Search

This article aims to throw light on the ways in which Derrida appropriates the device of quotation in an ambiguous and ambivalent text such as Glas. Through an analysis of the formal and textual functioning of literary quotations in Glas, this article aims to demonstrate that the idea of a kind of writing stripped of arché and models is belied by the circulation of hypertexts activating an interplay of echoes and references that can annul any hierarchy of writing.

In diesem Artikel, der zusammen mit meinem Kollegen und Mitübersetzer Lawrence Flores Pereira abgefasst wurde, beginnen wir mit Gedanken zu den spezifischen Schwierigkeiten der Übersetzung von Musils Vereinigungen. Basierend auf Peter Utz’ Beiträge zur Übersetzungstheorie, soll besonders das Problem beachtet werden, dass, laut Musil, das Erzählte weniger „verstanden“, als nachempfunden werden sollte, so dass mögliche Sinnzusammenhänge nur über den Um-Weg von fliessenden Gefühlen rekonstituiert werden können. Dieses Verzichten auf rationelle Verständlichkeit nähert sich Musils Prosa der symbolistischen Methode, die Stephan Mallarmé in seinem Brief an Henri Cazalis im Oktober 1864 erwähnte. Im Anschluss daran werden Alternativen zu einer sehr kritischen Rezension Michael Hofmanns zu Peter Wortsmanns amerikanischer Version der Vereinigungen, Intimate Ties, in Erwägung gebracht. Die Argumente und Lesart des Kritikers soll auf ihre kritische und hermeneutische Stichhaltigkeit untersucht werden, indem wir die erste portugiesische Übersetzung mit der gleichzeitig fertiggestellten des austro-amerikanischen Schriftstellers und Übersetzers Peter Wortsmann vergleichen und dabei auch auf die Übersetzungen von Jaccottet und Wilkins-Kaiser zurückgreifen.

The article discusses the V. Bryusov’s translation reception of the poem by S. Mallarmé “Le vierge, le vivace et le bel aujourd’hui…”. The sonnet is an example of symbolist art, headed by S. Mallarmé in France, and first introduced to the Russian literary tradition by V. Bryusov. The analysis of the embodiment of S. Mallarmé’s poetic images in V. Bryusov’s translation is also important because both authors are renowned for their significant contribution to the world literature. S. Mallarmé created a new poetic language and was proclaimed a “prince of poets”, whereas V. Bryusov’s versatile creative work as well as publicism and translations earned him a status of the master of Russian symbolism. Currently there are more Russian translations of the sonnet “The Swan”, rather than any other language, and the very first one also belongs to V. Bryusov. The article considers the third and most well-known translation, the first to be named “The Swan”. The comparative analysis of the original text of the sonnet and its translation allows to identify the specificity of Bryusov’s perception of S. Mallarmé’s poetry and the peculiarities of the poetics of Russian symbolism.

The early twentieth century saw a renewed critical interest in the expressive potential of dance, sparked by the overwhelming success of Diaghilev's Ballets Russes. Taking Camille Mauclair's 1912 review "Karsavina et Mallarmé" as a point of departure, this article explores contemporary attitudes toward the dancing woman, the sexual potential of her body, and the desire to transcend (or erase) her corporeality. For Mauclair, Mallarmé's writings provided an intellectual lens through which dance could be detached from the physicality of the danseuse and recast as a serious artistic and intellectual pursuit. This article argues that Mauclair and other critics who sought to abstract dance from the dancer collectively articulated a cohesive alternative to the supposed "physical imperative" of this period. [ABSTRACT FROM AUTHOR]

Copyright of Orbis Tertius is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

O intuito do presente artigo é pensar e discutir a subjetividade na poesia contemporânea, partindo daquela que foi proposta pelo movimento dos poetas concretos até a que se apresenta nas obras das literaturas digitais. Tal argumentação tem como ponto de partida a “crise do verso”, estabelecida por Mallarmé. É a partir dos desdobramentos das ideias do poeta francês, sobretudo quando ele trata de uma dualidade entre a prosa e o verso, que leva a um deslocamento da subjetividade poética, é que tentamos traçar uma linha para orientar o debate acerca de como essa subjetividade se dá nas literaturas digitais.

