallarmé built upon Charles Baudelaire’s, Théophile Gautier’s and Edgar Allan Poe’s contributions to poetry and criticism, and anticipated the various Modernist and avant-garde movements to come, being a key voice of modernism. Mallarmé is mostly known for his very difficult, hermetic language, for his conceptualization of a "crisis of verse" (crise de vers), and for his innovations in versification and free verse. Étienne Mallarmé, commonly known as Stéphane, was born in Paris to Numa Mallarmé, a government administrator, and Élisabeth Desmolins, who died when Stéphane was five, after which point Stéphane came, along with his sister Maria, under the tutelage of his grandfather. His father remarried Anne-Hubertine Léonide Mathieu, who had three girls and a son. Mallarmé’s performance at school was mediocre, and his teachers at Passy reproached him for his "rebellious and vain character"; he was subsequently expelled in 1855. His first poems date from 1854. He was deeply affected by the death of his sister in 1857, as testified in some early prose ("Ce que disaient les trois cigognes," "Plainte d’automne").


L Homme ◽  
1969 ◽  
Vol 9 (1) ◽  
pp. 23-41 ◽  
Author(s):  
Jean-Claude Coquet
Keyword(s):  

1981 ◽  
Vol 49 (1) ◽  
pp. 92-112 ◽  
Author(s):  
Nicolas Ruwet
Keyword(s):  

1922 ◽  
Vol III (3) ◽  
pp. 260-261
Author(s):  
IRNNE DEAN PAUL
Keyword(s):  

2013 ◽  
Vol 86 (4) ◽  
pp. 835-836
Author(s):  
Candice Nicolas
Keyword(s):  

2016 ◽  
Vol 51 (2) ◽  
pp. 325-343 ◽  
Author(s):  
Nora Zapf

AbstractEven though Coleridge’s fantastic romantic poem “The Rime of the Ancient Mariner” (1798) and Rimbaud’s hallucinatory symbolist poem “Le bateau ivre” (1871) use very different procedures, both of them show, each in their own way, a ghostly movement of the ship: a movement that seems to lead into the vastness of the globe but finds itself confined to the narrowness of one’s own self. Both of these sea poems draw a route that in the end is aimless in its bouncing and circular movement. The haunted ghost ship as a wooden skeleton without crew flies over water in Coleridge’s ballad, or falls into unattainable depths in Rimbaud’s long poem. Can these poetic travel narratives be described as forms of a “haunted globalization,” in which leaving the known for the unknown turns out to mean always moving around the same – the self, the known, the own writing process? Even if in the self, there will always be found the other, the foreign, too.


2009 ◽  
Vol 3 (6) ◽  
pp. 58-70
Author(s):  
Florence Dravet ◽  
Gustavo De Castro
Keyword(s):  

Fruto de uma pesquisa desenvolvida no âmbito do projeto Razão-Poesia a respeito da colocação dos poetas na sociedade e nos meios editorial e literário, este artigo tem por objetivo identificar posicionamentos éticos e estéticos de alguns poetas diante da visibilidade proporcinada pelos meios de comunicação. Fomos em busca de compreender a opção daqueles que qualificamos de “poetas da verticalidade” pela sua busca estética, e “poetas do desaparecimento” pelo seu posicionamento ético. Arthur Rimbaud e Roberto Juarroz tiveram duas maneiras diferentes de escolher o desaparecimento: a fuga para o estrangeiro e a discrição silenciosa. O primeiro transformou definitivamente a forma do verso pela intensidade da pulsação do seu dizer. O segundo não teve a mesma influência sobre a produção poética subsequente, mas compôs uma obra extensa e sistemática. A análise desses dois exemplos nos conduziu a pensar a liberdade do desprendimento como condição de possibilidade do exercício ético e estético.


Author(s):  
Michel Planat ◽  
Raymond Aschheim ◽  
Marcelo Amaral ◽  
Fang Fang ◽  
Klee Irwin

It is shown how the secondary structure of proteins, musical forms and verses of poems are approximately ruled by universal laws relying on graph coverings. In this direction, one explores the group structure of a variant of the SARS-Cov-2 spike protein and the group structure of apolipoprotein-H, passing from the primary code with amino acids to the secondary structures organizing the foldings. Then one look at the musical forms employed in the classical and contemporary periods. Finally, one investigates in much detail the group structure of a small poem in prose by Charles Baudelaire and that of the Bateau Ivre by Arthur Rimbaud.


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