Avec Charles Baudelaire, nous situons le texte poétique comme un lieu où se cristallise la mémoire collective puisqu’il a largement défini la relation de la postérité au souvenir, à la modernité et même à la ville. Dans la mémoire urbaine que nous héritons de son texte, Paris est ainsi transformé en un lieu de mémoire fictif, habité par des personnages de flâneurs. Ceux-ci, devenus à présent archétypaux, incarnent le spleen et décortiquent la société. En introduisant notre second poète, Stéphane Mallarmé, nous approchons le texte poétique comme le lieu où l’anxiété d’influence est dépassée, et où le disciple doit se libérer de la mémoire paralysante de son maître en démantelant la mémoire collective à laquelle il était sujet. Il laisse place à de nouvelles constructions du langage qui produit une mémoire individuelle différente. La mémoire est donc subvertie et constamment déplacée grâce à deux éléments majeurs qui définissent la poésie de Mallarmé : l’inachèvement et la fragmentation. / With Charles Baudelaire, we locate the poetic text as a place where collective memory is crystallized, as he largely defined the relationship of posterity to remembering, modernity, and even to the city. In the urban memory that we inherit from his text, Paris itself is at stake and becomes transformed into a fictional memory place, populated by now archetypal spleen-filled characters and melancholy flâneurs heading toward artificial paradises. In introducing our second poet, Stéphane Mallarmé, we approach the poetic text as the location where the anxiety of influence is worked through, where the disciple must liberate himself from the paralyzing memory of his master by dismantling the collective memory to which he had been subject. The latter now gives way to new constructions of language that bring about a different individual memory. Memory is therefore subverted and constantly displaced thanks to two major elements that define Mallarméen poetry: incompleteness and fragmentation.

Cette thèse envisage de regarder la poésie de Yahya Kemal qui a vécu pendant une période qui correspond au temps de l’écroulement de l’Empire ottoman et de la fondation de la République turque, à un moment où les problèmes de la modernisation, de l’identité occidentale et orientale occupent intensément le climat intellectuel turc, sous l’angle de la question de l’influence. Yahya Kemal est considéré, avec Ahmet Haşim, comme le fondateur de la poésie turque. La première partie de la thèse a pour objectif d’interpréter la modernité dans le cadre de la notion de ‘devenir’ avancée par Gilles Deleuze et Felix Guattari. Dans la deuxième partie, la position de Baudelaire en tant que fondateur de la poésie moderne occidentale est de nouveau traitée dans le cadre des notions mises en avant par Deleuze et Guattari. Ces concepts sont les suivants : ‘et’, ‘devenir’, ‘régime signifiant’, ‘régime postsignifiant’ et ‘synthèse disjonctive’. Dans cette partie, d’une part les reflets de l’approche critique de Baudelaire sur Yahya Kemal, et de l’autre le ‘devenir moderne’ de la poésie de Yahya Kemal sont traités en partant de certaines notions avancées pour définir la poésie moderne. Il s’agit du ‘lyrisme’, de l’‘obscurité’ et de l’‘intertextualité’. Ces notions vont montrer que le ‘devenir moderne’ de la poésie n’est pas indépendante de son ‘demeurer traditionnel’. En outre, l’interaction entre la poésie de Yahya Kemal et celle de l’autre fondateur de la poésie turque, Ahmet Haşim, est significative. La dernière partie de la thèse envisage une réflexion sur la façon dont l’influence de Baudelaire et celle de Nedîm se rejoignent, interagissent et jouent un rôle dans la construction de la poésie de Yahya Kemal. Cette partie vise à comprendre pourquoi Baudelaire et Nedîm se distinguent parmi les nombreux poètes ayant influencés Yahya Kemal. Pour conclure, la thèse veut accentuer que l’effort de Yahya Kemal afin de s’approprier les traditions poétiques occidentales et orientales l’installe à une position privilégiée par rapport aux poètes qui adoptent l’une ou l’autre de ces traditions. / This thesis aims to look at the poetry of Yahya Kemal who has lived at a period corresponding to the fall of the Ottoman Empire and to the fondation of the Turkish Republic, at a time when the problems of modernity, occidental and oriental identities intensely occupy the Turkish intellectual climate through the angle of influence. Yahya Kemal is considered to be, together with Ahmet Haşim, the founder of modern Turkish poetry. The first part of the thesis intends to interpret modernity from the viewpoint of the notion of ‘being’ (devenir) advanced by Gilles Deleuze and Felix Guattari. In the second part, the position of Baudelaire as the founder of modern occidental poetry is once again treated in the frame of certain notions put forward by Deleuze and Guattari. These notions are the following : ‘and’ (et), ‘being’ (devenir), ‘signifying regime’ (régime signifiant), ‘post-signifying regime’ (régime post-signifiant) and ‘disjunctive synthesis’ (synthèse disjonctive). In this part, first the reflections on Yahya Kemal of the critical approach of Baudelaire, and second, the ‘being modern’ of Yahya Kemal’s poetry are treated through certain notions put forward to define modern poetry. These are ‘lyricism’, ‘obscurity’ and ‘intertextuality’. These notions will show clearly that the ‘being modern’ of poetry is not independent of its ‘remaining traditional’. In addition, the interaction between Yahya Kemal’s poetry and Ahmet Haşim’s, the other founder of modern Turkish poetry, is significant. The last part of the thesis aims to understand how Baudelaire’s and Nedîm’s influences meet, interact and play a role in the construction Yahya Kemal’s poetry. This part tries to comprehend why Baudelaire and Nedîm come forward among the numerous poets having influenced Yahya Kemal. To conclude, the thesis wishes to emphasize that Yahya Kemal’s effort to appropriate both of the occidental and oriental poetic traditions puts him in a privileged position in comparision with poets adopting one or the other of these traditions.

