L’evolució de les bèsties. A propòsit del Bestiari de Pere Quart i les Histoires naturelles de Jules Renard

This paper has two aims: on the one hand, to compare Joan Oliver’s Bestiari with works such as Bestiaire ou cortège d’Orphée by Guillaume Apollinaire (1911), “Bestiario” by Ramón del Valle-Inclán (in La Pipa de Kif, 1919), The animaux et leurs hommes. The hommes et leurs animaux by Paul Éluard (1920) and, above all, Histoires naturelles by Jules Renard (1896), in search of possible influences and coincidences. The other aim is to classify and analyze the poems in order to clarify the intention with which Oliver wrotethe Bestiari and to relate it to the didactic and moral purpose of medieval Bestiaries and ancient Fables.

À la rencontre de quelques avant-gardes choisies

This article undertakes a chosen journey through the various avant-garde manifestations that flourished since the end of the 19th century to the 60s. The reasons for their emergence and the excesses of their creations constitute the axes of this essay. Starting from the fanciful imaginary of Alfred Jarry incarnated by King Ubu, we will arrive at the sarcasms of Boris Vian singing La Java des bombes atomiques, to end with the convulsive beauty of Paul Éluard. By proclaiming themselves as the defenders of anti-art, they reject reason and rely on the absurd. They are characterized by chaos and imperfection, which leads them to sometimes commit destructive acts of mythical works whose sacred value is rooted in popular opinion. In turn, they advocate non-signification and contradiction as the guiding principles of their creation. Consistent with their aspirations for total independence and in whatever fields, including politics, they experience absolute creation freedom. Provocation, transgression, and subversion animate these texts eager to open new poetic horizons of writing and reading. From a double approach, theoretical and critical, we will try to forge a renewed vision of this disconcerting creation through contemporary expectations.

Capital da dor: um monumento construído a partir dos escombros de todas as maravilhas dos “années folles” por Paul Éluard

O presente artigo tem como principal objetivo trazer à tona a discussão da obra de Paul Éluard, poeta francês do século XX engajado politicamente e pouco traduzido para o português brasileiro. A obra aqui analisada é a antologia “Capitale de la douleur”, as discussões se embasam tanto na fortuna crítica produzida na França acerca da obra do poeta, quanto em teóricos relevantes para a crítica de poesia atual. A proposta de análise de dois poemas específicos da obra é apresentada na parte final do artigo.

Paul Eluard: Yugoslavian Episode

The paper discusses the personal and political relations between the French surrealist poet Paul Éluard and Serbian writers and intellectuals, first of all Marko Ristić, a theorist and one of the founders of the Serbian surrealist movement. We will show the reception of Éluard’s works in the Serbian cultural space, his visit to Yugoslavia, then Éluard’s activities in Paris related to Yugoslav politics. One significant part of the article represents, until now, unpublished archival documents that testify to the friendship between Éluard and Ristić. We will try to explain how this friendship ended after the Cominform Resolution in 1948 and what consequences it had on Serbian and French culture.

Weaving Words: Le Corbusier and Jean Lurçat Between Tapestry and Poetry

<p>Antes de su funeral en el Cour Carrée del Louvre el 1 de septiembre de 1965, el cuerpo de Le Corbusier (1887-1965) yacía con su tapiz Les Dés sont jetés (1960) como telón de fondo. Este artículo examina el lugar y la importancia del tapiz en la carrera más amplia de Le Corbusier como arquitecto, artista y poeta, y resalta las formas en que sus obras tejidas de 1948 en adelante están intrincadamente conectadas a su pensamiento a través de los medios. Jean Lurçat (1892-1966), el protagonistga del diseño moderno de tapices, generalmente se deja de lado en el análisis histórico del arte. Al reunir estas dos figuras, encuentro un punto de encuentro no solo en su compromiso con el tapiz como una forma de resistencia y revolución a través de un modelo medieval, sino también en sus diferentes usos de la poesía en el sentido más amplio. Lecturas detalladas de las imágenes de los tapices junto con los escritos de los propios artistas, Paul Éluard y Stéphane Mallarmé revelan conexiones sorprendentes.</p>

The Concept of the Pictography as a Background for «Free Hands» Written by Paul Eluard and Man Ray

This article is part of a deeper study of the phenomenon of "picto-poetry" on the example of Paul Eluard and Man Ray's collection "Free Hands". The article proves the intermediality hypothesis of a collection based on the history of its creation, where the two types of arts not only complement each other, but merge into one, creating new forms and genres of French poetry. The purpose of the study is to determine the nature and imagery of the interaction of visual and verbal codes of artistic reality in the collection "Free Hands", as well as to identify the basic features of the composition " in four hands" on the example of the frontispiece of the collection. Research methods: descriptive, structural and semantic analysis methods that allow the identification of relationships between different sign systems (visual, plastic, etc.). The main feature of Paul Eluard and Man Ray's picto-poetic collection "Free Hands", in the preface to which P. Eluard outlined the principles of a single picto-poetic reproduction of the world, is the special principle of organizing the artistic space, when graphic realities also become "literary text", and the poetic text and its graphic "second voice" cannot be interpreted separately. The multi-layered and heterogeneous internal connections in the texts and graphics of authors serve as a form of reproduction of the underlying processes that take place in the human psyche, and the texts of Eluard create visual metaphors that resemble dreams.

Intermedial specificity of the collection of Paul Eluard and Man Ray "Free Hands"

This article is part of a more thorough study of the phenomenon of "picto-poetry" on the materials of the collection of Paul Eluard and Man Ray "Les Mains libres". Surrealism as an avant-garde trend does not accidentally attract the attention of modern Ukrainian and foreign scholars, because it is precisely this personification of the crisis of society and art in general, which is characteristic of transitional eras. The science has well researched the history of this trend, its philosophy, the specifics of creativity. The "white spot" remains what could be called the "morphology" of surreal poetry, that is, the system of its genres. This article is a contribution to the development of a system of surrealistic genres, in particular, a contribution to the development of the phenomenon of "picto-poetry", which has hardly been studied in modern literary criticism. As it is known, it was precisely in such revolutionary times, when society was undergoing a revolution in all spheres of life, that there is a tendency to mix not only different genres, but also types of art. Intermediality is a practical embodiment of the synthesis of arts in one work and is considered as a one of the integral features of the aesthetics of the avant-garde, and especially – of surrealism. This study shows how the main features of intermediality are expressed in the visual poetry of the surrealists, Paul Eluard in particular, on the example of the collection "Free Hands". In addition, an analysis of one of the collection’s duopoem proves that his poetry is rich in a kind of associativity, imagery at the linguistic level, the interpenetration of borders, its poetics is supplemented by the use of graphic art tools, elements of curly verse as part of “picto-poetry”. The creative exploitation of the resources of the unconscious as the main artistic method allows authors to ignore the boundaries between different types of art. Working in various fields, artists organically continue and deepen each other's works: there is a kind of intrusion of one artistic speech into another.