Academisch proefschrift--Amsterdam, 1988. / Bibliogr. p. 157-165.

No description available.

Pierre Reverdy (1889-1960) é considerado um dos principais poetas franceses do século XX, apesar de ser pouco estudado no Brasil. O poeta idealizou e criou a revista literária Nord-Sud (1917-1918), publicando os artigos Sur le Cubisme, LImage, LÉmotion e Essai desthétique littéraire com os principais conceitos de sua reflexão estética. Neste trabalho, analisaremos alguns poemas em prosa da obra Poèmes en Prose (1915), buscando compreender a relação entre os conceitos estudados por Reverdy (imagem, criação, emoção) e a construção dos poemas, destacando os elementos que atormentam e aprisionam o sujeito, assim como as contradições e oposições semânticas e estruturais. Dessa forma, verificaremos também a contribuição de Pierre Reverdy para o gênero poema em prosa. / Pierre Reverdy (1889-1960) is consedered one of the most important French poets of the 20 century, although in Brazil, he is little studied. The poet idealized and founded the literary magazine Nord-Sud (1917-1918), publishing the articles Sur le Cubisme, LImage, lÉmotion and Essai desthétique littéraireusing the fundamental concepts of his esthetics reflexions. In this paper, we will analyze some poems in prose of his work Poèmes en Prose (1915), trying to understand the relationship between the concepts studied by the poet (image, creation, emotion), and the construction of the poems. We will detach the elements and images which contribute to the themes tantalizing and imprisionment of the subject, in addiction to the semantics and structural contractidions and oppositions. In this way, we will also check Pierre Reverdys contribution to the poem in prose genre.

Pierre Reverdy (1889-1960) é considerado um dos principais poetas franceses do século XX, apesar de ser pouco estudado no Brasil. O poeta idealizou e criou a revista literária Nord-Sud (1917-1918), publicando os artigos Sur le Cubisme, LImage, LÉmotion e Essai desthétique littéraire com os principais conceitos de sua reflexão estética. Neste trabalho, analisaremos alguns poemas em prosa da obra Poèmes en Prose (1915), buscando compreender a relação entre os conceitos estudados por Reverdy (imagem, criação, emoção) e a construção dos poemas, destacando os elementos que atormentam e aprisionam o sujeito, assim como as contradições e oposições semânticas e estruturais. Dessa forma, verificaremos também a contribuição de Pierre Reverdy para o gênero poema em prosa. / Pierre Reverdy (1889-1960) is consedered one of the most important French poets of the 20 century, although in Brazil, he is little studied. The poet idealized and founded the literary magazine Nord-Sud (1917-1918), publishing the articles Sur le Cubisme, LImage, lÉmotion and Essai desthétique littéraireusing the fundamental concepts of his esthetics reflexions. In this paper, we will analyze some poems in prose of his work Poèmes en Prose (1915), trying to understand the relationship between the concepts studied by the poet (image, creation, emotion), and the construction of the poems. We will detach the elements and images which contribute to the themes tantalizing and imprisionment of the subject, in addiction to the semantics and structural contractidions and oppositions. In this way, we will also check Pierre Reverdys contribution to the poem in prose genre.

Dans la poésie et dans les théories poétiques et esthétiques d’Apollinaire, de Cendrars et de Reverdy, entre « Pâques à New York », « Zone » en 1912, et Le Manifeste du surréalisme de Breton en 1924, une fracture apparaît au niveau de la forme. Liée forcément à l’abandon de la mimèsis en tant qu’imitation de la réalité, cette nouvelle poétique se veut rupture nette avec le réalisme, mais rejoint également des conceptions vitalistes de la pensée de Nietzsche et de Whitman, et à travers une nouvelle poétique de l’image et du langage poétiques, dont l’ambition est paradoxalement de réinventer le « réalisme » dans la poésie par « rapprochement des réalités éloignées » (Reverdy). Ce sont notamment des dispositifs de la « poésie visuelle » qui produisent des effets au niveau de la lecture en tant qu’expérience et expérimentation à la fois. Quels sont les enjeux de cette « poétique de la réalité » ou de ce « lyrisme du réel » et sa place dans la modernité poétique ? Les expériences et expérimentations du corpus, lesquelles se caractérisent par la fracture des formes, et utilisation des fragments « bruts », des éléments de réalité, sont étudiés avec une approche phénoménologique, mais dans une perspective essentiellement esthétique. Le mérite de la phénoménologie merleau-pontyienne est de mettre en valeur les aspects corporaux de la perception, et c’est exactement dans ce sens-là que toutes ces expérimentations représentent des stratégies poétiques d’immersion du lecteur dans l’expérience esthétique et des dispositifs d’une réception corporelle qui est « instinctive », c'est-à-dire « pré-linguistique » et, selon l’expression de Merleau-Ponty, « pré-objective », concernant ainsi également l’invention linguistique, c'est-à-dire la poésie en tant que « parole parlante ». / In the poetry and in the poetic and esthetic theories of Apollinaire, Cendrars and Reverdy, between « Pâques à New York » and « Zone » in 1912, and Le Manifeste du surréalisme by Breton in 1924, fracture determines poetic forms. Evidently connected to the abandonment of mimesis as imitation of reality, this new poetic tendency wants clean break with realism, but also rejoins the vitalist conceptions of Nietzsche and Whitman, through a new conception of poetic image and language, with a seemingly paradoxical ambition to reinvent « realism » in poetry by “bringing together distant realities” (Reverdy). Particularly the devices of “visual poetry” produce certain effects in the act of reading as an experience and experimentation both. What are the challenges of these "poetics of reality" or of this “lyricism of the real” and their place within modern poetry in general ? These experiences and experiments of the poetry, characterized by fracture of forms, and usage of “raw” fragments, elements of reality, are studied here with a phenomenological approach, but from an essentially aesthetic point of view. The merit of the phenomenology of Merleau-Ponty is that it highlights the corporal aspects of perception, and it’s exactly in that sense that all these experiments represent poetic strategies of immersing the reader in the aesthetic experience and devices of corporeal reception which tends to be more « instinctive », even « pre-linguistic », and according to the expression of Merleau-Ponty, « pre-objective », thus concerning also the invention of language, and poetry as “parole parlante”.

