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This dissertation, focusing on the Vers de circonstance, takes issue with traditional views on Stéphane Mallarmé's aesthetics and his positioning on the relation of art to society. Whereas Mallarmé has often been branded as an ivory-tower poet, invested solely in abstract ideals and removed from the masses, my research demonstrates his interest in concrete essences and the small events of the everyday. As such, the Vers de circonstance offer an exemplary entry point to understanding these poetic preoccupations as the poems of this collection are both characterized by their materiality and their celebration of ordinary festivities. Indeed, most of the poems either accompany or are directly written on objects that were offered as gifts on such occasions as birthdays, anniversaries or seasonal holidays. The omnipresence of objects and dates that can be referred back to real events displays Mallarmé's on-going questioning on the relation of art to reality. As I show, some of these interrogations rejoin the aesthetic preoccupations of the major artistic currents of the time, such as Impressionism in France and the Decorative Arts in England. These movements were defining new norms for the representation of reality in reaction to the changes of nineteenth century society. But as the genetic study of the Vers de circonstance reveals, along with the contextual framing and analysis of his other works, the occasional and the concept of the real play a fundamental role in his poetics at large. On the one hand, the aesthetic concept of the real allows him to draw the attention of his readers to the tension between the concreteness of reality with its elusiveness and ephemerality. On the other hand, the occasional is a way for Mallarmé to humanize the otherwise anonymous and impersonal quality of print. In an epoch when reality became mechanically reproducible and the distance between an author and its readers became increasingly distant and diffuse, the questions posed by Mallarmé on the relation of art to real objects, people and events were fundamental. As I conclude, therefore, the use of widely accessible quotidian objects, the mise en abyme of the visuality of writing, and Mallarmé's programmatic note to the reader to emulate his poetic project, all combine to validate his postulation of a new poetic art turned towards the everyday and his contemporaries.

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Dans sa thèse intitulée La présence de Mallarmé, Arild Michel Bakken interroge la présence de Mallarmé dans son œuvre. Contre l’idée dominante qui fait de Mallarmé le poète de l’absence, Bakken montre que la figure du poète est très présente dans le texte, et que c’est en réalité cette figure qui assure la cohérence de l’œuvre. Utilisant une méthode rhétorique centrée sur l’expérience du lecteur, la thèse montre comment Mallarmé se met en scène. La figure de l’auteur est bien ancrée dans la société de son temps, comme Français, comme petit-bourgeois, comme mari et père. Cette figure apparaît clairement comme une figure de poète, mais aussi comme « homme de lettres » et comme journaliste. La thèse montre aussi que le lecteur peut suivre la vie intérieure de la figure comme voyant et comme penseur. Même dans les textes les plus impersonnels, l’auteur n’est pas absent, mais assume la posture de la mystérieuse « Figure que Nul n’est », qui représente l’essence de la subjectivité humaine. Par la mise en scène de sa figure dans l’œuvre, Mallarmé cherche à séduire le lecteur, à obtenir une « gloire », à conférer à son œuvre une valeur. La figure de l’auteur, son ethos, est aussi un moyen efficace pour transmettre les valeurs du poète, sa vision du monde. Mais la vision du monde qui apparaît chez Mallarmé est constamment minée par l’ironie du poète, qui est le trait le plus caractéristique de sa présence. / In his doctoral thesis La présence de Mallarmé, Arild Michel Bakken investigates Mallarmé’s presence in his work. Against the common view of Mallarmé as the poet of absence, Bakken shows that the figure of the poet is very present in the text, and that this figure is in fact what gives the work its unity. Through a rhetorical method focused on the reader’s experience, Bakken shows how Mallarmé stages himself throughout the work. The figure of the author is anchored in the society of his time, as a Frenchman, as a petit-bourgeois, as a father and a husband. It is clearly a poet figure, but also an “homme de lettres” and a journalist. The thesis also shows that the reader can follow the inner life of the figure, as a seer and as a thinker. Even in the most impersonal texts, the author is not absent, but adopts the posture of the mysterious “Figure that No One is”, representing the essence of human subjectivity. Through the staging of his figure in the work, Mallarmé seeks to seduce the reader, to obtain “glory”, to give his work value. It is also an effective instrument for transmitting the poet’s values, his world view. But the world view which appears in Mallarmé’s work is constantly undermined by the poet’s irony, which is the most characteristic feature of his presence.