Documents found
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221.More information
If mimetic space in poetry is caracterized by a specific organization of meaning, it is not only related to lived space, which guarantees the many possibilities of reading, but also to poetic space, that is governed by the configuration of interpretation and is leading to the general signification. The analysis of Maeterlinck's Serres chaudes confirms these relations between mimetic space, that is based on the opposition of inside and outside, lived space, resulting from the " displacement of everything ", and poetic space, that extends the figurativisation of " the contrasting " to a specific double hermeneutic configuration.
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222.More information
Le fumier, the second instalment from Saint-Pol-Roux's dramatic trilogy Les grands de la Terre, was published in La revue blanche between May and August of 1894. The anarchist attacks of the two previous years had given rise to literary voices set out to castigate social structures with poetry, with La revue blanche even publishing a scene from Tête d'Or in May of 1895. Why poetry ? Because neither Saint-Pol-Roux nor Claudel would give in to argumentative plays. The allegorical Les grands de la Terre, dedicated to Henry de Groux and subtitled “fresques”, depicts the revolt of the poor. Yet, allegory is also a strategic ploy. Its publication in the quietly pro-anarchist La revue blanche requires that Le fumier be read in context with other published writings of the day, the obvious yet unscripted anarchist undertones of which were expressed through the infinitely equivocal tool that is allegory. From this standpoint, the allegory-driven poetic encryption in Le fumier would make a political weapon of such a tool.
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227.More information
Although it may seem paradoxical to mention manifestoes given today's disintegration of artistic activities and movements, there was a late twentieth century return to the genre that paralleled a “crisis in contemporary art”. To wit, art critic Nicolas Bourriaud published Esthétique relationnelle in 1995, a book outlining a new theory based on a wide selection of stylistically and topically diverse previous works. While its theoretical approach links the book to the “avant-garde” manifesto, Bourriaud's quasi-sociological slant and his reliance on a legacy contrast with the polemical tone and the “tabula rasa” that characterise the “avant-garde”. Changes in the historical context can explain that important difference: in today's global village, contemporary artists create new forms of engagement and utopias far removed from their elders', thereby changing the modalities and finalities of the manifesto.
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228.More information
The proliferation of literary prizes has had as much impact on literature as it has had on the section for young readers, but for different reasons. In the case of the former, it seems as if the creation of new prizes may have been in response to recurrent crises in this venerable institution over more than a century. In the case of the latter, the number of prizes for children's books has increased though no such crisis has occurred. Far from the heightened mediatisation of literary prizes corrupted by an arbitrary and commercialized selection process, children's book prizes that are less renown require a more profound mediation process in order to make an effective contribution to the discovery of literature by young people. Prizes for children's books encourage reading, discussions, debates and encounters with authors. Therefore, the processes they put in place are more interesting than their results, that is to say they are significant because their main interest is the way children choose their favourite books rather than because they announce a list of prize-winners.
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