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Sonnets: Edgar Degas, Claudius Popelin, and the poetry of generic constraints

机译:十四行诗:埃德加·德加斯,克劳迪乌斯·波佩林和诗歌的一般约束

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In 1889, Degas embarked on a brief literary venture by writing a number of sonnets. This episode has been interpreted as an offshoot of his contacts with St??phane Mallarm??. Degas dedicated one of these poems to Jos??-Maria de Heredia, thereby seeming to acknowledge another literary criterion: Parnassian poetry. This literary context is arguably excessively narrow. This article aims to broaden the debate about Degasa?? engagement with sonnet form in order to re-evaluate his achievements as a poet. In doing this, it also examines the sonnets of a neglected artist writer: Claudius Popelin (1825-1892). In 1888, Popelin published Un Livre de sonnets, a collection of 230 sonnets preceded by an extended homage to sonnet form, itself written as poetry. Although there is an intriguing coincidence of timing between this publication and the composition of Degasa?? sonnets, this article will be concerned above all with the choice by both artists of the sonnet as a form, generically among the most conventional and difficult in contemporary literature. In the dichotomy that forever confronts visual artists who write literature, between generic transgression in the name of the visual and a stricter literary conformism, they leaned emphatically towards the richness of a conventional form. Degasa?? skills as a sonneteer, admirably identified by Paul Val??ry in his Degas, danse, dessin (1938), allowed him to add a verbal dimension to topics we find in his visual works: dance, theatre, the racetrack, modernity.View full textDownload full textKeywordsEdgar Degas, Claudius Popelin, St??phane Mallarm??, sonnetsRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; var addthis_config = {"data_track_addressbar":true,"ui_click":true}; Add to shortlist Link Permalink http://dx.doi.org/10.1080/02666286.2012.740189
机译:1889年,德加通过撰写许多十四行诗开始了简短的文学事业。这一集被解释为他与St?phane Mallarm ??的联系的分支。德加将其中一首诗献给了乔斯·玛丽亚·德·埃雷迪亚(Jos ??-Maria de Heredia),从而似乎承认了另一种文学标准:帕纳斯诗歌。这种文学背景可以说过于狭窄。本文旨在扩大有关Degasa的争论?以十四行诗形式参与,以重新评估他作为诗人的成就。在此过程中,它还检查了一位被忽视的艺术家作家的十四行诗:克劳迪乌斯·波佩林(Claudius Popelin,1825-1892年)。 1888年,波普林出版了《十四行诗》,这是一本230首十四行诗的集合,在此之前对诗歌的形式致以深深的敬意,而十四行诗本身就是诗歌。尽管该出版物与Degasa的构成之间存在着一个有趣的时间巧合?十四行诗,本文首先将涉及两位艺术家对十四行诗的选择,这通常是当代文学中最传统和最困难的一种。在以视觉的名义进行的一般性侵犯与严格的文学顺从性之间,在写作文学的视觉艺术家永远面临的二分法中,他们着重倾向于传统形式的丰富性。德加保罗·瓦莱里(Paul Val?ry)在他的Degas,danse,dessin(1938)中出色地识别了十四行诗的技巧,这使他在我们的视觉作品中发现了口头表达:舞蹈,戏剧,赛马场,现代性。全文下载全文关键字埃德加·德加斯(Edgar Degas),克劳迪乌斯·波佩林(Claudius Popelin),圣安妮·马尔默(St ?? phane Mallarm)·十四行诗,相关十四行诗digg,google,more“,发布号:” ra-4dff56cd6bb1830b“}; var addthis_config = {“ data_track_addressbar”:true,“ ui_click”:true};添加到候选列表链接永久链接http://dx.doi.org/10.1080/02666286.2012.740189

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