The aim of this thesis is to look at the issue of the modern big city from the second half of the nineteenth century, when the knowledge of this new phenomenon began to form, to approximately first half of the twentieth century. The process of the development of the big city shall be studied by comparing two diverse urban areas: Prague and Paris. We shall focus mainly on two authors - Charles Baudelaire in the context of Paris, and Richard Weiner linking both Prague and Paris context in his work. The analysis of both authors shall be approached using scientific literature on literary image of the city. The city shall be looked as an ambivalent area that forms the existence of a modern human being fundamentally and that produces an entirely new type of experience and interpersonal relationships that need to be artistically expressed in a new way.

Vouée à la diffusion de la décadence littéraire, la fin du siècle s’est forgée une généalogie tutélaire. Par le biais des essais que Barbey d’Aurevilly, Théophile Gautier et Paul Bourget lui ont consacrés, Baudelaire est devenu le poète de la décadence. Mais alors que cette postérité décadente a suscité plusieurs études, il manquait un travail de synthèse sur le sens que le concept de décadence prend sous la plume de Baudelaire. Accusé de propager la décadence, le poète s’en est défendu, en appliquant cette même catégorie à l’idéologie du progrès, puis à l’« art philosophique ». Malgré cette ambiguïté constitutive, la décadence est aussi pour Baudelaire un objet de fascination : c’est ainsi qu’il l’allégorise à travers le couchant du soleil, source de poésie et image d’une civilisation vieillissante. Cette thèse se propose d’aller aux sources de la pensée de l’histoire de Baudelaire. Nous associons ensuite à l’hétérodoxie philosophique du poète un autre versant de la réflexion sur la décadence au XIXe siècle : imprégné de culture française, conforté par les critiques de son époque, Nietzsche élève Baudelaire au rang d’alter ego littéraire de Wagner, chez qui modernité et décadence s’amalgament. Tour à tour rapprochée du pessimisme et du nihilisme, profondément renouvelée, la décadence, loi fatale ou métaphysique, redécouvre ainsi toutes ses nuances. / The fin de siècle assured its own lasting genealogy by contributing to the diffusion of literary decadence. Through the essays that Barbey d’Aurevilly, Théophile Gautier and Paul Bourget devoted to him, Baudelaire became the poet of decadence. While this legacy of decadence gave rise to several studies, no work has exhaustively addressed the meaning that this concept takes on in Baudelaire’s works. Accused of propagating decadence, the poet attempted to defend himself by applying this aesthetic category to the ideology of progress and to « philosophical art ». Despite his constitutive ambiguity, decadence nonetheless fascinated Baudelaire. The poet allegorized decadence in the image of the sunset, which served both as a source of poetic inspiration and evoked an ageing civilization. This thesis proposes to trace the sources of Baudelaire’s historical thinking. It then attempts to associate another side of the reflection on decadence in the nineteenth century with the philosophical heterodoxy of the poet. Nietzsche, who was impregnated with French culture and supported by many critics of his time, elevated Baudelaire to the rank of a literary alter ego of Wagner, since like the composer, the poet brought together modernity and decadence. Reconciling with both pessimism and nihilism, the concept of decadence emerges as deeply renewed, a fatal or metaphysical law that exposes all of its nuances.

