Documents found
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9901.
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9904.More information
Keywords: Tricoire Raymonde, Occitan, Ariège, Vingtième siècle, Littérature, Seconde Guerre mondiale, Revues
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9905.More information
Keywords: Rites mortuaires, Balafon, Chants traditionnels funèbres, Balafon
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9906.More information
The first composed collection of poetry to be printed in France remains a paradoxically unknown masterpiece in that we read it in a highly altered form which destroys the integrity and alters the meaning of the original work. A close examination of the original Adolescence Clementine reveals a coherence never to be equaled, and a promise never to be fulfilled, in any subsequent work by Marot.
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9907.More information
AbstractBiblical poetry experienced a revival in France in the years 1830-1840. During these same years, “prose poetry” brought about the crystallization of the “petit poème en prose” (small prose poem), as Nathalie Vincent-Munnia has shown in her work Premiers poèmes en prose. These two trends converged and gave rise to the “poème en prose biblique” (biblical prose poem). Christian Leroy in his La poésie en prose française du XVIIe siècle à nos jours has discussed the simplicity of such a style of biblical prose since Telemaque. The importance of Leroy's study stems from its focus on the “verset” as a possible “poème en prose” form both within the biblical prose poem tradition and from the vantage point of recent scolarship on the small prose poem. In this context, can one argue that the “verset” has managed to impose itself as the structure of a new type of poem ? Or is its use to be understood necessarily within the context of the “grand poème” tradition ? Could it be argued that its origins inevitably lend it an ethical connotation associated with polemical and political aims ? A quest for the “verset” is undertaken in the 1830's. In practice, the “verset” is defined, on the one hand, by parallelism in biblical pastiches, and on the other hand, by a rhythm inherited from poetical prose, in works that infuse it, however, with didactical considerations. In literary criticism, the “verset” is invoked as a category designed to highlight a new type of “small prose poem”. Labelled as a concise rhythmic structure, the “verset” would depend on the evolution of higher-level genres for its consecration.
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9908.More information
A focus on rhythm in recent theory may respond to the loss of the "real" in postmodern, radical constructionism. But Kristeva and Meschonnic, redefining; rhythm by connecting it to, subjectivity and discourse, repeat the loss of the real body and the modernist loss of poetry's difference from prose. Rather, keeping the traditional, musical meaning of "rhythm", we can rediscover rhythm both in poetry and in political life. Rhythm is the nonmeaning element in language, creating a community while effacing normal meaning, individual subjectivity, hierarchies, and prejudice. Poetry "bridges" (as pontifex) the gap between meaning and rhythm, if it is read as an allegory for ecstatic power of rhythm, and thus of the impossible effort of language to represent its rhythmic source as exemplified in a reading of a Wallace Stevens lyric.