No description available.

No description available.

博士(芸術学) / Doctor of Philosophy in Art Theory / 同志社大学 / Doshisha University

This thesis aims to provide the first complete study of the poetics of Pierre Reverdy, who, although famous and influential during his lifetime, has not been widely published or researched. This thesis hopes to change this, as his complete works are just now being republished. The first chapter lays the basis for his conception of reality as something in which man is trapped, and which calls for a distance that, in Reverdy's eyes, only poetry can offer. His association of the image and lyricism, is presented and analysed. The second chapter aims to provide a linguistic understanding of the poetic image called for and devises the new concept of “illumination”, to give an account of the phenomenon at work in his verse. The third chapter focuses on lyricism, as Reverdy tries to reinvent it for the twentieth century: independent of the self, dealing only with expressing the affective tonalities of the poet and acting as a catalyst for the image. The last chapter defines the visual qualities of Reverdy's poetry by first re-examining the title of cubist poet that had been attached to him, before focussing on the many forms that the image takes in his work (imagery, but also typography, mental imagery), and finally providing the first analysis of the relationship between paintings and poems in the famous Livres d'artistes that the poet created, in collaboration with Picasso, Matisse, Juan Gris and others. It establishes that while the poems can indeed be read without the illustrations with which they were conceived, these editions deprive the reader of the opportunity to remind himself that poetry is an experience rather than a quest for meaning and also of an introduction to the unique visual qualities of Reverdy's poetry.

Le concept de lieu intéresse l’analyse littéraire non seulement dans une acception thématique mais aussi en ce qu’il traduit et symbolise la relation du sujet lyrique au monde et au langage, que l’œuvre de Reverdy reconstruit de manière originale. On se propose, dans une première partie, de décrire la structuration du monde imaginaire de Reverdy, ce paysage — au sens où le définit Michel Collot — que son œuvre instaure, construit, recompose. S’il est riche de lieux qui se distribuent de manière polysémique, il rend également compte d’une expérience originale de l’existence, en traduit les données les plus personnelles, celles d’un « je » poétique immergé dans un monde qu’il recompose par des lois imaginaires et dont il éprouve l’instabilité essentielle. Ce monde éminemment subjectif — nous sommes, rappelle Jean-Pierre Richard, « en poésie » — et par là-même lacunaire et mouvant, présuppose une place du sujet ancré au monde, et donc lieu exclu du monde tel un point aveugle. Une seconde partie étudie le travail de l’écriture poétique reverdyenne qui conteste et subvertit cette relation. Sous l’influence du cubisme, elle entre en lutte contre l’unité/unicité d’un sujet dont elle mine la vérité, détruit la cohésion, dont elle rêve la diffraction et la dispersion dans un paysage qu’elle investit de manière massive, jusqu’à l’y confondre. L’écriture poétique est donc un moyen privilégié de repenser le lieu, ce Dasein qui concrétise l’existence, et apparaît ainsi comme un lieu de nouage, de fusion, un carrefour où sujet et monde imaginaires se constituent en un lieu de l’œuvre, véritable figure du sujet lyrique, territoire au sens où l’entend Jean-Marie Gleize et dont une troisième partie expose l’essence. C’est là l’occasion de comprendre comment fonctionne l’écriture reverdyenne, quelles sont les grandes forces de l’imaginaire qui s’y met en œuvre, pour en tirer des conclusions sur sa spécificité. / The concept of place is of special interest for literary analysis not only thematically but also in so far as it translates and symbolizes the relation of the lyrical subject to the world and to language, which is reconstructed by Reverdy’s literary work in an original way. The first part of this thesis is devoted to the structuration of Reverdy’s imaginary world, this landscape — as defined by Michel Collot — elaborated, built and recombined. This landscape, made of polysemous places, also translates an original existential experiment, through most personal data, the data of a poetical « I » submerged in a reconstructed world based on imaginary laws and experienced by the author as essentially unstable. This extremely subjective world — we are, as Jean-Pierre Richard reminds us, « in poesy » — thus on a land of gap and constant change, is based on the principle of a subject rooted in the world and thus a place excluded from the world like a blind spot. The second part studies the work of the Reverdian poetic writing that rejects and subverts this relation. Under the spell of Cubism, it fights against the unity/uniqueness of a subject by distorting reality, destructing coherence and dreaming of its diffraction and blurring into a landscape it massively invests in, till melting. Poetic writing is thus a privileged way of rethinking the concept of place, this Dasein materializing existence, and is revealed as a place of binding, of fusion, a crossroad where the subject and the imaginary world are intertwined in a place of the work, true self of the lyrical subject, territory as defined by Jean-Marie Gleize and whose third part presents the essence. We have the opportunity to understand the way the Reverdian writing works, the great forces of the imagination at work in it, so as to be able to conclude on its specificity.