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This article focuses on the figure of the poet in Apollinaire's « Le Poète assassiné ». We try to show the connections that are established between loss and poetic glory. In the tale, the hero, Croniamantal, becomes successively Apollo and Orpheus. As in Ovid's Metamorphoses, he is going to lost his beloved (story of Apollo and Daphne) before being slaughtered (the death of Orpheus). To reach glory, the poet has to sacrifice everything including himself. [ABSTRACT FROM AUTHOR]

The transformation of the arts, foreseen and announced by Hegel, coincides with the birth of modernity. One of its essential aspects is the noetic turn in literature, which can be seen as a manifestation of autoreflexivity within the framework of intraliterary dynamics: autoreflexivity engages the questioning of language, it redefines the status of the lyric subject and the narrator, it problematizes discursivity and thus proposes new approaches to referential reality. Literature becomes a specific form of thought and a crucible of reflection by occupying a terrain that neither science nor philosophy could explore, that of existential human experience, not yet conceptualized. Literature thus produces discourses and concepts that can later be grasped and systematized by science and philosophy. An exemplification attempts to illustrate this process from the 19th century to the present day.

Le présent article comporte une analyse d'« À travers l'Europe » (1914), le poème d'Apollinaire dédié à Marc Chagall. Le poète s'y réfère à plusieurs tableaux du peintre qu'il avait vus lors de ses nombreuses visites aux « Salons » de l'époque et aussi à l'occasion d'une visite à l'atelier de celui-ci vers 1913. Significativement Apollinaire ne se présente pas comme un médiateur esthète prêt à recréer en poésie les artéfacts chagalliens, mais se laisse inspirer par les tableaux pour aller à la recherche de sa propre identité personnelle et esthétique. [ABSTRACT FROM AUTHOR]

The transformation of the arts, foreseen and announced by Hegel, coincides with the birth of modernity. One of its essential aspects is the noetic turn in literature, which can be seen as a manifestation of autoreflexivity within the framework of intraliterary dynamics: autoreflexivity engages the questioning of language, it redefines the status of the lyric subject and the narrator, it problematizes discursivity and thus proposes new approaches to referential reality. Literature becomes a specific form of thought and a crucible of reflection by occupying a terrain that neither science nor philosophy could explore, that of existential human experience, not yet conceptualized. Literature thus produces discourses and concepts that can later be grasped and systematized by science and philosophy. An exemplification attempts to illustrate this process from the 19th century to the present day. [ABSTRACT FROM AUTHOR]

In the article, I will discuss the relationship between ‘book poetry’ and ‘digital poetry.’ I examine the differences, as well as the similarities, between poetry as presented in these two media. Research on the transition from book poetry to digital poetry has mainly focussed on the significant changes in genre and work con cepts as well as in the author and reader roles. However, several trends within the tradition of poetry have intensified and have further developed since the emergence of the digital media. The focus in this paper will thus be on four key features, which were founded in book poetry as far back as early Modernism and the avant-garde movements, but, to a great extent, those features have unfolded in digital poetry. The four features are the multimodality, the montage form, the network structure, and the serial form. The artistic opportunities offered by digital poetry are not only due to technological opportunities in the new media. Such opportunities are just as much due to the innovations in multimodality, montages, network structures, and seriality realized by avant-garde and symbolist poets like Mallarmé, Apollinaire, Schwitters, Eliot, and Pound in early modernism. My article concludes with an example of how the four features form the basis for a work of digital poetry, namely Johannes Heldén’s “The Primary Directive” (2008).