The purpose of this thesis is to consider the extent to which Edgar Allan Poe’s literary thought influenced Charles Baudelaire, Chapter one will explain when and how Baudelaire became acquainted with the works of the American writer. It will be seen that from his first readings of Poe, the Frenchman was profoundly moved; he felt that he had discovered a “frère spiritual." Baudelaire devoted almost seventeen years to the task of finding out all he could about Poe, writing articles about him and translating many of his works, the latter resulting in what is often considered to be one of the finest translations in literature. In chapter two it will be noted that there were many biographical affinities between the two writers, but that Baudelaire, in his articles on Poe, often emphasized the similarities and alluded only briefly to some of the basic differences. This can be explained by the fact that the French poet was determined that he and Poe should resemble each other. However, if the biographical similarities are often exaggerated by Baudelaire, the esthetic and artistic affinities offer a far more solid basis for comparison. Indeed, as chapter three will attempt to show, both poets shared many of the same precepts governing poetry, such as the ideal length of a poem, the role of music in verse, and the primordial importance of poetry in the life of man. Early critics tended to attribute these similarities to Poe's influence on Baudelaire. Nowadays, however, scholars tend more to ascribe this somewhat unique literary phenomenon to common influences working independently on the two poets. The general consensus is that Baudelaire's esthetic and artistic outlook was almost completely formed before he became acquainted with Poe's works. A chronological examination of some of the Frenchman's poems would appear to corroborate this theory. On the other hand, there are a number of poems which Baudelaire dedicated to a certain Madame Sabatier, in which may be seen ideas, images and even complete phrases which resemble Poe to such a degree that one is all but forced to conclude that they must result from Baudelaire's familiarity with the American's works. Chapter four discusses some of5ssthe more outstanding similarities which occur in this group, known as the "cycle de Madame Sabatier." In conclusion, it may be said that, with the exception of the Sabatier poems, Poe did not transform Baudelaire's fundamental literary outlook and added nothing to his genius. On the other hand, and of the utmost importance in a man of Baudelaire's somewhat unstable make-up, the Frenchman saw in his idol a kind of vindication of his own ideals and derived from him a certain faith in the value of his own genius. Approved as abstract: / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

This study examines the correlation between water imagery and the expression of Spleen and the Ideal, the two poles of the psychological struggle fundamental to Baudelaire's identity. We have determined that the poet's major published works contain three principal categories of water imagery: waterbodies; weather's elements; other liquids associated with Man, namely tears, blood and wine. Usually feminine in nature, the water in each of these groups is characterized by a Spleen/Ideal bipolarity, the extension of Baudelaire's psychological being. Aquatic manifestations of the Ideal inspire spiritual escapes from the horror of Spleen as the poet dreamily contemplates the Ideal realm. Such escapes are only brief, however, as the preponderance of spleenetic water imagery reveals. Water associated with the Ideal is a life giving force, whereas water associated with Spleen can only be a force of death. Its diverse forms and moods or characters make water a rich source of poetic images well suited to mirroring Baudelaire's continuous anguished struggle between Spleen and the Ideal. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Homère, Hérodote et Pline avaient déjà décrit les effets merveilleux de la drogue. Abordé par Rabelais, Mme de Sévigné et Chardin, le motif du stupéfiant dans la littérature a connu un âge d’or dès la première moitié du XIXe siècle. Poussés par une aspiration à fuir vers l’infini, sinon par une simple curiosité pour un univers inconnu, les écrivains romantiques se mettent à consommer de l’opium et du haschisch, et commencent à les introduire dans leurs œuvres comme motif littéraire dans des circonstances historiques et culturelles. La présente thèse analyse l’évolution de l’emploi littéraire de la drogue qui implique divers contextes, à savoir médical, social et anthropologique, au travers des textes de Rabbe, Musset, Balzac, Gautier, Dumas, Nerval et Baudelaire, et de certains phénomènes culturels tels que la légende de l’Ordre des Assassins et le club des haschischins à l’hôtel Pimodan. / Broached by Rabelais, Madame de Sévigné and Chardin, the motif of narcotics in literature enjoyed a golden age as early as the first half of the 19th Century, although Homer, Herodotus and Pliny had already described their wonderful effects. Driven by an aspiration to escape to the infinite, or by simple curiosity for an unknown universe, the Romantics started to consume opium and hashish, and started to introduce them into their work as a literary motif in historic and cultural circumstances. This thesis analyses the evolution of the use of drugs in literature, in a wide range of contexts, namely medical, social and anthropological, through the texts of Rabbe, Musset, Balzac, Gautier, Dumas, Nerval, and Baudelaire, and certain cultural phenomena such as the legend of the Order of Assassins and the club des Haschischins at hôtel Pimodan.

