Baudelaire, Charles (1821–67)

2018 ◽  
Author(s):  
Emile De Rosnay
Keyword(s):  
Charles Baudelaire ◽  
Psychological Consequences ◽  
Prose Poem ◽  
Urban Modernity ◽  
Petits Poemes En Prose ◽  
Aesthetic Modernity ◽  
Spleen De Paris ◽  
Fleurs Du Mal

Charles Baudelaire is a pivotal figure of modernist aesthetics. His contributions to poetry, the prose poem and criticism, as well as his focus on urban modernity and the psychological consequences of industrialization, have had an undeniable impact on modernism. He is amongst the first to have connected historical modernity to aesthetic modernity, in works such as Les Fleurs du mal, Spleen de Paris (Petits poèmes en prose), and Le Peintre de la vie moderne.

Creative Confinement and Narratives of Violence: Charles Baudelaire, Shumona Sinha and Assommons les pauvres!

2021 ◽  
Vol 58 (1) ◽  
pp. 63-75
Author(s):  
SONYA STEPHENS
Keyword(s):  
Political Power ◽  
Charles Baudelaire ◽  
Literary Form ◽  
Prose Poem ◽  
Social Challenges ◽  
The Social ◽  
Spleen De Paris ◽  
The Relationship

This article examines the relationship between Baudelaire’s prose poem, “Assommons les pauvres!” (Le Spleen de Paris, 1869) and Shumona Sinha’s 2011 novel of the same title. Focusing on questions of reading and intertextuality, from Baudelaire’s reference to Proudhon to Sinha’s engagement with the prose poem and Le Spleen de Paris more broadly, it explores forms of confinement and creativity, the connections between narrative and freedom and the ways in which lyrical subjectivity and literary form reflect the social challenges of each period. In expressing socio-cultural and linguistic alienation, these texts centre the textual in an exploration of the marginal, thereby demonstrating that the connection between them goes beyond a critical act of violence and the presumed equality or dignity it confers, to represent a shared interrogation of universalism, multiculturalism, and authorial and political power.

scholarly journals Le Spleen de Paris de Charles Baudelaire : des « petits genres journalistiques » aux « petits poèmes en prose »

2017 ◽  
Vol 8 (2) ◽  
Author(s):  
Jean-Michel Gouvard
Keyword(s):  
Charles Baudelaire ◽  
Petits Poemes En Prose ◽  
Spleen De Paris

Les petits poèmes en prose réunis dans Le Spleen de Paris ont été composés à la toute fin des années 1850 et dans la première moitié des années 1860, une période où la presse connaît un réel essor et une profonde transformation. De plus, ces textes ont été pour la plupart d’entre eux publiés dans des revues et des journaux. Or, il est possible de montrer qu’il y a eu une double influence de la presse sur la genèse des petits poèmes en prose. D’un côté, les conditions matérielles dans lesquelles travaillaient les journalistes se reflètent pour partie dans la thématique du recueil, dans la mesure où Baudelaire y puisait des représentations propres à nourrir sa réflexion sur le statut du poète et de la poésie dans la société moderne. D’un autre côté, les pratiques d’écriture et les contraintes génériques des différents genres journalistiques se retrouvent en partie dans les poèmes du Spleen de Paris, même si l’on ne saurait réduire ces textes à des articles de journaux.

scholarly journals Melancolia urbana

2021 ◽  
Vol 13 (26) ◽  
pp. 202-207
Author(s):  
Marcos Antonio de Menezes
Keyword(s):  
Charles Baudelaire ◽  
Petits Poemes En Prose ◽  
Spleen De Paris

No final de 2020, a Editora 34 lançou O spleen de Paris, que reúne anedotas, reflexões e epifanias (pequenos poemas em prosa) do francês Charles Baudelaire (1821-1866). O volume conta com tradução primorosa de Samuel Titan Junior e texto de apresentação do escritor e cineasta argentino Edgardo Cozarinsky. Esta obra, do poeta maldito, já recebeu mais de dez edições no Brasil ― a primeira em 1937 ― e com certeza outras virão, mas esta tem todo um charme especial, a começar pela capa que traz o autorretrato de Baudelaire. Petits poèmes en prose (Le spleen de Paris) apareceu pela primeira vez, como edição póstuma, no quarto volume das Obras completas (1869) do poeta, organizadas por Théodore de Banville (1823-1891) e Charles Asselineau (1820-874) e editadas pela Gallimard.

