Any Where Out of This Verse: Baudelaire’s Prose Poetics and the Aesthetics of Transgression

Jamison, Anne

doi:10.1057/9780230101258_2

Cited by 3 publications

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“…That there is a parallel need to decouple the 'je' of Les Fleurs du mal from the historical author has long been argued (e.g., Mossop 1961, 5), but the argument for the sheer slipperiness of the verse poetry's narrators is perhaps made most clearly by specialists of the prose poetry such as Steve Murphy (2014, 11) or Anne Jamison (2001). It is also from a recent critical approach to the prose poetry, by Maria Scott, that we can borrow the concept of anamorphosis.…”

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“…One solution was to understand the speaker as not being the poet, but a Greek statue (Prévost, quoted by Mossop 1961, 95;Mathias 1977, 32), which is certainly a useful step. More recently some critics have followed a brief suggestion by Ruff (1955, 296-97) and acknowledged the role of irony in this sonnet (for example Heck 1981Heck -1982Miller 1993;Jamison 2001). This is by no means always the case.…”

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‘La Beauté’: Art and Dialogism in the Poetry of Baudelaire

Yee

2017

Neophilologus

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Studies of Baudelaire's poem 'La Beauté' have generally agreed that it has a key role to play in our understanding of his aesthetic theories, but have differed wildly in how this role is interpreted. The present study brings together arguments that see the speaker of the poem, Beauty, as a statue, along with those that understand the poem as being fundamentally ironic. Situating 'La Beauté' in the context of Baudelaire's art criticism allows us to understand it as part of his engagement in debates within the visual arts. This gives us a new reading of Beauty's claims as voicing the positions of neo-classical idealism, and specifically those of nineteenth-century academic theorists influenced by the eighteenth-century German inventor of art history, Winckelmann. Recognizing the importance of Winckelmann in approaching this poem sheds light on the rejection of movement and emotion that is pronounced by Beauty, and which contradict Baudelaire's theoretical positions expressed elsewhere. The sonnet is thus incorporating the language of a speaker who is distinct from the lyric 'je' and cannot be reduced to a mask for him or a part of his divided self. This language and the position it expresses are framed within the sonnet, whose implicit irony leads to what Bakhtin calls double voicing. This approach offers a new reading of 'La Beauté' in formal terms as an example of Bakhtinian dialogism within lyric poetry.

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‘La Beauté’: Art and Dialogism in the Poetry of Baudelaire

Yee

2017

Neophilologus

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James Joyce and the Matter of Paris

Flynn

2019

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Po�tique de la ligne: Autour des colonnes sculpt�es

Metzidakis¹

2006

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Pictorial and literary representations of sculpted columns by artist Hubert Robert and poets Chénier, Hugo, Gautier, and Baudelaire reveal, according to Metzidakis, the ambiguous nature of the line as both a sign of mobility and of immobility. He analyzes the poetics of the line in Robert's painting of "La Colonne" dated 1789, Chénier's "colonnes savantes" in the unfinished Hermès, and Hugo's two odes dedicated to the "Colonne Vendôme" in order to propose that the column functions semiotically as a kind of degree zero (axis mundi) or limit-value of movement in sculpture. L'ennuidela ligne droite as a sign of the agonizing state of neoclassicism is brought out in texts by Gautier and Baudelaire. Metzidakis concludes by noting that despite the poetic ennui produced by the immobility of the vertical line (and by extension, of the antique form), the monotony and harmony of the column continue to reassure Baudelaire and his generation. (In French)

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Any Where Out of This Verse: Baudelaire’s Prose Poetics and the Aesthetics of Transgression

Cited by 3 publications

References 3 publications

‘La Beauté’: Art and Dialogism in the Poetry of Baudelaire

‘La Beauté’: Art and Dialogism in the Poetry of Baudelaire

James Joyce and the Matter of Paris

Po�tique de la ligne: Autour des colonnes sculpt�es

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