Perceiving matter in notes on space, undated (log 3) by André du Bouchet, Fontfroide-le-Haut, Fata Morgana, 2000
Date: December 2003
Creator: Simmons, Sandra
Description: This study of the graphic field in notes on space, undated (log 3) focuses on how the white emptiness of a page plays a structural role in the articulation of dissociated fragments of notes. According to the criteria of three theorists (Genette, Lapacherie, Baetens), the distinction between non-linear and tabular proves to be non-exclusive in this particular work. Ostensibly, this non-figurative writing instigates interactive contemplation and lends itself to multiple entries, like an object one contemplates from every possible visual perspective without ever constructing a representation or image. The poetic form that du Bouchet explores renders perceptible the latent materiality of all text.
Contributing Partner: UNT Libraries
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Etude Comparative Et Intertextuelle Sur Le Thème Des “Fenêtres” Dans Quatre Poèmes De Charles Baudelaire, Stéphane Mallarmé, Marie Krysinska Et Guillaume Apollinaire.
Date: December 2011
Creator: Opsitch, Yann
Description: Written in French, this thesis presents a comparative and intertextual study on the theme of « windows » in four poems by Charles Baudelaire, Stéphane Mallarmé, Marie Krysinska and Guillaume Apollinaire. Charles Baudelaire (1821-1867), Stéphane Mallarmé (1842 -1898), Marie Krysinska (1857-1908) and Guillaume Apollinaire (1880-1918) use « windows » as a common theme in their poetry. My study compares this common theme found in four poems: (1) “Les fenêtres” by Charles Baudelaire in Spleen de Paris XXXV, 1869. (2) “Les fenêtres” by Stéphane Mallarmé in Le Parnasse Contemporain, 1863/66. (3) “Les fenêtres” by Marie Krysinska in Rythmes pittoresques, 1890. (4) “Les fenêtres” by Guillaume Apollinaire in Calligrammes (1913-1916), 1918. I focus on what distinguishes these fours poems by following the evolution of poetical forms between symbolism and futurism/surrealism. The common theme (“windows”) provides an opportunity to better underline the formal heterogeneity which separates these different “poetical avenues”: with Baudelaire, the newness of prose poetry; with Mallarmé, the symbolist renewal of a more classic form; with Apollinaire, a form of simultaneity inspired by futurism. The comparative analysis brings to light the original value of the poem written by Krysinska, whose works have not greatly captivated the attention of critics.
Contributing Partner: UNT Libraries
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