mirada del flâneur. Influjo y presencia en la poesía y narrativa de Louis Aragon

En Louis Aragon, la flânerie ­­no sólo se manifiesta en los paseos que el escritor francés por placer pudiera dar por París, sino que, además, supone un modo de emplazarse en la ciudad y en su propia literatura. Abordar el estudio del flâneur desde la producción poético-literaria de Aragon nos permite deambular por las líneas de sus versos y fragmentos de su prosa onírica, como si de calles y avenidas se tratase, para participar en esa actividad artística que contribuyó fehacientemente a su consagración como escritor. En el presente estudio, por lo tanto, podrá constatarse que la flânerie no sólo se dio en su período surrealista, especialmente en Le paysan de Paris, sino que fue una constante a lo largo de toda su producción literaria. Para demostrarlo, se profundizará en varias obras de la poesía y narrativa del autor francés, buscando, en este ejercicio analítico, la influencia y presencia de esa mirada creativa del flâneur sobre el texto escrito. In the work of Louis Aragon, flânerie ­­is not only present in the strolls the French writer took around Paris for pleasure, but also implies a way of locating oneself in the city and in his literature. Approaching the study of the flâneur from Aragon’s poetic and literary oeuvre allows us to wander through the lines of his verses and passages of oneiric prose as though through streets and avenues, to take part in this artistic activity that irrefutably contributed to establishing him as a writer. In the present study, flânerie is therefore shown to be present not only in his Surrealist period, especially in Le paysan de Paris, but that it was a constant factor throughout all his literary work. To demonstrate this, several poems and narrative works by the French author will be analysed in depth, seeking to pin down the presence and influence of the creative gaze of the flâneuron the written text. Chez Louis Aragon,la flânerie se manifeste non seulement par les promenades que l’écrivain français fait pour le plaisir à Paris, mais aussi par une façon de se situer dans la ville et dans sa propre littérature. Aborder l’étude du flâneur depuis la production poético-littéraire d’Aragon nous permet de déambuler dans les lignes de ses vers et les fragments de sa prose onirique, comme s’il s’agissait de rues et d’avenues, pour participer à cette activité artistique qui a contribué à sa consécration en tant qu’écrivain. Dans la présente étude, nous pourrons constater que la flânerie n’est pas seulement apparue dans la période surréaliste d’Aragon, notamment dans Le Paysan de Paris, mais qu’elle a été une constante tout au long de sa production littéraire. Pour cela, nous explorerons plusieurs œuvres poétiques et narratives de l’auteur français, en cherchant, dans cet exercice analytique, la présence et l’influence de ce regard créatif du flâneur sur le texte écrit.

Dreams, the Female Gaze, and the City of Paris: Urban Landscapes through the Writings of the Surrealist Movement

From the time of the Renaissance, treaties on architecture, odes to the arts, and the study of their canons through written sources, have served to defend, emphasise, or proclaim the validity of different artistic forms and styles. In this way, programmes and manifestos have reinforced the character of organisations and movements through their fundamental ideas. The artistic Avantgardes have thus used this literary resource to lay the theoretical foundations for their future artistic contributions, being able to justify without any qualifications their most extravagant occurrences. The Avant-garde manifesto shall therefore be considered a literary contribution written in the first place for the subsequent development of the artistic and creative activity of the group or school. The Surrealist Movement generated a lot of written work because the founders, André Breton, Louis Aragon, and Philippe Soupault, were writers. Some of these texts included the Movement’s two manifestos, periodicals such as Le Surréalisme au service de la révolution, Littérature, or Minotaure, and individual writings that were penned by Breton and Aragon. This study will relate the Surrealist written work with the Movement’s idea of the city and its urban imaginary.

