Author: Kathryn Oliver Mills
Publisher: Lexington Books
ISBN: 1611493943
Category : Literary Criticism
Languages : en
Pages : 201
Book Description
In Formal Revolution in the Work of Baudelaire and Flaubert, Kathryn Oliver Mills argues that despite the enduring celebrity of Baudelaire and Flaubert, their significance to modern art has been miscast and misunderstood. To date, literary criticism has paid insufficient attention to these authors' literary form and their socio-cultural context. In addition, critical literature has not always adequately integrated individual works to each author's broader oeuvre: on the one hand critics do not often maintain rigorous distinctions among texts when discussing Baudelaire and Flaubert, and on the other hand scholars of Baudelaire and Flaubert have not consistently considered the relationship of individual texts to either writer's corpus. Furthermore, critical focus has been on the modernity of Les Fleurs du mal, Madame Bovary, and L'Education Sentimentale. Addressing these lacunae in scholarship, Mills puts forth the argument that Baudelaire's collection of prose poems, Le Spleen de Paris, and Flaubert's short, poetic tales, Trois contes, best embody the modern aesthetic that Baudelaire develops in Le Peintre de la vie moderne and that Flaubert elaborates in his correspondence. Formal Revolution places these relatively less well-known but last published works in relationship with the artistic goals of their authors, showing that Baudelaire and Flaubert were both acutely aware of the need to launch a new form of literature in order to literally "come to terms with" the dramatic changes transforming the nineteenth-century into the Modern Age. More specifically, Formal Revolution demonstrates that for Baudelaire and Flaubert the formal project of fusing prose with poetry--as poetic prose in the case of Flaubert, as poetry in prose in the case of Baudelaire--was crucial to their mission of "painting modern life." This work concludes that experimentation with literary form represents these two seminal writers' major legacy to modernity; suggests that the twentieth-century might have gone too far down that road; and speculates about the future direction of literature. The modernity of Baudelaire and Flaubert, still relevant today but often taken for granted, needs to be reexamined in light of the cultural, formal, and contextual considerations that inform Formal Revolution in the Work of Baudelaire and Flaubert.
Formal Revolution in the Work of Baudelaire and Flaubert
Author: Kathryn Oliver Mills
Publisher: Lexington Books
ISBN: 1611493943
Category : Literary Criticism
Languages : en
Pages : 201
Book Description
In Formal Revolution in the Work of Baudelaire and Flaubert, Kathryn Oliver Mills argues that despite the enduring celebrity of Baudelaire and Flaubert, their significance to modern art has been miscast and misunderstood. To date, literary criticism has paid insufficient attention to these authors' literary form and their socio-cultural context. In addition, critical literature has not always adequately integrated individual works to each author's broader oeuvre: on the one hand critics do not often maintain rigorous distinctions among texts when discussing Baudelaire and Flaubert, and on the other hand scholars of Baudelaire and Flaubert have not consistently considered the relationship of individual texts to either writer's corpus. Furthermore, critical focus has been on the modernity of Les Fleurs du mal, Madame Bovary, and L'Education Sentimentale. Addressing these lacunae in scholarship, Mills puts forth the argument that Baudelaire's collection of prose poems, Le Spleen de Paris, and Flaubert's short, poetic tales, Trois contes, best embody the modern aesthetic that Baudelaire develops in Le Peintre de la vie moderne and that Flaubert elaborates in his correspondence. Formal Revolution places these relatively less well-known but last published works in relationship with the artistic goals of their authors, showing that Baudelaire and Flaubert were both acutely aware of the need to launch a new form of literature in order to literally "come to terms with" the dramatic changes transforming the nineteenth-century into the Modern Age. More specifically, Formal Revolution demonstrates that for Baudelaire and Flaubert the formal project of fusing prose with poetry--as poetic prose in the case of Flaubert, as poetry in prose in the case of Baudelaire--was crucial to their mission of "painting modern life." This work concludes that experimentation with literary form represents these two seminal writers' major legacy to modernity; suggests that the twentieth-century might have gone too far down that road; and speculates about the future direction of literature. The modernity of Baudelaire and Flaubert, still relevant today but often taken for granted, needs to be reexamined in light of the cultural, formal, and contextual considerations that inform Formal Revolution in the Work of Baudelaire and Flaubert.
