L'apostrophe dans Les Fleurs du mal

1989 ◽  
Vol 40 (1) ◽  
pp. 18-22
Author(s):  
Marie-Hélène Prat
Keyword(s):  
Fleurs Du Mal

Notes on the First Edition of Les Fleurs Du Mal

1963 ◽  
Vol 2 (1) ◽  
pp. 14-24
Author(s):  
C. A. Burns
Keyword(s):  
Fleurs Du Mal

Aquarelles parisiennes: Gautier, Baudelaire, and the Poetry of Urban Watercolours

2019 ◽  
Vol 58 (2) ◽  
pp. 170-182
Author(s):  
Karen F. Quandt
Keyword(s):  
Urban Landscape ◽  
Second Empire ◽  
Theophile Gautier ◽  
Avant Garde ◽  
Meeting Point ◽  
Mise En Scene ◽  
Bleed Through ◽  
Fleurs Du Mal

Baudelaire refers in his first essay on Théophile Gautier (1859) to the ‘fraîcheurs enchanteresses’ and ‘profondeurs fuyantes’ yielded by the medium of watercolour, which invites a reading of his unearthing of a romantic Gautier as a prescription for the ‘watercolouring’ of his own lyric. If Paris's environment was tinted black as a spiking population and industrial zeal made their marks on the metropolis, Baudelaire's washing over of the urban landscape allowed vivid colours to bleed through the ‘fange’. In his early urban poems from Albertus (1832), Gautier's overall tint of an ethereal atmosphere as well as absorption of chaos and din into a lulling, muted harmony establish the balmy ‘mise en scène’ that Baudelaire produces at the outset of the ‘Tableaux parisiens’ (Les Fleurs du mal, 1861). With a reading of Baudelaire's ‘Tableaux parisiens’ as at once a response and departure from Gautier, or a meeting point where nostalgia ironically informs an avant-garde poetics, I show in this paper how Baudelaire's luminescent and fluid traces of color in his urban poems, no matter how washed or pale, vividly resist the inky plumes of the Second Empire.

Decanting the Rabelaisian Casks: Accessing Neoplatonic Poetic Fury in Baudelaire's ‘L'Âme du vin’

2016 ◽  
Vol 55 (3) ◽  
pp. 263-279
Author(s):  
Robert J. Hudson ◽  
Kristen Foote
Keyword(s):  
Nineteenth Century ◽  
Old Regime ◽  
Robust Version ◽  
Poetic Inspiration ◽  
Fleurs Du Mal

In one of the lesser-studied sections of Baudelaire's Les Fleurs du Mal, ‘Le Vin’, the poet offers a key to understanding the transcendence necessary for common post-Revolution Parisians to attain the proper poetic inspiration to create elevated verse. Divine or poetic Fury, a theoretically more robust version of other nineteenth-century ideas of intoxication, is at the heart of the section's threshold poem, ‘L'Âme du vin’, and establishes a bridge in Les Fleurs du mal linking the modern terrestrial wanderings of the ‘Tableaux parisiens’ to the celestial flights of the ‘Fleurs du mal’. Developed from Plato's Ion and Gallically codified by Rabelais, these theories filter to the aesthete Baudelaire, who decants this aged wine into a nineteenth-century vessel that lays old regime vertical hierarchies on their side and offers poetic intoxication to all who are willing to labour to become vessels of inspiration themselves.

Talent-competitiveness of Hungary — Decline without “Fleurs du Mal”

2016 ◽  
Vol 38 (4) ◽  
pp. 537-558
Author(s):  
Olivér Kovács
Keyword(s):  
Economic Policy ◽  
Education System ◽  
Innovation Ecosystem ◽  
Fleurs Du Mal

This paper offers some ammunition to better understand Hungary’s position in the IMD World Talent Report 2015 (IMD WTR 2015). First, it gives a brief overview of the methodology of the IMD WTR by highlighting its main features. Second, it presents the 2015 ranking and puts the focus on Hungary’s withering talent competitiveness. The paper conveys the message that an overarching and consistent reform package is a must in the education system to foster talent utilisation. However, such a package is likely to be insufficient unless economic policy addresses the relevant shortcomings of the Hungarian innovation ecosystem.