Certas peculiaridades da linguaxe dos textos artísticos son difíciles de transmitir na tradución, aínda que se trate das características dominantes do estilo dun poeta. Isto é especialmente certo cando nos enfrontamos a estilos tan innovadores dende o punto de vista lingüístico como os de Rimbaud ou Apollinaire. Ao traducir os seus textos ao idioma bielorruso, o tradutor leva a cabo simultaneamente dúas tarefas: a de tradución propiamente dita e a de afirmar e actualizar o seu propio idioma. Neste artigo, ofrecemos unha análise comparativa dalgunhas características da combinatoria léxica da poesía de Rimbaud e de Apollinaire e as súas traducións ao bielorruso. Como metodoloxía de análise lingüística utilizamos basicamente o aparato formal da Lexicoloxía explicativa e combinatoria. Ademais da análise lingüística de orixinais e traducións, como introdución e para unha comprensión da esencia do problema do estudo, presentamos ao lector a situación sociolingüística e histórica de Belarús. // Certain peculiarities of the language of artistic texts are difficult to transmit in translation, even if they are the dominant characteristics of a poet’s style. This is especially true when we face such innovative styles (from the linguistic point of view) as those of Rimbaud or Apollinaire. When translating their texts into Belarusian, the translator simultaneously performs two tasks: that of the translation itself and that of affirming and actualizing its own language. In this article, we offer a comparative analysis of some characteristics of the lexical combinatory in the Rimbaud’s and Apollinaire’s poetry and their translations into Belarusian. As a linguistic analysis methodology we basically use the formal apparatus of Explanatory and Combinatorial Lexicology. In addition to the linguistic analysis of originals and translations, as an introduction and for a better understanding of the essence of the problem of our study, we present to the reader the sociolinguistic and historical situation of Belarus.

The relationship of esteem and affinity between Apollinaire and Ungaretti involves both biographical and literary levels. While critics have plentifully probed the direct biographical relationships - starting with the encounter of the poets in 1913 - and followed the progress of their friendship during the years of the First World War, the indirect contacts, i.e. those prior to Ungaretti's arrival in Paris in 1912, would still seem unexplored. Moreover, over the years, various thematic connections have also been proposed; however, certain other thematic and textual tangencies could still reserve new and profitable insights into their hermeneutic key to modernity. [ABSTRACT FROM AUTHOR]

This article has two parts. In the first, Jacqueline Gojard studies the privileged relationship between poetry and song in the life and work of André Salmon (1881-1969). In the second, Alessandro Maras analyses the relationship between this poet and art music. Although he lived in a time of great musical revolutions, Salmon seems to have had nothing to do with the world of Stravinsky and Debussy, thus confirming and making explicit the attitude of many artists and poets in the context of the aesthetic paradigm shift between the nineteenth and twentieth centuries.

Este texto percorre alguns lugares na obra literária de Apollinaire que são motivados pelas errâncias urbanas do autor. Uma modernização do olhar ali se evidencia: investido de um viés alegórico e mítico, a favor de um inusitado sentimento de estranhamento do banal cotidiano, esse olhar concorre a um jogo lírico, por vezes elegíaco, que o escritor estabelece entre tempos, objetos e figuras. O errante apollinairiano concede, assim, polissêmica profundidade para o espaço e o tempo vividos, sobre fundo de uma despersonalização crescente imposta pela metrópole moderna. A adesão do poeta às formas da vida citadina revela-se, por fim, potência órfica de transfiguração lírica e mítica do presente.

This article attempts to examine the connections between poetry and the constructions of women and pleasure emphasized by the author. The works examined are those of Gullaume Apollinaire, a famed French poet whose calligramatic poetry collections specifically positioned women as objects of pleasure. Most interestingly, in Apollinaire's poetry the depiction of women as objects of pleasure through connotative symbols that can only be given significance by decoding the highly cultural meanings they contain. The theory of the male gaze is used here to examine how visual pleasure has been operated by the poet. Meanwhile, semiotics has been used to decode the calligrammatic aspects of Apollinaire's poems. This research finds that symbols of exoticism, reproduction, and fantastic pleasures are utilized by Apollinaire in his poetry to emphasize his dominance of women by positioning them as objects of pleasure.

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This text goes through some places in the literary work of Apollinaire that are motivated by the urban wanderings of the author. A modernization of the gaze is evident there: invested with an allegorical and mythical bias, in favor of an unusual feeling of estrangement from the banal and the quotidian, it concours to a lyrical, sometimes elegiac, game that the writer establishes between objects and figures, and between the past, the present and the future. The wandering Apollinaire, thus, expresses polysemic depth for lived space and time, over an increasing depersonalization imposed by the modern metropolis. The adhesion of Apollinaire to the forms of urban life reveals, at last, orphic power of lyrical and mythical transfiguration of the present. [ABSTRACT FROM AUTHOR]