Publisher: Lexington Books
ISBN: 1611493943
Category : Literary Criticism
Languages : en
Pages : 201
Book Description
In Formal Revolution in the Work of Baudelaire and Flaubert, Kathryn Oliver Mills argues that despite the enduring celebrity of Baudelaire and Flaubert, their significance to modern art has been miscast and misunderstood. To date, literary criticism has paid insufficient attention to these authors' literary form and their socio-cultural context. In addition, critical literature has not always adequately integrated individual works to each author's broader oeuvre: on the one hand critics do not often maintain rigorous distinctions among texts when discussing Baudelaire and Flaubert, and on the other hand scholars of Baudelaire and Flaubert have not consistently considered the relationship of individual texts to either writer's corpus. Furthermore, critical focus has been on the modernity of Les Fleurs du mal, Madame Bovary, and L'Education Sentimentale. Addressing these lacunae in scholarship, Mills puts forth the argument that Baudelaire's collection of prose poems, Le Spleen de Paris, and Flaubert's short, poetic tales, Trois contes, best embody the modern aesthetic that Baudelaire develops in Le Peintre de la vie moderne and that Flaubert elaborates in his correspondence. Formal Revolution places these relatively less well-known but last published works in relationship with the artistic goals of their authors, showing that Baudelaire and Flaubert were both acutely aware of the need to launch a new form of literature in order to literally "come to terms with" the dramatic changes transforming the nineteenth-century into the Modern Age. More specifically, Formal Revolution demonstrates that for Baudelaire and Flaubert the formal project of fusing prose with poetry--as poetic prose in the case of Flaubert, as poetry in prose in the case of Baudelaire--was crucial to their mission of "painting modern life." This work concludes that experimentation with literary form represents these two seminal writers' major legacy to modernity; suggests that the twentieth-century might have gone too far down that road; and speculates about the future direction of literature. The modernity of Baudelaire and Flaubert, still relevant today but often taken for granted, needs to be reexamined in light of the cultural, formal, and contextual considerations that inform Formal Revolution in the Work of Baudelaire and Flaubert.
Popular Bohemia
Author: Mary Gluck
Publisher: Harvard University Press
ISBN: 0674037677
Category : History
Languages : en
Pages : 239
Book Description
A radical reconceptualization of modernism, this book traces the appearance of the modern artist to the Paris of the 1830s and links the emergence of an enduring modernist aesthetic to the fleeting forms of popular culture. Contrary to conventional views of a private self retreating from history and modernity, Popular Bohemia shows us the modernist as a public persona parodying the stereotypes of commercial mass culture. Here we see how the modern artist—alternately assuming the roles of the melodramatic hero, the urban flâneur, the female hysteric, the tribal primitive—created his own version of an expressive, public modernity in opposition to an increasingly repressive and conformist bourgeois culture. And here we see how a specifically modern aesthetic culture in nineteenth-century Paris came about, not in opposition to commercial popular culture, but in close alliance with it. Popular Bohemia revises dominant historical narratives about modernism from the perspective of a theoretically informed cultural history that spans the period between 1830 and 1914. In doing so, it reconnects the intellectual history of avant-garde art with the cultural history of bohemia and the social history of the urban experience to reveal the circumstances in which a truly modernist culture emerged.
Publisher: Harvard University Press
ISBN: 0674037677
Category : History
Languages : en
Pages : 239
Book Description
A radical reconceptualization of modernism, this book traces the appearance of the modern artist to the Paris of the 1830s and links the emergence of an enduring modernist aesthetic to the fleeting forms of popular culture. Contrary to conventional views of a private self retreating from history and modernity, Popular Bohemia shows us the modernist as a public persona parodying the stereotypes of commercial mass culture. Here we see how the modern artist—alternately assuming the roles of the melodramatic hero, the urban flâneur, the female hysteric, the tribal primitive—created his own version of an expressive, public modernity in opposition to an increasingly repressive and conformist bourgeois culture. And here we see how a specifically modern aesthetic culture in nineteenth-century Paris came about, not in opposition to commercial popular culture, but in close alliance with it. Popular Bohemia revises dominant historical narratives about modernism from the perspective of a theoretically informed cultural history that spans the period between 1830 and 1914. In doing so, it reconnects the intellectual history of avant-garde art with the cultural history of bohemia and the social history of the urban experience to reveal the circumstances in which a truly modernist culture emerged.
The International Studio
Author: Charles Holme
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 794
Book Description
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 794
Book Description
Constantin Guys
Author: Karen W. Smith
Publisher: Museum
ISBN:
Category : Art
Languages : en
Pages : 98
Book Description
Publisher: Museum
ISBN:
Category : Art
Languages : en
Pages : 98
Book Description
The Studio
Author:
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 424
Book Description
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 424
Book Description
Bulletin
Author: Rhode Island School of Design
Publisher:
ISBN:
Category :
Languages : en
Pages : 302
Book Description
Publisher:
ISBN:
Category :
Languages : en
Pages : 302
Book Description
Arts & Decoration
Author:
Publisher:
ISBN:
Category : Architecture
Languages : en
Pages : 796
Book Description
Publisher:
ISBN:
Category : Architecture
Languages : en
Pages : 796
Book Description
Baudelaire and Photography
Author: Timothy Raser
Publisher: Routledge
ISBN: 1351574396
Category : Foreign Language Study
Languages : en
Pages : 132
Book Description
While Baudelaire's 'Le Peintre de la vie moderne' is often cited as the first expression of our theory of modernism, his choice of Constantin Guys as that painter has caused consternation from the moment of the essay's publication in 1863. Worse still, in his 'Salon de 1859', Baudelaire had also chosen to condemn photography in terms that echo to this day. Why did the excellent critic choose a mere reporter and illustrator as the painter of modern life? How could he have overlooked photography as the painting of modern life? In this study of modernity and photography in Baudelaire's writing, Timothy Raser, who has written on the art criticism of Baudelaire, Proust, Claudel and Sartre, shows how these two aberrations of critical judgment are related, and how they underlie current discussions of both photography and modernism. Timothy Raser is Professor of French at the University of Georgia (USA).
