scholarly journals Bibliographie des études génétiques sur Louis Aragon

Genesis ◽  
2020 ◽  
pp. 129-130
Author(s):  
Luc Vigier
Keyword(s):  
Louis Aragon

14. Louis Aragon et Elsa Triolet

2019 ◽  
pp. 337-359
Author(s):  
Lorraine de Meaux
Keyword(s):  
Louis Aragon

Louis Aragon: The Red Front

1978 ◽  
pp. 46-47
Author(s):  
Stephen Spender
Keyword(s):  
Louis Aragon

Homage to Robert Aron, 1898—1975

1977 ◽  
Vol 2 (2) ◽  
pp. 131-139
Author(s):  
Annabelle Henkin Melzer
Keyword(s):  
World War Ii ◽  
Communist Party ◽  
World War ◽  
Alfred Jarry ◽  
Avant Garde ◽  
Louis Aragon ◽  
Tristan Tzara ◽  
Philippe Soupault ◽  
Young Wife ◽  
French Communist Party

I went to see Robert Aron in the summer of 1972. He was then seventy-four years old, a tall, striking man in an apartment of stuffed furniture overrun by books. In all my meetings that summer with former surrealists, people who had made avant-garde theatre in Paris in the 1920s, there was always a sense of trembling at reaching out to touch cobwebbed memories. Forty-five years had passed since the events we talked about. Tristan Tzara, recalled by Gide as a charming man with a young wife who was ‘even more charming’, had since fought with the French Resistance during World War II and later joined the Communist Party. André Breton, when he died in 1966, was accompanied to his grave by ‘waves of young men and young girls often in couples, with arms entwined’. They had come from all over France to pay him tribute. Philippe Soupault is a respected editor, critic and radio commentator, Louis Aragon is at the forefront of the French Communist Party and dislikes talking about his days as a Surrealist, Roger Vitrac is an acknowledged and produced playwright while Artaud is a cult figure. There are moments when in looking back, the whole Dada-Surrealist performance world looks like some great Dada swindle perpetrated on the only too fallible researcher and critic. Robert Aron does nothing to dispel this feeling. The man who sent a telegram to Breton warning him that he would stop at no measures to keep the fervent Surrealist claque from disturbing the performance of Strindberg's A Dream Play at the Théâtre Alfred Jarry, was elected a member of the French Academy before his death.

Rewriting Flaubert in the 1960s

2011 ◽  
Vol 19 (2) ◽  
pp. 329-336
Author(s):  
Steen Bille Jørgensen
Keyword(s):  
Historical Context ◽  
Literary Tradition ◽  
Human Experience ◽  
Main Theme ◽  
The Novel ◽  
Georges Perec ◽  
Louis Aragon ◽  
New Novel ◽  
Tel Quel ◽  
The 1960S

In French 1960s’ literature, the strategy of re-writing is associated with the New Novel and the ideological Tel Quel movement. However, a more ironical poetics of the novel can be found in Blanche ou l'oubli (1967) by Louis Aragon1 and Les Choses (1967) by Georges Perec.2 Both novels are rewritings of Gustave Flaubert's L'Education sentimentale, with particular attention to that novel's main theme of ‘illusion’. The interesting question then is how literary tradition becomes a part of the meta-fictional interrogation of human experience in a particular historical context. Perec uses the rhythm of Flaubert's sentences to draw attention to the story as a construction and to his characters’ lack of significance. Aragon foregrounds the novel's capacity of holding on to experience as such, with autobiography (Flaubert's as well as his own) linked to materialistic-historical conditions. Ultimately, in following the writer's reading of the historical work, the reader must seek what literature offers him or her the opportunity to apprehend his/her own conditions for experience.

scholarly journals VARIANTES DE LA RIMA. LA RIMA AMPLIADA. LA RIMA COMPLEJA. LA RIMA EN SÍNTESIS. LA RIMA ENCABALGADA

2014 ◽  
Author(s):  
Arcadio Pardo
Keyword(s):  
Louis Aragon

La guerra civil española provocó un fl orecimiento de romanceros. En Francia, el poeta Louis Aragon proclama (La rime en 1940), la rima como elemento de afi rmación y de resistencia contra el enemigo. Aragon experimenta nuevas modalidades de rima: las que él denomina rima “compleja”, rima “en síntesis” y rima “encabalgada”. Estas modalidades se encuentran aplicadas en su libro Le crève-coeur. El presente trabajo investiga igualmente la importancia de la rima “ampliada”. Ejemplos de estos tipos de rima en Aragon y en poesía española. Salvo la rima ampliada, estas modalidades no han tenido continuadores.

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