This article attempts to demonstrate the influence that Guillaume Apollinaire has had on the development of modern French literature (both of the 20th century and of the present day). Creative principles formulated by Apollinaire in the treatise "New consciousness and poets" remain fundamental for the most important writers of modern France. Analyzing artistic methods of surrealists, newborns, ULIPO group members, writers united around the publishing house "Minyui", representatives of women's and children's French literature, we can conclude that all the main authors of the last century and of the present day follow the principles of Apollinaire: they experiment, mix genres, forms, styles and seek to amaze readers. [ABSTRACT FROM AUTHOR]

Une fois entrée dans l’oeuvre d’Apollinaire, la Grande Guerre devient un double front où se battent le poète et le soldat, retournant l’arme de la guerre contre les blessures sociales et intimes d’un homme outragé. Surréaliste, le théâtre apollinarien est une riposte à la réalité du monde, une diversion à la désillusion des « grandes paroles collectives ». C’est aussi le reflet, à la fois fidèle et en trompe-l’oeil, du portrait mental d’Apollinaire et de ses idées relatives à la vie : portrait qui, à l’instar de la roue qui imite la marche, ne ressemble pas toujours à l’original.

A la fois séduisante et atroce, la guerre bouleverse le regard d’Apollinaire sur le monde et la littérature. Malgré ses contradictions, l’expérience du front devient pour l’auteur des Calligrammes un véritable champ d’expérimentations littéraires. Recueil de contes paru en 1916, Le Poète assassiné illustre le penchant d’Apollinaire pour la surprise et l’innovation artistiques. En arborant une architecture éclatée, il surprend par une écriture hétérogène qui mélange subversivement théâtre, prose et poésie. En partant des contes liminaires du Poète assassiné, nous analysons les ressorts de cette écriture nouvelle qui retrouve sa force dans le dynamisme textuel, et dans le collage et le métissage des genres littéraires.

This article looks at the complex relationship between literary authors, money and the press from 1890 to 1914, a period generally considered to be the heyday of the printed press in France. This paper focuses therefore on the sociological context of journalism, publishing, and writing. Using examples from the journalistic careers of several distinctive writer-journalists (Apollinaire, Colette, Alfred Jarry, Jean Lorrain) and several newspapers and periodicals, this article shows how closely the press and literary production were intertwined. While scholarship exists on individual journalistic careers, this article aims to provide an overview of the period and considers how certain literary authors made a living from journalism. It discusses their employment as opinion makers, columnists, critics, and serial novelists, the publications they worked for, as well as their own periodicals. While often considered a simple moneymaking exercise, this article demonstrates how journalism and the press played a crucial and productive part in shaping literary careers, oeuvres, and reputations during the Belle Époque. [ABSTRACT FROM AUTHOR]

If, during centuries, France has postulated verisimilitude in all literary endeavours as a general rule for lucidity and good taste, throughout postmodernity it has been France’s philosophers, semioticians, literary theorists and writers who have questioned this. All fiction is under suspicion; intertextual relations are spoken of, authorship is renounced, emphasis is placed on the arbitrariness of literature that is subjected to literality, etc. Through humour and boundless imagination the short stories of Apollinaire show us a world that goes beyond the limits of the true-to-life; that is, they provide a new approach to a reality “with multiple possible meanings”.

Jacques Roubaud sillonne depuis plus de cinquante ans le labyrinthe parisien en forme d’escargot. La prose de mémoire du Grand Incendie de Londres, les poèmes de La Forme d’une ville change plus vite, hélas, que le cœur des humains… chantent une capitale tour à tour honnie et acclimatée, un Paris pluriel qui suscite le pari d’un art poétique prouvant le mouvement en marchant, sans faire l’économie du rythme. Après Baudelaire, Apollinaire, Queneau et bien d’autres encore, Roubaud court et recourt les rues de Paris, en quête de lui-même, planifiant dans la Capitale autant de parcours de mémoire que de trajets poétiques.