Este artículo propone partir de una revisión de las conversaciones en torno a la obra de Cortázar suscitadas durante la Jornada Internacional de enero de 2022 en la Universidad de Wuppertal. El título, “Un espejo al fondo del salón”, supone una invitación a pensar la época desde la crítica literaria de dicha obra, con la hipótesis tentativa de que la operación crítica no se dirige tanto a la producción cortazariana en sí sino a un intento de posicionarse a sí misma de cara a nuestro presente.

Javier Sologuren es uno de los más notables autores latinoamericanos del siglo xx porque renovó la poesía peruana durante los años cincuenta, fue traductor literario muy reconocido y reflexionó rigurosamente sobre los poetas simbolistas y vanguardistas franceses. Publicó su poemario Otoño, endechas en 1959 donde se observa el influjo de la obra de Stéphane Mallarmé. El artículo se sustenta en las propuestas de la Retórica Cultural de Tomás Albaladejo en lo que respecta al empleo de la categoría de motor metafórico. Sobre la base del concepto de imaginario cultural de Antonio García Berrio, se señala cómo funciona el motor metafórico en la poesía de Sologuren a partir de la noción de la instancia de la enunciación y de la recepción. Sologuren se nutre de la poética de Mallarmé y reestructura las propuestas del escritor francés con el fin de crear una nueva metáfora. Para fundamentar su hipótesis, además, se aborda la ensayística del poeta peruano donde habla de las particularidades de Mallarmé y sus lazos con creadores como Paul Valéry o Guillaume Apollinaire.

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).

Copyright of Veritas is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents an attempt to outline, from a mainly typological and partly historical perspective, what the author considers the most important varieties of the relationship between philosophy and literature (which is, of course, understood here in a working and broad sense, as poesis). In the first of these varieties, for which the fundamental significance is Plato's gesture of excluding poets from the state, the philosophical logos defines itself in opposition to literature, or mythos. In the second, which appears to predominate from Aristotle to the 18th century, the relationship between philosophy and literature takes on a more neutral character: the former provides the latter with motifs, themes, topics, mainly related to moral philosophy in the broadest sense, while the latter provides the former with discursive modes, such as genre. Modern aesthetics and the philosophy and theory of literature (fundamentally different from the tradition of the great poets and rhetoricians of the 16th and 17th centuries), which emerged together with transcendental philosophy and its reception in German Romanticism, contributed both to the increased interest among philosophers in literature and to a clear embedding, or even closing, of literature in philosophical notions, which originated mainly in the tradition of transcendentalism and dialectical thought. Finally, the beginning of the twentieth century is distinguished, in most of the major continental philosophical traditions, by a tendency to seek, or to find, in literature the most important partner of philosophical thinking, and sometimes even the identity of philosophy. [ABSTRACT FROM AUTHOR]

Copyright of Logos & Littera: Journal of Interdisciplinary Approaches to Text is the property of University of Montenegro, Faculty of Philology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El análisis comparativo de dos obras del artista multidisciplinario Samuel Beckett —El innombrable (texto literario) y No yo (video-arte y pieza teatral)—, de sus declaraciones y de la obra de dos escritores que influenciaron su trabajo (James Joyce y Stéphane Mallarmé) nos llevará a distinguir en el proceso creativo de Beckett la constitución de una investigación artística (sin fronteras disciplinares) comprometida con una idea precisa de arte y con un proyecto artístico radical que marcarán de manera singular todo su proceso y su devenir sujeto-artista.

For Mallarmé, chance can be defined as an ontological and anthropological fact, but the poet’s originality lies in the fact that he also defines chance as a quasi-transcendental modal category that conditions and allows every symbolic production. This implies that to abolish chance (the oft-stated project of Mallarméan poetics) is the same of performing chance itself: this proposition surprisingly situates Mallarméan poetics in relation to the chance it plans to abolish and allows us to understand the paradoxical meaning of the negation envisaged. Such an attempted negation forms a system with a set of strategies that aim to signal the contingent status of the poem. It is thus part of a pedagogy aimed to fight the illusionary wanderings of the language, while at the same time laying the foundations of a poetics of the performativity which initiates a deep change in the conceptions of what poetry is or can accomplish.