L'apostrophe dans Les Fleurs du mal

1989 ◽  
Vol 41 (1) ◽  
pp. 39-43
Author(s):  
Marie-Hélène Prat
Keyword(s):  
Fleurs Du Mal

scholarly journals La Fragrance et le Musique, ou l’Invention d’un Art « Sonolfactif »

2019 ◽  
pp. 433-450
Author(s):  
Chantal Jaquet
Keyword(s):  
Fleurs Du Mal

In lieu of an abstract, here is a brief excerpt of the content: "Souvent, l’art des parfums emprunte ses images, voire ses concepts à la musique pour exprimer sa temporalité évanescente et invisible. La création de parfums se présente comme une composition rythmée de notes olfactives : notes de tête, plus légères et volatiles, à la manière de croches aromatiques, comme les agrumes ou les menthes ; notes de cœur, florales et épicées, de plus longue durée ; notes de fond, plus lourdes et persistantes, comme un refrain musqué ou boisé. Faute d’un vocabulaire olfactif riche et développé, la description des fragrances puise elle aussi ses expressions dans un registre musical et s’appuie sur des analogies et des correspondances poétiques nourries par le symbolisme de Baudelaire. L’auteur des Fleurs du mal n’hésite pas à parler de parfums « doux comme les hautbois1 » et à mêler les « parfums des verts tamariniers » au chant des mariniers. » Dans La chevelure, son esprit qui se baigne dans cette forêt aromatique répond à ceux qui « voguent sur la musique »."

Baudelaire's Creole Gothic : A Postcolonial Afterlife for Les Fleurs du mal

2021 ◽  
Vol 21 (1) ◽  
pp. 10-34
Author(s):  
Mary Gallagher
Keyword(s):  
Racial Difference ◽  
Social Death ◽  
Chattel Slavery ◽  
Plantation Slavery ◽  
Living Dead ◽  
Poetic Representation ◽  
The City ◽  
Fleurs Du Mal ◽  
Hard Labour

Baudelaire’s verse poetry is informed by a pervasive Creole Gothic resonance. Two separate but related topoi, the Undead and the Living Dead, lie at the heart of the collection’s necrological imaginary of slave and zombie labour. It is this Gothic double-trope of death-in-life/life-in-death that activates the Gothic Creole strain running through Les Fleurs du mal. Ironically, those poems that seem to evoke most directly the Creole world that Baudelaire encountered in 1841, firstly in Mauritius and then in Réunion, avoid all evocation of plantation slavery. Conversely, the city poems associate modern metropolitan life with the idea of slavery, representing it as a living death and death as a merely temporary and reversible escape. The collection’s representation of this ‘living death’ foreshadows the construction (by Orlando Patterson, most notably) of transatlantic chattel slavery as ‘social death’. As for the poetic representation of the ‘Undead’, this centres on the figure of the zombie. The zombie is essentially a slave for whom death has proved no guarantee against an endless ‘living death’ of hard labour. If the Creole inflection of Baudelaire’s imagery relates primarily to the realities of industrialized plantation labour and to the chattel slavery on which it was based, it is further reinforced by indices of tropical localisation and of racial difference, more specifically pigmentation. However subliminal its resonance, this Creole Gothic strain guarantees for Baudelaire’s Fleurs du mal a vivid postcolonial afterlife.

Baudelaire et le fouriérisme

2021 ◽  
Vol 58 (1) ◽  
pp. 49-62
Author(s):  
PETER HAMBLY
Keyword(s):  
Profound Impact ◽  
The World ◽  
Fleurs Du Mal

Claude Pichois claims that Baudelaire’s debt towards Fourier is limited to the notion of universal analogy. There is, however, another aspect of Fourier’s thought, one that had a profound impact on Les Fleurs du mal: the denunciation of universal evil. In this respect, the poet draws on Fourierist vocabulary to express his own vision of the world. This article provides examples of lexical borrowings by the poet who, disillusioned by the failure of the dreams of the Fourierist school, uses the word sin to stigmatize “the reign of evil” under which, according to Fourier, his contemporaries were living.

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