Some reflections arising from meetings in 1952 at his Paris atelier in the Impasse Ronsin with Constantin Brâncuşi [1876-1957]. His humanity and his values are contrasted with some other systems of thought. His forms are Platonic. His culture is European ; not simply by virtue of his friendships with major creative figures, but as an expression of the European identity of pre-communist and even prehistoric Romanian culture. [ABSTRACT FROM AUTHOR]

This paper further pursues my lifelong fascination with two intriguing issues involved in poetic language. First, language is logical and conceptual; but poetry uses it, sometimes, to convey nonlogical and nonconceptual experiences. Secondly, poets frequently solve this paradox by two additional paradoxes: expressing emotions by nonemotional descriptions of the immediate physical environment (mainly, but not exclusively, nature descriptions), and having recourse to deixis in combination with the genitive construction “the ABSTRACT of the CONCRETE”, manipulating the abstract noun into the referring position (abstract nouns are the conceptual tool par excellence, but in certain conditions may generate emotional qualities). This paper presents my attempts during the past decades to account for these paradoxes, first in the vein of New Criticism, then relying on cognitive psychology, finally invoking various stages of brain research. The discussion is focussed on two excerpts, by Apollinaire and Wordsworth, describing an exceptionally serene morning in the great city, Paris and London, respectively. [ABSTRACT FROM AUTHOR]

Ubú es un personaje —no nos atrevemos a definirlo como de ficción— materializado en 1896 por el escritor Alfred Jarry como protagonista de la pieza teatral Ubú rey, a la que seguirán diversas secuelas. Esta creación es definida por la crítica literaria como ejemplificación de la grosería del poder, de la violencia gratuita y de la miseria moral. Como tal, ha sido asociado con el trabajo gráfico de Pablo Picasso en el grabado datado en 1937 Sueño y mentira de Franco a la hora de recrear la figura del general sublevado Francisco Franco. Pero los modelos picassianos nos demuestran continuamente su polisemia.

Passionate about mundane details and singular beings, Apollinaire deploys throughout his stories and novels quite a collection of mysterious and paradoxical characters. A central place in his collection is occupied by the wanderer which illustrates the propensity of the writer towards the occult and the picturesque, towards the anecdotal and the extraordinary. As a being always on the run he is sometimes associated with a bohemian spectator, jouisseur of the street and sometimes a marginal presence bordering on antisocial. Versatile character, the apollinarian wanderer does not refer to a specific social type. Wanderer, bohemian, chiffonnier, antique dealer, he has a rather metaphorical position that allows him to expose multiple identities at once. His multivalent nature makes it difficult for a true literary taxonomy. Always seeking innovation and surprise, Apollinaire was able to refine the ambivalence of the wanderer and often relates it to the image of the artist. Marginal and mystifying, the apollinarian wanderer is yet lacking any pejorative sense because its uniqueness is only a sign of originality. With its attractive heterogeneity, the apollinarian prose creates a vast and fine repertoire with a wanderer who is constantly redefining the concept of wandering. With its multiple facets, it actually becomes a living metaphor of a work that is looking through a hybrid and plural writing, mixing genres and composite images. Exploring the prose of Apollinaire, however, we can detect multiple lines of coherence that ultimately reveal a rich array of the wanderer. Despite the nature of the chameleonic apollinarian wanderer, our challenge is to analyze his literary metamorphoses and thus arrive at a definition that surprises in its many urban disguises.

When the Mona Lisa was stolen in 1911 by the Italian handyman Vincenzo Peruggia, both Pablo Picasso and Guillaume Apollinaire were brought in by the Paris police for questioning. They were innocent of having stolen the Mona Lisa, but they were in fact guilty of having stolen other art from the Louvre—for in Picasso’s dresser lay hidden several ancient Iberian statue heads that had been stolen from the Louvre in 1907 by Apollinaire’s secretary, Honore-Joseph Gery Pieret, almost certainly on commission from Picasso himself, who may also have assisted in the theft. Picasso’s involvement in art theft is little known, even though the so-called “affaire des statuettes” made international headlines in 1911. The theft did influence Picasso’s art and rise of Modernism, for the stolen statue heads were integrated into Picasso’s famous paintings, Les Demoiselles d’Avignon (1907), which is widely considered to be the first great work of Modernism. This article tells the complete, true story of Picasso and Apollinaire’s involvement in art theft, and the “affaire des statuettes.”

For Apollinaire, poetry inspires war. Calligrammes, written at the very heart of the drama, involves a three-dimensional combat. His I acquires three representations that differ in status, process and the ideal defended. The first I is the empirical soldier fighting on behalf of his country in the real world. The second lyrical I is fictitious in order to fight for convulsive emotions made of dreams and frustrations. The third, creative, I of the poet defends an aesthetic that is necessary, in a pioneering spirit, to crystallize it in modern culture. In short, the creative warrior is transmuted into creating war. [ABSTRACT FROM AUTHOR]