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The Lyric Subject in Verlaine and Rimbaud
Leaving Parnassus: The Lyric Subject in Verlaine and Rimbaud considers how the crisis of the lyric subject in the middle of the nineteenth century in France is a direct response to the aesthetic principles of Parnassian poetry, which dominated the second half of the century much more than critics often think. The poets considered here rebel against the strict confines of traditional and contemporary poetry and attempt to create radically new discursive practices. Specifically, the close readings of poems apply recent studies of subjectivity in poetry and focus on the works of Paul Verlaine and Arthur Rimbaud to see how each subverts the dominant tradition of French poetry in a unique way. Whereas previous studies considered isolated aspects of each poet’s lyric subject, Leaving Parnassus shows that the situation of the lyric is a source of subversion throughout the poets’ entire work, and as such it is crucial to our full understanding of their respective innovations.
La poésie de la France et du monde francophone depuis 1980
Proposant comme objet commun d’interrogation « le sens et la présence du sujet poétique », tel qu’il se manifeste ou se refuse, dérive ou déborde, s’éprouve ou s’échappe dans la production poétique de la France et du monde francophone depuis 1980, le présent volume réunit un nombre considérable d’études et de réflexions qui, parties de divers postulats, penchants ou postures d’écriture, englobent bien des courants et des clivages dont s’alimentent encore fructueusement aujourd’hui, mais non sans les contester ou les réorienter, poésie et pensée critique. De l’absence à la présence, de la froide objectivation dispositale aux troublants sursauts et silences de l’instance subjective, de la négativité du re-jet à la palpitation difficilement localisable du sub-jet ou du sur-jet, le lecteur est convié à savourer un très large et très riche éventail d’approches qui convergent toutes sur la même problématique en éclairant avec finesse l’étonnante pluralité d’enjeux autour desquels s’articulent la poésie et ses précarités, ses percées, sa haute pertinence.

einstehe: „Après la stabilisation œdipienne de son identité subjective, l’adolescent remet en question ses identifications, ses capacités de parole et de symbolisation.“ 71 Die dadurch bedingte Krisenhaftigkeit der Adoleszenz als Möglichkeit zur Neustrukturierung der Persönlichkeit müsse, so auch Kristeva

In: Zwischen Institution und Individuum
In: Albert Camus in the 21st Century
Reconsidering the relationship between autobiography and self-portraiture, The Body as Medium and Metaphor explores the intertextuality of self-representation in twentieth-century French art. Situating the body as the nexus of intersections between the written word and the visual image, this book rethinks the problematic status of the self. Starting at the twentieth-century’s departure from figurative and mimetic representation, this study discusses the work of seminal artists and writers – including Marcel Duchamp, Michel Leiris, Francis Bacon, Bernard Noël, Gisèle Prassinos, Louise Bourgeois and Orlan – to articulate the twentieth century’s radical revisions of subjectivity that originated from and returned to representations of the word, the image, and the body.
This volume will be of interest to students of both French Literature and Art History, particularly those who are interested in the interdisciplinary exchanges between visual arts and literature.
Atlan, Duras, Giraudon, Redonnet, and Wittig
Essentially a comparative and contrastive analysis, Writing Otherwise examines the prose of five French women authors: Liliane Atlan, Marguerite Duras, Liliane Giraudon, Marie Redonnet, and Monique Wittig. Through close readings of texts published after 1985, this book explores the broad concerns and preoccupations infusing the ontological enterprise that is écriture. While maintaining a sensitivity to the diversity of styles and themes, as well as the unique qualities of the poetic voice evident in the five texts under consideration, this study seeks to highlight, in very general terms, what is common to them. The intertextual ground that informs the works, the construction of subjectivity, and the ambivalence and tension inherent to the practice writing constitute significant and important areas of convergence. These features form the ground of each chapter, while specific areas of divergence complete the discussion of individual aesthetics. Inspired by feminist literary theory, Writing Otherwise is also concerned with how these five women writers negotiate their relationship to writing.

En insistant sur le cas particulier du «corps grotesque» et du burlesque, on voudrait montrer que l’économie affective du XVIIe siècle et son partage ne reposent pas sur le refoulement du corps, mais sur la transformation du «ressenti» des émotions : dans la littérature du XVIIe siècle se sont développées des représentations de sujets éprouvés par des émotions. La bienséance qui les caractérisera de plus en plus n’est pas le fait d’un refoulement : mais la tonalité qui, sortant le « privé » du burlesque, lui donne une visibilité et une dignité publiques propres. Aussi convient-il, pour les lire et les interpréter ou, mieux, les res-sentir et les réadresser, de placer – de subjectiver – notre propre sensibilité dans leur sillage, plutôt que de les soupçonner d’artifice et d’intention manipulatrice.

In: Corps et Interprétation (XVIe-XVIIIe siècles)
Georges Bataille and the Art of Transgression
Editor: Andrew Hussey
The essays in this collection were originally given at the international colloquium Cent Ans de Bataille: La Bataille de Cent Ans held at the Fondació Tàpies in Barcelona in September 1998. They are written from a variety of perspectives but are drawn together by the singular aim of addressing and interrogating Georges Bataille as our contemporary whose fascination with the rupture between mythical and experimental forms of discourse defines our own age as much as it did in Bataille’s own time.
More precisely, the essays in this collection range over Bataille’s status as a novelist, a poet, an art critic, a philosopher and a prophet of post-modernity with this aim in mind. They not only seek to advance and clarify debate about Bataille’s present status in the post-modern canon but also shed new light on the complex relation between Bataille and the present generation of readers who have come to him through the prism of post-modernist thought. It is of significance for each writer in this collection, most crucially, that the premonition of catastrophe which defined Bataille’s fluid political positions is also located between tragedy and irony.
A Reassessment of his Thinking at the Dawn of the New Millennium
In the first decade of a new century, this collection of bilingual essays examines Camus’s continuing popularity for a new generation of readers. In crucial respects, the world Camus knew has changed beyond all recognition: decolonization, the fall of the Iron Curtain, a new era of globalization and the rise of new forms of terrorism have all provoked a reconsideration of Camus’s writings. If the Absurd once struck a particular chord, Meursault is as likely now to be seen as a colonial figure who expresses the alienation of the settler from the land of his birth. Yet this increasing orthodoxy must also take account of the reasons why a new community of Algerian readers have embraced Camus. Equally, once isolated because of his anti-Communist stance, Camus has been taken up by disaffected members of the Left, convinced that new forms of totalitarianism are abroad in the world. This volume, which ranges from interpretations of Camus’s literary works, his journalism and his political writings, will be of interest to all those seeking to re-evaluate Camus’s work in the light of ethical and political issues that are of continuing relevance today.
In: Material Figures