Arthur Rimbaud: The Aesthetics of Intoxication

Combinaison et transformation en poésie (Arthur Rimbaud : les Illuminations)

L Homme ◽

10.3406/hom.1969.367016 ◽

1969 ◽

Vol 9 (1) ◽

pp. 23-41 ◽

Cited By ~ 1

Author(s):

Jean-Claude Coquet

Keyword(s):

Arthur Rimbaud

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Arthur Rimbaud et le foutoir zutique by Bernard Teyssédre

The French Review ◽

10.1353/tfr.2013.0390 ◽

2013 ◽

Vol 86 (4) ◽

pp. 835-836

Author(s):

Candice Nicolas

Keyword(s):

Arthur Rimbaud

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„We were a ghastly crew“: Gespenstige Schiffe und ruheloses Schreiben bei Samuel Taylor Coleridge und Arthur Rimbaud

Arcadia - International Journal for Literary Studies ◽

10.1515/arcadia-2016-0026 ◽

2016 ◽

Vol 51 (2) ◽

pp. 325-343 ◽

Cited By ~ 1

Author(s):

Nora Zapf

Keyword(s):

Samuel Taylor Coleridge ◽

Travel Narratives ◽

Writing Process ◽

The Self ◽

The Other ◽

Arthur Rimbaud ◽

Long Poem

AbstractEven though Coleridge’s fantastic romantic poem “The Rime of the Ancient Mariner” (1798) and Rimbaud’s hallucinatory symbolist poem “Le bateau ivre” (1871) use very different procedures, both of them show, each in their own way, a ghostly movement of the ship: a movement that seems to lead into the vastness of the globe but finds itself confined to the narrowness of one’s own self. Both of these sea poems draw a route that in the end is aimless in its bouncing and circular movement. The haunted ghost ship as a wooden skeleton without crew flies over water in Coleridge’s ballad, or falls into unattainable depths in Rimbaud’s long poem. Can these poetic travel narratives be described as forms of a “haunted globalization,” in which leaving the known for the unknown turns out to mean always moving around the same – the self, the known, the own writing process? Even if in the self, there will always be found the other, the foreign, too.

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A estética vertical e a ética do desaparecimento em Juarroz e Rimbaud

Viso Cadernos de estética aplicada ◽

10.22409/1981-4062/v6i/71 ◽

2009 ◽

Vol 3 (6) ◽

pp. 58-70

Author(s):

Florence Dravet ◽

Gustavo De Castro

Keyword(s):

Arthur Rimbaud

Fruto de uma pesquisa desenvolvida no âmbito do projeto Razão-Poesia a respeito da colocação dos poetas na sociedade e nos meios editorial e literário, este artigo tem por objetivo identificar posicionamentos éticos e estéticos de alguns poetas diante da visibilidade proporcinada pelos meios de comunicação. Fomos em busca de compreender a opção daqueles que qualificamos de “poetas da verticalidade” pela sua busca estética, e “poetas do desaparecimento” pelo seu posicionamento ético. Arthur Rimbaud e Roberto Juarroz tiveram duas maneiras diferentes de escolher o desaparecimento: a fuga para o estrangeiro e a discrição silenciosa. O primeiro transformou definitivamente a forma do verso pela intensidade da pulsação do seu dizer. O segundo não teve a mesma influência sobre a produção poética subsequente, mas compôs uma obra extensa e sistemática. A análise desses dois exemplos nos conduziu a pensar a liberdade do desprendimento como condição de possibilidade do exercício ético e estético.

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Graph Coverings for Investigating Non Local Structures in Proteins, Music and Poems

10.20944/preprints202108.0437.v2 ◽

2021 ◽

Author(s):

Michel Planat ◽

Raymond Aschheim ◽

Marcelo Amaral ◽

Fang Fang ◽

Klee Irwin

Keyword(s):

Group Structure ◽

Charles Baudelaire ◽

Arthur Rimbaud ◽

Local Structures ◽

Apolipoprotein H ◽

Non Local ◽

Graph Coverings ◽

Secondary Structure Of Proteins ◽

Structure Of Proteins ◽

Musical Forms

It is shown how the secondary structure of proteins, musical forms and verses of poems are approximately ruled by universal laws relying on graph coverings. In this direction, one explores the group structure of a variant of the SARS-Cov-2 spike protein and the group structure of apolipoprotein-H, passing from the primary code with amino acids to the secondary structures organizing the foldings. Then one look at the musical forms employed in the classical and contemporary periods. Finally, one investigates in much detail the group structure of a small poem in prose by Charles Baudelaire and that of the Bateau Ivre by Arthur Rimbaud.

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