Se analiza en estas líneas cómo han intervenido en la mitificación de Manet como origen de la pintura moderna las “ideologías estéticas” debidas a tres autores fundamentales: Baudelaire, Zola y Mallarmé. Cada uno sostuvo puntos de vista que el transcurso del tiempo ha asimilado en la noción de “lo moderno” y los tres reúnen la mayoría de las interpretaciones que este pintor ha recibido desde la historiografía actual. Se compone así una constelación de ideas reguladoras con las que se define la noción de modernidad.

O artigo procura chamar a atenção para a riqueza sutil da leitura benjaminiana de Mallarmé em Rua de mão única e no ensaio sobre a reprodutibilidade técnica. Pretende-se mostrar como a interpretação benjaminiana de Um lance de dados e da estética da “arte pela arte” geraram interessantes reflexões sobre a crise da autonomia da arte e sobre a possibilidade de sua superação.

In After Finitude as well as in Potentiality and Virtuality, Meillassoux conceives chance in a mathematical way. In The number and the Siren, he argues that Mallarmé had a philosophical conception of chance, specifically a dialectical one. Here we explore Meillassoux's interpretation of Stéphane Mallarmé's poem Un Coupe de dés. What we consider to be crucial about that interpretation is the Mallarmean concept of Chance, which we think is the precursor to Meillassoux's concept of contingency. Additionally, we suggest that Meillassoux recuperates the Mallarmean "Perhaps", which may called "Maybeing", as that which replaces Being. We then explain what the concept of "Maybeing" is. Roughly speaking, it is a fusion of two English expressions: "may be" (modal verb) and "maybe" (adverb). Finally, we indicate how the concept of Maybeing can be used in order to solve the problem posed by the correlational circle, as well as some comments on Meillassoux's ideas about meaningless signs. [ABSTRACT FROM AUTHOR]

Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

O Stéphane Mallarmé tradutor nasce praticamente ao mesmo tempo que o poeta. Aprende inglês apenas para ler e traduzir Edgar Allan Poe, descoberto inicialmente nas traduções de Charles Baudelaire. A relação com a língua se tornará importante em sua vida, definindo até mesmo sua profissão como professor de inglês, e embora também tenha traduzido alguns outros poetas, é à poesia de Poe que dedicará seu grande trabalho. A publicação de sua tradução de "The Raven", ilustrada por Manet, marcou época na tradição do livro ilustrado e é bastante mais precoce: 1875. Mallarmé deixou três versões da tradução desse poema e elas nos permitem perceber um certo caminho em torno de sua própria compreensão do poema bem como de suas escolhas poéticas. Das primeiras tentativas de tradução, mais formalizantes e literais, até a fluente prosa poética da versão definitiva, as estratégias tradutórias escolhidas pelo autor revelam, como um Beckett avant la lettre, uma ligação direta entre sua reflexão e concepção de poesia, demostrando um caminho de amadurecimento e busca de efeitos específicos pelo poeta, o início de seu interesse pela língua inglesa assim como as influências definitivas de Baudelaire e Poe em sua obra.

This article consists of five poems and an introductory essay. The poems are intended on the one hand to make a case for the currently underrated virtues of poetic formalism, i.e., for the revival of rhyme and meter as aspects of poetic practice. On the other they argue for a distinctly philosophical mode of poetry that embraces the values of conceptual or rational discourse as against a romantic-modernist conception premised on the intrinsic superiority of lyric, metaphor, symbol, analogy, and suchlike touchstone values. These issues are laid out programmatically in the opening essay and developed in a more performative as well as formal way in the five poems.

