CONCEPTUAL INTEGRATIONS IN LA PROSE DU TRANSSIBÉRIEN ET DE LA PETITE JEANNE DE FRANCE BY BLAISE CENDRARS

In this paper, I discuss La Prose du Transsibérien et de la petite Jeanne de France by Blaise Cendrars, a narrative poem first published in French in Paris in 1913. The poem has raised seemingly intractable questions for many years, given its status as one of the most important modernist poems, and one of the most important poems in 20th century French poetry. As I argue, considering some of the issues from the perspective of cognitive stylistics, especially the theory of conceptual integration, may help explain how readers make sense of this complicated poem.

Dialogues transsibériens entre un mage du TAL et un fakir

Le Professeur Patrice Pognan (désormais PPP) avait de quoi cogiter. Il revenait de loin. Tout au long du trajet et à travers les 990 gares de la Транссибирская магистраль, le Maître avait sauvé le monde, sans en tirer gloriole aucune, ni même s’en rendre compte. Voilà que les vers du Poème en prose de Blaise Cendrars lui revenaient à l’esprit en boucle… mais en macédonien.

Nos trilhos do trem: as relações estéticas entre Mário de Andrade e Blaise Cendrars

Este trabalho tem como objetivo analisar as relações estéticas entre a obra de Mário de Andrade e do vanguardista Blaise Cendrars. Sabe-se que a primeira fase do Modernismo brasileiro foi marcada pela articulação com as correntes das Vanguardas Europeias. Em tal contexto, avaliaremos a hipótese de que Blaise Cendrars tenha sido um dos elos de ligação entre as tendências estrangeiras e o projeto artístico nacional modernista. Para a análise comparada das relações estéticas entre o poeta brasileiro e o vanguardista, foram escolhidos o “Noturno de Belo Horizonte” (1924), poema de Clã do Jabuti, as “Crônicas de Malazarte VIII” (1924) e La Prose du Transsibérien et de la Petite Jehanne de France (1913), longo livro verbo-visual de Cendrars, pois é possível perceber um profundo diálogo entre os textos, pautados em experiências de viagem de trem. Como embasamento teórico, serão consideradas as teorias e críticas da poesia em geral, assim como estudos sobre a estética vanguardista e modernista.

The neurology behind three wounded French artists during the great world war

A unique association joins Guillaume Apollinaire, Blaise Cendrars and Louis Ferdinand Céline. Besides being great exponents of French literature, they were all neurologically wounded during the First World War. Apollinaire had a traumatic brain injury, Cendrars developed phantom limb neuropathic pain and Céline presented radial nerve paralysis. There is quite an evidence that supports that their artistic output was also influenced by acquired neurological conditions during the war. The examples of these three French authors reveal the surprising intimacy Neurology can share with art and history.

(RE)Descobrindo o Brasil: as relações estéticas entre Blaise Cendrars, Oswald de Andrade e Tarsila do Amaral

A viagem de Blaise Cendrars ao Brasil, em 1924, marcou a história das relações entre a estética de Vanguarda, representada pelo poeta franco-suíço, e a Modernista, sobretudo, a de Oswald e de Tarsila. Tal evento inspira Feuilles de Route (1924), de Cendrars, Pau-Brasil (1925), de Oswald e em várias telas de Tarsila. Nesse contexto, os artistas recolhem elementos para suas obras à medida que estudavam mais a fundo as terras brasileiras em uma viagem que fizeram juntos pelo país. O objetivo principal deste trabalho é examinar as relações estéticas entre as obras dos três artistas. A análise se dará por meio de teorias e críticas da poesia; do estudo da modernidade, da vanguarda e do modernismo brasileiro; e de obras que relataram a história da relação entre os artistas.

Modernism, Space and the City

This innovative book examines the development of modernism in four European cities: London, Paris, Berlin, and Vienna. Focusing upon how literary and cultural outsiders represented various spaces in these cities, it draws upon contemporary theories of affect, mood, and literary geography to offer an original account of the geographical emotions of modernism. It considers three broad features of urban modernism: the built environment of the particular cities, such as cafés or transport systems; the cultural institutions of publishing that underpinned the development of modernism in these locations; and the complex perceptions of writers and artists who were outsiders to the four cities. Particular attention is thus given to the transnational qualities of modernism by examining figures whose view of the cities considered is that of migrants, exiles, or strangers. The writers and artists discussed include Mulk Raj Anand, Gwendolyn Bennett, Bryher, Blaise Cendrars, Joseph Conrad, T. S. Eliot, Christopher Isherwood, Hope Mirlees, Noami Mitchison, Jean Rhys, Sam Selon, and Stephen Spender.

Paris

This chapter explores the affective pull that Paris exerted upon modernist writers and artists, attracting outsiders from around the globe to experience its cultural institutions and openness to creative experimentation. The chapter first discusses the writers T. S. Eliot, Guillaume Apollinaire, and Blaise Cendrars as ‘outsider-insiders’ (in Peter Gay’s terms), figures who come to the city as outsiders but who, by virtue of status or identity, are able to function as insiders within its cultural geography. The second group of writers discusses include Hope Mirrlees (in her poem Paris), Jean Rhys (in novels such as After Leaving Mr Mackenzie and Good Morning, Midnight), and Gwendolyn Bennett (in her story ‘Wedding Day’), female modernists who remain marked as outsiders in the city. The chapter discusses how all of these writers engaged affectively with various aspects of the technological modernity of Paris, including features such as the Eiffel Tower, café culture, hotel rooms, and the Grands Boulevards.