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Nastao u drugoj polovici 19.stoljeća, simbolizam se prvo javlja u Francuskoj, zatim u Belgiji, Italiji i drugim državama Europe. Simbolizam predstavlja pravac u književnosti, ali i umjetnosti koji je karakteriziran čestom upotrebom dvostrukog značenja, odnosno simbola, a nastala je kao puka želja za promjenom iz razdoblja realizma i naturalizma. Najznačajniji književnik koji je ujedno i glavni utemeljitelj ovog pravca, bio je Charles Baudelaire, a svoju slavu je stekao svojom zbirkom Cvjetovi zla, u kojoj je fokus na sukobu između dobra tj. lijepog i zla. Među ostalim važnim francuskim predstavnicima simbolizma nalaze se Paul Verlaine, Stephan Mallarme, Arthur Rimbaud i dr. Simbolisti vjeruju u kult ljepote i strogo slijede načelo: „umjetnost radi umjetnosti“. Cilj ovog završnog rada pod naslovom „Charles Baudelaire i simbolizam“ je pobliže objasniti pojam simbolizma, kako se razvio u Europi, ali i Hrvatskoj, spomenuti će se i simbolizam u kontekstu moderne, zatim uočiti povezanost simbolizma sa zbirkom Cvjetovi zla te približiti i opisati Baudelaireov život i njegov doživljaj svijeta. Formed in the second half of the 19th century, symbolism had first appeared in France, then in Belgium, Italy and other European countries. Symbolism is a direction in literature, but also in art, which is characterized by the frequent use of double meaning, or symbols, and arose as a mere desire for change from the period of realization and naturalism.The most important writer, and also the main founder of this direction, was Charles Baudelaire, who became famous with his collection Flowers of Evil, in which the focus is on the conflict between good and evil. Other important French representatives of symbolism include Paul Verlaine, Stephan Mallarme, Arthur Rimbaud, and others. Symbolists believe in the cult of beauty, following the expression "art for art's sake." The aim of this final paper entitled "Charles Baudelaire and Symbolism" is to explain in more detail the concept of symbolism, as it developed in Europe and Croatia, symbolism in the context of modernity will be mentioned, life and its experience of the world.

Parmi les écrivains français marqués par l'Espagne, Baudelaire, le seul qui resta à Paris, aura consulté les documents des voyageurs comme les œuvres d'art de la Galerie Espagnole dans une perspective singulière. La sensibilité tragique et mélancolique qui habite le modernisme innovateur de Baudelaire va au-delà des considérations de couleur locale. Au fil de ses lectures et de ses promenades esthétiques, Baudelaire développe sa propre pensée, étrangement détachée des stéréotypies d'exotisme ou d'altérité les plus répandues. Sa façon d'accoupler le Beau et le bizarre, qui distingue son esthétique, l'emmène vers l'étrangeté du baroque. En ses qualités d'écrivain et de poète, Baudelaire plonge au cœur de l'esthétique espagnole dans quelques-uns de ses écrits les moins discutés, y compris plusieurs poèmes des Fleurs du Mal. Among writers interested in Spain, Baudelaire seems to have had a singular perspective on documents related to travel in Spain and Spanish works of art. The tragic and melancholic sensibility that characterizes Baudelaire's writing goes beyond considerations of local color. Through his readings and assiduous gallery visits, Baudelaire develops his own thought, strangely detached from widespread stereotypes of exoticism and alterity. His distinctive method of combining the Beautiful and the bizarre leads him toward the strangeness of the baroque. As a writer and poet, Baudelaire goes to the heart of Spanish aesthetics in some of his least-known writings, including several poems in The Flowers of Evil.

This thesis examines the history of the reception and of the immanence of Charles Baudelaire in Modern Hebrew poetry through the influence of his work on original poetic work in Hebrew and through the translations of his poems into Hebrew. As part of the latter, a detailed comparative analysis is offered of some of Baudelaire’s poems translated into Hebrew and published through the 20th century.In examining these questions we wish to examine the extent to which one may trace a correlation between, on the one hand, the translation and reception of Baudelaire’s poetry and, on the other hand, the exceptionally rapid evolution of Modern Hebrew poetic language.In every generation of Modern Hebrew poetry, Baudelaire was translated by major authors. This significant interest in his poetry can be attributed, among other reasons, to the constructive role that such translation plays in Hebrew. For, in the Hebrew context, Baudelaire's poetry has a unique role: he is both a keystone of Modern poetry in general and the starting point of Modern Hebrew poetry in particular.Modern Hebrew poetry can be compared to a tree without a trunk: Its roots – the classical Hebrew texts – are ancient and deep. Its crown – the New Hebrew creation of the last 120 years – is fresh and green. But what keeps it standing are its branches that lean on the rich offshoots of its neighbours in the forest: the foreign poetic corpora which have always nourished this young literature, born modern. Translating Baudelaire into Modern Hebrew implies, symbolically, a contribution to the retrospective grafting of a trunk to the tree., La présente thèse cherche à étudier l’histoire de la réception et de la présence de Charles Baudelaire dans l'univers poétique de l'hébreu moderne, à travers l'influence de son œuvre sur la création poétique en hébreu comme à travers les traductions hébraïques de sa poésie. Cette dernière partie inclut une analyse comparative approfondie de différentes traductions de la poésie de Baudelaire parues en hébreu au courant du XXe siècle.À travers cette approche nous cherchons à voir dans quelle mesure il existe des corrélations entre la traduction et la réception poétique de Baudelaire d'une part, et l'évolution particulièrement rapide du langage poétique de l'hébreu moderne d'autre part.Dans toutes les générations de la poésie de l’hébreu moderne, des auteurs majeurs ont traduit Baudelaire. Ce grand intérêt pour sa poésie s'explique, entre autres raisons, par le motif suivant : traduire Baudelaire en hébreu constitue un projet singulier de par le statut unique de son œuvre qui est à la fois la pierre angulaire de la Modernité poétique en général, et le point de départ de la poésie hébraïque moderne en particulier.La poésie hébraïque moderne peut être comparée à un arbre sans tronc ; ses racines, les textes de l'hébreu classique, sont profondes et séculaires. Sa cime, la nouvelle création poétique des 120 dernières années, est fraîche et verdoyante. Mais s'il tient debout, c'est grâce à ses branches qui sont suspendues sur les riches ramifications de ses voisins – les corpus poétiques étrangers qui ont toujours alimenté ce jeune corpus. Traduire Baudelaire en hébreu moderne, c'est – symboliquement – contribuer à greffer, rétroactivement, un tronc sur cet arbre.