A figuração feminina na poesia surrealista de Louis Aragon

O Surrealismo emerge com uma proposta de liberdade de expressão fundamentada em teorias freudianas, transportando alguns conteúdos psicanalíticos no desenvolvimento dessa estética. Assim, a escrita automática, que busca no inconsciente humano os sentimentos considerados reais pelos surrealistas, será a prática para uma nova linguagem literária. Destarte, para verificar essa nova proposta artística, far-se-á uma análise do poema Les yeux d’Elsa de Louis Aragon, através do qual se evidencia a construção da imagem feminina nesse processo apregoado pelos Surrealistas.

Secular and ever-modern challenges in the work of great Azerbaijani poet and thinker Nizami Ganjavi

The article deals with the reasons for the need of studing creativity of Nizami Ganjavi on a global scale, analyzes the ideas and thoughts that cover all areas of life, that are relevant for all periods in his poems. Beginning from the first information described in the work of “Oriental Library”, which was written by Bartelemy d`Herbelo in the XVII century, the author investigated and analyzed the researches and works related to Nizami Ganjavi`s creativity such as translation of “Seven Beauties” by Clerombl in 1741, Silvestr de Sasi in the XIX century, Lucien Buva, Alfons Russo, Henry Masse, Louis Aragon in the XX century and commented on their studies. Key words: Nizami Ganjavi “Khamsa”, Definition of the Prophet, The Miraj of the Prophet Muhammed, Voltaire, Henri Masse, P. L.Krua, François- Bernard Charmoy

Girlfriends, Boyfriends, and Bright Young Things

The chapter explores Cunard’s circle of bohemian friends as it gives an analysis of women’s independence and the identification of that independence with lesbian sexuality. The chapter also examines Cunard’s relationship to Wyndham Lewis, Aldous Huxley, and Louis Aragon, rereading Huxley’s fictional portrayal of Cunard as femme fatale and his engagement with English primitivism. Cunard’s contributions to Vogue and avant-garde aesthetics and leftist politics are also investigated.

La voz del traductor en las novelas cultas o eruditas: El campesino de París (1979) frente a El aldeano de París (2016) de Louis Aragon

El objetivo del presente trabajo es comparar las notas de traducción de El campesino de París (1979) con las de El aldeano de París (2016) del escritor surrealista francés Louis Aragon, publicadas por Bruguera y Errata Naturae. Con ello, pretendemos confirmar el cambio que se ha experimentado en España a la hora de visibilizar al traductor en las novelas dirigidas a un público culto o erudito. Para llevar a cabo dicho análisis, nos hemos basado en la división realizada por Donaire Fernández (1991) entre notas lingüísticas y culturales. Gracias a él, hemos comprobado que ambas editoriales otorgan un papel importante a las traductoras, aunque es Errata Naturae, la de El aldeano de París (2016), la que más ha dejado oír la voz de la trujamana. Esto corrobora la evolución de la industria editorial actual, que, a través de las notas, visibiliza cada vez más la labor del traductor en las novelas de este tipo.

Post-War and Post-Apollinaire

After World War I, Auric’s many friendships placed him in a unique position in the Parisian avant-garde. On the one hand, he was alongside Louis Aragon, André Breton, Philippe Soupault, and Tristan Tzara for the rise and fall of Paris dada. On the other, he was a member of Les Six, the group of composers led by Jean Cocteau who came to represent Parisian art music in the 1920s. Throughout the feuds between the dadaists and Cocteau, Auric preserved his friendships and functioned as an ambassador of sorts between rival avant-garde groups. In the meantime, his scores for Cocteau’s Les mariés de la Tour Eiffel (with the rest of Les Six) and Molière’s Les fâcheux would lead to bigger and better opportunities in the mid-1920s.

Parisian Debuts and World War I

In 1913, Georges Auric and his family moved to Paris, where he studied for one year at the Conservatoire and one year at the Schola Cantorum. During his first year in the capital, Auric published his first pieces of music criticism, performed a recital for the Société Musicale Indépendante, and had compositions performed on a recital for the Société Nationale de Musique. From these auspicious beginnings, he participated in several avant-garde art groups and was invited to join many of the most prestigious Parisian salons. In 1917, he was drafted into the army; though his military record was undistinguished, it led to close friendships with Louis Aragon and André Breton.