L’article analyse la notion polysémique de vanité dans la pensée et dans l’œuvre de Mallarmé. Le concept dévoile les paradoxes de la création mallarméenne : le poète jugé obscur et accusé de vanité, était déchiré entre le rêve de gloire et l’autodévalorisation. C’est dans l’Art auto-réflexif par excellence qu’il projetait sa satisfaction d’artiste et trouvait un sens de la vie. Mais ayant vécu une crise spirituelle et découvert la vanité du langage, Mallarmé a choisi de prolonger une illusion de la littérature en trouvant dans le Néant les ressources de sa poésie. À force de « creuser le vers », il construit donc une poétique de la vanité qui reste synonyme d’inanité ou de vide où le sens des mots est relayé par la sonorité du langage. En plus, tout en luttant contre la stérilité poétique, à travers l’écriture des Vanités, Mallarmé s’immerge dans la mort afin de créer un « tombeau idéal » pour son fils disparu.

How is one to think about the relation of a translator to the text to be translated in the case of Baudelaire, who published the first major translation of Poe into French even while he repeatedly asserted to anyone who'd listen that he was not a translator? Based on a close reading of a selection of poems from Les Fleurs du Mal, in particular 'Le Voyage' (1859), this article suggests a few ways of reflecting upon the conditions and modalities of the uncanny contamination of Baudelaire's work by Poe's – an uncanny possession which was both noted and questioned by some of their first and most penetrating readers, Stéphane Mallarmé and Paul Valéry. [ABSTRACT FROM AUTHOR]

Mallarmé's "Sonnet en –yx" offers a unique challenge to the translator. Developed through various versions between 1868 and 1887, it is built round an ultra-rich and ultra-rare rhyme-scheme, which remains largely unchanged over twenty years of gestation. The sonnet includes from the start one invented word, "ptyx", to complete the octave's quadruple rhyme scheme. Is it madness to try to reproduce this highly determined pattern in a different language? This paper responds to the question by exploring in the final version of the poem aspects of language that, counter to expectation, enable the creation of formal and semantic equivalence. The translator's strategy is thus to translate the same into the same as well as into the different, to mitigate nonsense through a certain correspondence. In this it follows Mallarmé's own strategy in transforming the first version of the sonnet into the second as a kind of the translatory process. [ABSTRACT FROM AUTHOR]

Copyright of Études Stéphane Mallarmé is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Études Stéphane Mallarmé is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Because of their complicated syntax and dense language, the essays of poet-essayist Yves Bonnefoy have earned the reputation of being difficult. This article examines a passage taken from the essay « La Poésie française et le principe d'identité » to argue that Bonnefoy's stylistic choices correspond to his larger goal of enabling language to express the intangible theo-philosophical notion of "presence". The article demonstrates how Bonnefoy grounds his approach in Mallarmean and Nervalian codes, using then the tools of Saussurian linguistics and the rhetorical figures of metaphor and metonymy to fashion his syntax and allow it to obtain a performative function through the engagement of the reader. [ABSTRACT FROM AUTHOR]

This paper attempts to rethink difference and divisibility as conditions of (im)possibility for love and survival in the wake of Derrida's newly discovered—and just recently published—Geschlecht III. I argue that Derrida's deconstruction of what he calls 'the grand logic of philosophy' allows us to think love and survival without positing unicity as a sine qua non. This hypothesis is tested in and through a deconstructive reading of Heidegger's second essay on Trakl in On the Way to Language, where Heidegger's phonocentrism and surreptitious nationalism converge in an effort to 'save the earth' from a 'degenerate' Geschlecht that cannot survive the internal diremption between Geschlechter. I show that one way of problematizing Heidegger's claim is to point to the blank spaces in the 'E i n' of Trakl's 'E i n Geschlecht', an internal fissuring in the very word Heidegger mobilizes in order to secure the future of mankind. [ABSTRACT FROM AUTHOR]

In questo lavoro presentiamo due estratti dalla nostra inedita tesi di laurea “Il mito di Narciso in Gide e Valéry”. Abbiamo selezionato una prima parte dedicata all’analisi del mito di Narciso nel suo ipotesto più celebre, ovvero le “Metamorfosi” di Ovidio, per poi analizzarne la declinazione in un ipertesto, la poesia “Narcisse parle” di Paul Valéry, in cui è lo stesso autore a prendere le distanze da Ovidio. Oltre a effettuare una capillare analisi della poesia, il nostro scopo è mostrare come la riscrittura di un mito non possa prescindere da quelle precedenti.