Un lance de dados para leer despacio: entre Stéphane Mallarmé y Herberto Helder

Cuadernos de Literatura ◽

10.30972/clt.0175706 ◽

2021 ◽

pp. 116

Author(s):

Marina Ribeiro Mattar

Keyword(s):

Este breve ensayo se propone comparar las imágenes del mar, del vacío y del juego en los poemas Para o leitor ler de/vagar de Herberto Helder (1930-2015) y Un lance de dados jamás abolirá el azar de Stéphane Mallarmé (1842-1898). Además del campo semántico que crea una especie de silencio en los poemas, nos interesa comprender de qué manera ese mutismo actúa en sus estructuras y cuáles son sus posibles significados. El análisis se apoya en los trabajos críticos de Martelo (2010) y Campos (2002).

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L'exclusion théorique du narratif dans la poésie française depuis Stéphane Mallarmé

L Information Grammaticale ◽

10.3406/igram.1989.2022 ◽

1989 ◽

Vol 40 (1) ◽

pp. 39-42

Author(s):

Dominique Combe

Keyword(s):

Stephane Mallarme

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The Book as Instrument: Stéphane Mallarmé, The Artist’s Book, and the Transformation of Print Culture by Anna Sigrídur Arnar

The French Review ◽

10.1353/tfr.2013.0449 ◽

2013 ◽

Vol 86 (3) ◽

pp. 584-585

Author(s):

Franck Dalmas

Keyword(s):

Print Culture ◽

Stephane Mallarme ◽

Artist's Book

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Reverie, Schmaltz, and the Modernist Imagination

Journal of the American Musicological Society ◽

10.1525/jams.2021.74.2.289 ◽

2021 ◽

Vol 74 (2) ◽

pp. 289-363

Author(s):

Alexandra Kieffer

Keyword(s):

Nineteenth Century ◽

Mass Production ◽

Reference Points ◽

Stephane Mallarme ◽

Literary Style ◽

French Music ◽

Trace Back ◽

Harmonic Language

Abstract In a review of 1895, Henry Gauthier-Villars described Claude Debussy’s Prélude à l’après-midi d’un faune as “musique de rêve,” a descriptor that has been attached to Debussy’s style ever since. Partly because of the importance of the Prélude within his compositional development, the distinctive sound of Debussy’s “dream music” has often been understood as a response to the hermetic and difficult literary style of French Symbolists, especially that of Stéphane Mallarmé. Yet Gauthier-Villars’s appellation of “musique de rêve” also invoked a specifically sonic (and largely forgotten) set of cultural reference points, an aural backdrop crucial for understanding Debussy’s early style in the 1880s and early 1890s—the widespread cultivation of the topos of reverie in French music in the final two decades of the nineteenth century. Settings of Baudelaire, Verlaine, and Mallarmé by Debussy and his young contemporaries around 1890 were infused with signifiers of dream and reverie that trace back to salon genres of the 1870s and that cross-pollinated with the harmonic language of the newly fashionable valse lente in the early 1880s. Hearing Debussy’s early works in the context of this reverie topos and its aural kinship to the popular valse lente sheds light on the extent to which the radical idiosyncrasy so vaunted by modernists was constantly evolving in tandem with—and could never truly free itself from—an aural culture defined by mass production, repetition, and cliché.

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