Prose Poetry

2021 ◽  
Author(s):  
Jane Desmarais ◽  
David Weir
Keyword(s):  
Essential Oil ◽  
Prose Poetry ◽  
Prose Poem ◽  
Urban Experience ◽  
Prose Poems ◽  
The World ◽  
Spleen De Paris ◽  
Fleurs Du Mal

This chapter treats the prose poem as the decadent genre par excellence by focusing on Charles Baudelaire’s Le Spleen de Paris (Paris Spleen, 1869). The prose poem is well suited to the expression of decadent culture because of its formal subversion of conventional poetry, especially as adapted by Baudelaire to articulate “the bump and lurch” of urban experience. J. K. Huysmans certified the decadent credentials of the genre when he described it in À rebours (Against Nature, 1884) as “the osmazome of literature, the essential oil of art,” a literary distillation that makes it “an aesthetic treat to none but the most discerning.” The article analyzes “Any Where Out of the World” and other prose poems in relation to certain poems in Le Fleurs du mal (The Flowers of Evil, 1857), observing no loss of metaphorical power in the more “prosaic” medium despite Baudelaire’s secular and subversive treatment of many of the same poetic material given more elevated, spiritual treatment in the earlier collection.

Vers, vermines, vermisseaux et autres bestioles contaminantes dans l'œuvre poétique de Charles Baudelaire

2019 ◽  
Vol 58 (2) ◽  
pp. 146-155
Author(s):  
Dominique Rincé
Keyword(s):  
Organic Matter ◽  
Charles Baudelaire ◽  
The Self ◽  
Memento Mori ◽  
Spleen De Paris ◽  
Fleurs Du Mal

Baudelaire's bestiary is well known for its large birds loaded with symbols (thinking owls, lost swans, or splenetic albatrosses), his good dogs or wriggling doggies, and especially his cats, all imbued with a mysterious and fascinating felinity. What is less known, however, is the small creeping fauna that seems to have taken up residence in Baudelaire's poems, to infest them and vivify them at the same time. Worms, vermin, wormlings, but also flies, bugs, spiders, ants, pupae, and other unusual ‘helminths’ swarm and proliferate in the alveoli of the homonymous ‘vers’ since it is rather in those of the Fleurs du mal, more than in the prose of the Spleen de Paris (in spite of the reptilian dedication to Arsene Houssaye), that this infectious and contaminating swarming seems to happen. After a quick inventory of this poisonous micro bestiary, this article aims to reveal its symbolic and, above all, poetic significance, if we consider that Memento mori such as ‘Une charogne’ or ‘Le Flacon’ are also authentic poetic arts in which the oxymoric work of decomposition / recreation carried by these ‘infamous’ little creatures takes place. ‘From the vaporization and centralization of the Self. All is there’, says the first fragment of Mon cœur mis à nu. There is nothing like some ‘black battalions of larvae’ to perform this paradigmatic reversal of the putrefied and pulverized organic matter to the reconfigured and sublimated poetics.

‘Ordre et beauté’

2021 ◽  
Vol 21 (3) ◽  
pp. 419-436
Author(s):  
Michael Downe
Keyword(s):  
Charles Baudelaire ◽  
Literary Canon ◽  
Sacred Texts ◽  
Musical Time ◽  
Instrumental Works ◽  
Fleurs Du Mal

The British composer Jonathan Harvey is generally associated with Eastern sacred texts rather than the secular Western literary canon. However, evidence from works composed over several decades suggests that Charles Baudelaire was a significant if subterranean influence upon his music. This article considers these works in detail. ‘L’Horloge’ [‘The Clock’] (1963) is a remarkable interpretation of Baudelaire’s text which reveals in it parallels with Harvey’s own contemporary preoccupations with the nature of musical time. Correspondances (1975) is a sequence of settings from Les Fleurs du mal and interludes and ‘fragments’ for piano which may be arranged in numerous orders at the discretion of the performers. Finally, the instrumental works Hidden Voice (1996) and Hidden Voice II (1999) demonstrate that the poet’s ideas remained an inspiration to Harvey well into his compositional maturity. Particularly striking is the variety and originality of these musical responses. Baudelaire’s real significance for Harvey was perhaps as an exemplar of aesthetic ideals - of ‘order and beauty’ - rather than merely as a source of musically suggestive images and phrases.

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