Baudelaire dedicou-se a Mon coeur mis à nu de 1859 a 1865. Tendo no horizonte as Confessions de Jean-Jacques Rousseau e o projeto nunca realizado My heart laid bare, de Edgar Allan Poe (de onde, aliás, o título Mon coeur mis à nu), Baudelaire tem consciência de que a realização do seu projeto não será fácil, expressando a dificuldade, e por vezes a própria sensação de impossibilidade, em muitas das suas cartas pessoais. Baudelaire morre em 1867, não concluindo o projeto. O que deixa são notas, planos de texto, parágrafos avulsos, trechos a serem incluídos em textos futuros, listas de assuntos a tratar. Poulet-Malassis, amigo e principal editor de Baudelaire, fica encarregado de ordenar e encadernar os manuscritos referentes a Mon coeur mis à nu. Já a primeira publicação integral ficará a cargo de Eugène Crépet, que escolhe chamar o texto, se é texto, de Journaux intimes, interpretando (erroneamente) um projeto literário, ou, em certo sentido, um texto literário em processo de escritura, como diário. No Brasil, dispomos de quatro (re)traduções: Meu coração desnudado (Nova Fronteira, 1981), de Aurélio Buarque de Holanda; Meu coração a nu (Nova Aguilar, 1995), de Fernando Guerreiro; Meu coração desnudado (Autêntica, 2009), de Tomaz Tadeu; e Diários íntimos (Caminho de Dentro, 2013), de Jonas Tenfen. Este trabalho tem como objetivo central a análise dessas (re)traduções. Pretende-se discutir ainda a noção de retradução nos estudos da tradução, percorrendo autores como Berman (1990), Gambier (1994; 2012), Ladmiral (2012) etc.; e revisar a crítica literária sobre Mon coeur mis à nu, buscando problematizar tanto a postura de enxergá-lo como diário íntimo quanto a tendência de encerrá-lo em uma poética do rascunho (DIDIER, 1973) relativamente estanque e estável. Compreendendo a retradução como um espaço ético (CARDOZO, 2007) de relações (tensas) entre modos de ler e dizer o texto, buscamos identificar as posturas tradutórias em jogo em cada (re)tradução brasileira, isto é, de que maneira entendem e dão a ver Mon coeur mis à nu no sistema literário brasileiro. Para isso, recorremos não somente às próprias (re)traduções, mas também ao material paratextual (RISTERUCCI-ROUDNICKY, 2008), lugares em que os tradutores apresentam mais explicitamente seus entendimentos não apenas do texto em tradução, mas do próprio ato tradutório. Identificando em Mon coeur mis à nu uma textualidade altamente movente, fundamentada em tensões insolúveis (projeto e obra; processo e texto), percebemos que as (re)traduções brasileiras atenuam, ou mesmo apagam, essas tensões, fazendo escolhas tradutórias e editoriais que homogeneízam o texto, suprimem suas variabilidades e virtualidades e inscrevem Mon coeur mis à nu na memória do diário íntimo, da escritura puramente confessional, cujo valor reside mais no pessoal do que nas suas tensões e contradições, latências e potencialidades. Apontamos, como desdobramento, a necessidade de uma (re)tradução brasileira que se baseie exatamente na dimensão processual e variável de Mon coeur mis à nu, não na busca de restituir um suposto processo cronológico, mas na tentativa de construir, via tradução, um espaço escritural (GALÍNDEZ-JORGE, 2009) em que o leitor possa ser confrontado exatamente com esse assombramento e com essa monstruosidade (GALÍNDEZ-JORGE, 2010) que estão (em latência) na base mesma de Mon coeur mis à nu. / Baudelaire dedicated himself to Mon coeur mis à nu from 1859 until 1865. With the horizons of Jean-Jacques Rousseaus Confessions and the always unconcluded Edgard Allan Poes project My heart laid bare (from where Mon coeur mis à nus title comes, by the way), Baudelaire is aware that the accomplishment of his own project will not be easy, and he expresses it, sometimes, by writing down the very sense of impossibility in many of his personal letters. Baudelaire dies in 1867, leaving his project unconcluded. What remains are notes, scraps, unattached paragraphs, sequences to be included in future texts, subject lists do be dealed with. Poulet-Malassis, Baudelaires friend and main editor, was in charge of giving order to and binding the manuscripts referring Mon coeur mis à nu. The first full edition, however, was treated by Eugène Crépet, that chooses to call the text, if so, Journaux intimes, interpreting (mistakenly) it as a literary project or, in a certain way, a literary text in progress of being written, like a journal. In Brazil, we are offered with four (re)translations: Meu coração desnudado (Nova Fronteira, 1981), by Aurélio Buarque de Holanda; Meu coração a nu (Nova Aguilar, 1995), by Fernando