Le Festin d’Ésope Première revue / première œuvre de Guillaume Apollinaire

2016 ◽  
Vol N° 55 (1) ◽  
pp. 6
Author(s):  
Mikaël Lugan
Keyword(s):  
Guillaume Apollinaire

La lettre et la figure dans Calligrammes de Guillaume Apollinaire

2015 ◽  
pp. 109-118
Author(s):  
Moucherif Abdelhakim
Keyword(s):  
Complementary Relationship ◽  
Guillaume Apollinaire ◽  
Semiotic Systems ◽  
Poetic Text

This article is devoted to Guillaume Apollinaire original poetic experience’s who tried to found a synthetic art combining heterogeneous semiotic systems such as painting and poetry. We propose, then, to study the various complementary relationship, polysemy or counterpoint established between the letters, poetic text and pictorial images.

« Mon Lieutenant…. ». Lettre de Max Jacob à Guillaume Apollinaire

2015 ◽  
Vol 15 (1) ◽  
pp. 9-16
Author(s):  
Alex Dickow ◽  
Patricia Sustrac
Keyword(s):  
Guillaume Apollinaire

The unheard voice and the unseen shadow

2018 ◽  
Author(s):  
Jeremy Cox
Keyword(s):  
Later Life ◽  
Federico Garcia Lorca ◽  
Francis Poulenc ◽  
Intensive Phase ◽  
Internal Conflicts ◽  
Violin Sonata ◽  
Guillaume Apollinaire ◽  
Natural Tendency ◽  
The Individual ◽  
The Relationship

The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.

scholarly journals DEVIATION IN POETRY GUILLAUME APOLLINAIRE'S POETRY COLLECTION

2019 ◽  
Vol 5 (2) ◽  
pp. 173-179
Author(s):  
Fitra Maulidya ◽  
Ninuk Lustyantie
Keyword(s):  
Content Analysis ◽  
Data Analysis ◽  
Data Collection ◽  
Qualitative Approach ◽  
Historical Period ◽  
Analysis Method ◽  
Guillaume Apollinaire ◽  
Content Analysis Method ◽  
Data Collection Technique ◽  
Deviation Theory

This research intends to describe the types of deviations contained in the collection of poems Calligrammes by Guillaume Apollinaire. The approach used is a qualitative approach with content analysis method. The data collection technique used is Miles and Huberman. The theory used as the main reference is the deviation theory according to Geoffrey N. Leech which divides the deviation into eight types, namely lexical deviation, phonological deviation, grammatical deviation which includes morphological and syntactic, graphological deviation, semantic deviation, dialectal deviation, deviation of register, and deviation of historical period. The result of data analysis from 7 poems found 5 out of 8 types of deviation which are diffused in each poem, including 24 semantic deviations, 18 graphological deviations, 4 deviations of register, 3 syntactic deviations and 2 lexical deviations. While the types of phonological deviation, morphological deviation, dialectal deviation, and deviation of historical period are not found in any of the data in this collection of poems Calligrammes.

scholarly journals Réécrire l’origine poétique au XXe siècle : l’expérience du Bestiaire ou cortège d’Orphée de Guillaume Apollinaire

2011 ◽  
Vol 42 (1) ◽  
pp. 37-50
Author(s):  
Julie Dekens
Keyword(s):  
De Re ◽  
Guillaume Apollinaire

Au seuil de son oeuvre, Apollinaire choisit Orphée. Dans Lebestiaire ou Cortège d’Orphée, le poète retrouve les caractéristiques traditionnelles du mythe, le carmen au sens étymologique du terme, et rejoint les réécritures qui l’ont précédé. L’entreprise est osée, car il convient d’habiter en Orphée, d’endosser son costume et surtout de (re)construire le mythe. En prenant appui sur les fondations ancestrales du récit antique, Apollinaire entend ériger de nouveaux fondements poétiques. L’édifice, entre tradition et émancipation, entraîne le lecteur dans un labyrinthe extraordinaire, entre mythe et réalité, poésie et gravure, vie et mort, chant et parole, antiquité et modernité. Le vertige des sens fonde le pouvoir du poète : mage des Temps modernes, il surpasse son aïeul et transcende les possibilités de l’écriture.

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