This dissertation is devoted to an exploration of Baudelaire's correspondence from the sociopoetic perspective. Elements of form or style in the poet's letters, their unique pragmatics and social dimensions, are primary targets of inquiry. For Baudelaire, as for any epistolier, the writing of letters rests on the author's specific education, the traditions of his time, his philosophy, imagination and economic situation. As it is only through these different "filters" that Baudelaire's particular letter writing can be understood, the first part of this dissertation summarizes the main aspects of the socio-cultural history of epistolary practice in the nineteenth century. The second part focuses on the commerce of letters, what can be called the "economy" of Baudelaire's correspondence, wherein the letter is considered as an object of discourse. This section, which aims throughout to study how Baudelaire understood, considered and managed his own correspondence, also permits a close examination of the characteristic brevity of many of his letters. Without the self-indulgence of a diary, Baudelaire's correspondence is nevertheless related to this genre by the level of introspection it contains. Throughout his letters, for himself and the "Other", Baudelaire was preoccupied with defining his identity; increasingly this effort was concentrated on the creation of a persona, that of the Poet. The third and last part of this dissertation explores the staging and textualization of this ideal self.

The narratives of Flaubert usually begin with the creation of a closed setting, geographically or architecturally contained, that the observer perceives as a theatrical stage. In fact, the staging of space and sets plays such an important role in the narration that it is possible to read the novels as scenographies. Flaubert's tendency to treat life events as tableaux and space as a performing area is already at work in his travel notes and in the Carnets de travail, and he makes a systematic use of this vision in the elaboration of his novels. By showing only what is visible and by creating different spaces for action and observation, Flaubert equates space in the novel with the space of a play. The scenography of the sets as well as the way characters stage their own environment also contribute to this theatrical representation. By representing reality as a staged creation, without an omniscient narrator, scenography can be defined as both a narrative device and a narrative object.

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Th.--Hist.--Helsinki, 1967. / Bibliogr. p. 297-313. Index.

Thomas A. Kochan and John Chalykoff. / Bibliography: p. 36-41.

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