Guerreiro; Meu coração desnudado (Autêntica, 2009), by Tomaz Tadeu; and Diários íntimos (Caminho de Dentro, 2013), by Jonas Tenfen. The present work aims mainly to analyze these (re)translations. It is also intended to (a) discuss the notion of retranslation in translation studies, by means of authors such as Berman (1990), Gambier (1994; 2012), Ladmiral (2012) etc., and (b) to review the literary criticism on Mon coeur mis à nu, trying to question both the attitude of interpreting it as an intimate journal and the tendency to categorizing it definitely as a draft poetics (DIDIER, 1973), relatively impervious and stable. If retranslation is believed to be an ethical space (CARDOZO, 2007) of (tense) relations among ways of reading and saying the text, we seek to identify the translation attitudes at stake in each Brazilian (re)translation, that is, answering in which way they understand and reveal Mon coeur mis à nu at the Brazilian literary system. For this purpose, we employ not only (re)translations themselves, but also paratextual materials (RISTERUCCI-ROUDNICKY, 2008), places where translators present more explicitly their comprehension of the translation in progress, but also of the translational gesture itself. Identifying in Mon coeur mis à nu a highly moving textuality, based in unsolvable tensions (project and work; process and text), we do realize that Brazilian (re)translations mitigate, or even erase, these tensions, making translational and editorial choices that homogenize the text, suppress their variabilities and virtualities, and inscribe Mon coeur mis à nu in the memory of the intimate journals, of the purely confessional writings, whose value resides more in the personal aspect than in its tensions and contradictions, latencies and potentialities. As an unfolding of this analysis, we point out the need of a Brazilian (re)translation based exactly on the procedural and variable dimension of Mon coeur mis à nu, not in quest of restoring an allegedly chronological process, but as an attempt of building, through translation, a scriptural space (GALÍNDEZ-JORGE, 2009) in which the reader can be confronted precisely with this haunting and with this monstrosity (GALÍNDEZ-JORGE, 2010) that are (latently) in Mon coeur mis à nu basis itself.

Detta arbete handlar om Debussys sångsamling Cinq poèmes de Baudelaire; musik skriven i en omtumlande period då Debussy anammar det bohemiska pariserlivet. Han ville med detta verk glänsa med sin kompositionsteknik. Arbetet inkluderar en reflektion över sångernas uppbyggnad samt vad som inspirerat dessa; det utforskar även samtiden gällande kompositionen av sångerna. I studien användes François Lesures biografi Claude Debussy: A Critical Biography (2003) samt annan relevant litteratur. Under arbetets gång var syftet att leda fascinationen av verket till en förståelse och klarhet över dess plats i musikhistorien. Cinq poèmes de Baudelaire är sånger som kräver flera genomlyssningar för att begripa. Av denna anledning finns det en problematik i framförandet av sångerna som har varit värdefull att utforska. Framtida utövare av Debussys romansmusik kan få nytta av denna studie. Genom att följa processen, kan såväl pianister som sångare, finna inspiration till sin egen interpretation. / <p>Repertoar, inspelning finns bifogat:</p><p>Claude Debussy - Cinq Poèmes de Charles Baudelaire:</p><p>I. Le Balcon, II. Harmonie du Soir, III. Le Jet d’Eau, IV. Recueillement, V. La Mort des Amants </p><p>Eleonora Poignant - sopran</p><p>Mathilda Sidén Silvfer - mezzo-sopran</p><p>Astrid Banck Linderoth - sopran</p><p></p><p> </p>

This Diploma Thesis deals with the topic of the light and the soul in Charles Baudelaire and Otokar Březina in general. Then it concentrates on the particular motifs of the light and the soul and their metaphors. The main point of the Thesis is the poetic texts of both of the writers. The method used in this part is the literary and aesthetic analysis of the texts. Respect to the fact that it is focused on the comparative research, the following method used is the method of comparison which includes the charts with the frequency of the keywords in both of the authors and the enumerations which illustrate the issue of the present chapter. The aim of the Diploma Thesis is not only the comparison in the form and the interpretation but especially the determination of the similarities and the differences of the two poetic types within the framework of the present theme and the literary and historical context. Keywords Charles Baudelaire, Otokar Březina, metaphor, light, soul