Publisher: Routledge
ISBN: 1351574396
Category : Foreign Language Study
Languages : en
Pages : 132
Book Description
While Baudelaire's 'Le Peintre de la vie moderne' is often cited as the first expression of our theory of modernism, his choice of Constantin Guys as that painter has caused consternation from the moment of the essay's publication in 1863. Worse still, in his 'Salon de 1859', Baudelaire had also chosen to condemn photography in terms that echo to this day. Why did the excellent critic choose a mere reporter and illustrator as the painter of modern life? How could he have overlooked photography as the painting of modern life? In this study of modernity and photography in Baudelaire's writing, Timothy Raser, who has written on the art criticism of Baudelaire, Proust, Claudel and Sartre, shows how these two aberrations of critical judgment are related, and how they underlie current discussions of both photography and modernism. Timothy Raser is Professor of French at the University of Georgia (USA).
Dandy
Author: Nigel Rodgers
Publisher: Bene Factum Publishing
ISBN: 190307147X
Category : History
Languages : en
Pages : 249
Book Description
A look at the phenomenon of the dandy from Regency England to the contemporary Congolese Sapeurs, with stops at Wodehouse, Wilde, Grant, and more The dandy is not just an elaborately or even well-dressed man, nor is he an exclusively English phenomenon. He is something far more universal and intriguing, and this study explores his cultural significance. It starts with Beau Brummell, acknowledged as the very first dandy, a man whose ancestors had been servants, yet who invented a new paradigm of courtesy, wit, independence, and elegance to lord over the aristocrats of England. Brummell died in exile, forgotten and impoverished—the best dandies often die in debt. But his image lived on, to haunt and inspire generations around the world, from the boulevards of Paris and St. Petersburg in the 1830s to the studios of Hollywood a century later. Byron, Disraeli, Bulwer, Pushkin, Chopin, Delacroix, Balzac, Baudelaire, Wilde, Proust, Boni de Castellane, Hugo von Hofmannstahl, Beerbohm, Noël Coward, Cary Grant, Fred Astaire, Vladimir Nabokov, Ortega y Gassett, Mikhael Bulgakov, Evelyn Waugh, Scott Fitzgerald, Tom Wolfe, Nick Foulkes—all were bedazzled by the image of the dandy.
Publisher: Bene Factum Publishing
ISBN: 190307147X
Category : History
Languages : en
Pages : 249
Book Description
A look at the phenomenon of the dandy from Regency England to the contemporary Congolese Sapeurs, with stops at Wodehouse, Wilde, Grant, and more The dandy is not just an elaborately or even well-dressed man, nor is he an exclusively English phenomenon. He is something far more universal and intriguing, and this study explores his cultural significance. It starts with Beau Brummell, acknowledged as the very first dandy, a man whose ancestors had been servants, yet who invented a new paradigm of courtesy, wit, independence, and elegance to lord over the aristocrats of England. Brummell died in exile, forgotten and impoverished—the best dandies often die in debt. But his image lived on, to haunt and inspire generations around the world, from the boulevards of Paris and St. Petersburg in the 1830s to the studios of Hollywood a century later. Byron, Disraeli, Bulwer, Pushkin, Chopin, Delacroix, Balzac, Baudelaire, Wilde, Proust, Boni de Castellane, Hugo von Hofmannstahl, Beerbohm, Noël Coward, Cary Grant, Fred Astaire, Vladimir Nabokov, Ortega y Gassett, Mikhael Bulgakov, Evelyn Waugh, Scott Fitzgerald, Tom Wolfe, Nick Foulkes—all were bedazzled by the image of the dandy.
Decadent Genealogies
Author: Barbara Spackman
Publisher: Cornell University Press
ISBN: 1501723316
Category : Literary Criticism
Languages : en
Pages : 226
Book Description
Barbara Spackman here examines the ways in which decadent writers adopted the language of physiological illness and alteration as a figure for psychic otherness. By means of an ideological and rhetorical analysis of scientific as well as literary texts, she shows how the rhetoric of sickness provided the male decadent writer with an alibi for the occupation and appropriation of the female body.
Publisher: Cornell University Press
ISBN: 1501723316
Category : Literary Criticism
Languages : en
Pages : 226
Book Description
Barbara Spackman here examines the ways in which decadent writers adopted the language of physiological illness and alteration as a figure for psychic otherness. By means of an ideological and rhetorical analysis of scientific as well as literary texts, she shows how the rhetoric of sickness provided the male decadent writer with an alibi for the occupation and appropriation of the female body.