Stéphane Mallarmé, 1842-1897, was driven by a yearning for the ideal, and felt an immense despair when his human attempts to reach up to it, through his poetry, fell far too short. The void (le Néant) into which he fell is the subject of the present study. Sources used were the writer's poetry, as well as all critical works which seemed pertinent to the study of this poet whose symbolism is so wonderfully and yet frighteningly deep and meaningful.

The relationship between music and poetry dramatically changed in France during the nineteenth century.  Music took a prominent place in artistic life, and certain figures of the era argued for its superiority over poetry.  Richard Wagner convinced many artists of the time of the need to subsume poetry into music for the sake of creating a Gesamtkunstwerk, or a total work of art.  The result of this dialogue can best be examined by studying the relationship between the composer Claude Debussy and the poet Stéphane Mallarmé.  In response to the challenge issued by Wagner, Mallarmé argued strongly for the place of poetry.  Though he argued against Wagnerism specifically, Mallarmé admired the expressive capabilities of music, which is a constant presence in his poetry.  Debussy found his greatest source of inspiration from the poets of Mallarmé's generation.  Rather than following the example of Wagner and other Romantic-era composers, Debussy saw poets as the avant-garde, and sought to capture their poetry in his music.   Both of these figures, inspired by the relationship between music and poetry, produced very forward-thinking works, and serve as transitional figures for their respective arts.  Each using techniques inspired by the other\'s art, Debussy and Mallarmé both make use of non-traditional forms, a sense of movement, and a profound use of silence in order to best express the Ideal. / Master of Arts

Submitted by Thaís de Souza Almeida null (thaisalmeida_unesp@yahoo.com.br) on 2017-07-13T04:17:28Z No. of bitstreams: 1 Dissertação - Thais de Souza Almeida.pdf: 1574627 bytes, checksum: 40886a2966bfc7063f0acaa5646cc8a2 (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-07-14T17:51:52Z (GMT) No. of bitstreams: 1 almeida_ts_me_arafcl.pdf: 1574627 bytes, checksum: 40886a2966bfc7063f0acaa5646cc8a2 (MD5) / Made available in DSpace on 2017-07-14T17:51:52Z (GMT). No. of bitstreams: 1 almeida_ts_me_arafcl.pdf: 1574627 bytes, checksum: 40886a2966bfc7063f0acaa5646cc8a2 (MD5) Previous issue date: 2017-05-29 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / A retomada do mito bíblico de Salomé, retratado primeiramente nos evangelhos de S. Marcos e S. Mateus, fez escola no movimento simbolista francês. Salomé, que até então havia sido apresentada como mero apêndice de sua mãe, Herodíade, aparece, no final do século XIX, como a grande personificação da anima perversa, assumindo o papel que outrora pertencera a Cleópatra e Helena. O mito trata da história de Salomé, princesa da Judeia, que, sob a influência de sua mãe, realiza a dança dos sete véus para seu padrasto e, como prêmio pelo espetáculo voluptuoso, recebe a cabeça do profeta João Batista. Retratada pelos artistas de diversas vertentes da arte, essa Salomé remodelada vem representar a essência própria do movimento simbolista – a transgressão da linguagem, da temática e da atitude do poeta com relação à produção artística –, bem como a de seus poetas (e artistas) malditos, que se vêem marginalizados por uma sociedade opressora e utilitarista, e que, fazendo justiça à princesa, fazem justiça à própria classe. Assim, com a princesa-odalisca Salomé, o simbolismo afirma sua postura combativa, de luta pela libertação da poesia e da arte. Neste trabalho, pretende-se analisar e comparar as obras Salomé (1891), drama de Oscar Wilde (1854 – 1900), e Hérodiade (1864 – 1898), poema de Stéphane Mallarmé (1842 – 1898), com a finalidade de verificar se existem e quais seriam as confluências – e mesmo influências – entre as duas produções, visto que ambas foram idealizadas na mesma época e cenário – o simbolismo francês, no final do século XIX. A importância das duas obras para a arte moderna é incontestável: com Hérodiade – que, embora carregue em seu título o nome da mãe por questões sonoras, trata, na verdade, de Salomé –, vemos surgir em uma obra que transcende o episódio sanguinário da decapitação do profeta João Batista, para se debruçar sobre a imagem da princesa virginal submersa em ennui, que, em suas próprias palavras, “não quer nada de humano” e que almeja até o último e imaculado fio de seus cabelos a sua “desconcretização” enquanto ser desse mundo, na busca incessante pela Pureza. Já em Salomé, deparamo-nos com aquela que se tornou a versão “eleita” do mito, e que povoou o imaginário de diversos artistas do século XX, desde compositores até diretores cinematográficos. Em Wilde, à dança dos sete véus e à decapitação do profeta, segue-se uma dose fatal de loucura, que conduz a princesa a uma morte sanguinária. O fio condutor de ambas as produções parece culminar naquilo que Balakian (2000, p. 65) classificou como “narcisismo obsessivo, não-recompensador, porque não tem saída” ao tratar da obra mallarmeana: em Hérodiade, a autocontemplação leva a princesa à solidão, ao ennui e ao desejo de evasão do mundo; em Wilde, a autocontemplação conduz ao caminho da loucura e, em seguida, da morte. Em ambas, portanto, e cada uma a seu modo, o leitor se depara com a estéril (auto)contemplação. Seja por meio da Salomé wildeana - sanguinária, apaixonada, delirante - ou mallarmeana – pura, virginal, ennuyée – essas duas representações da princesa-odalisca se debruçaram fatalmente sobre a estéril contemplação – contemplação vã de sua própria beleza ou da beleza do outro – e, de maneira magnânima, unem-se ao sem-número de obras dedicadas à musa absoluta, topus do fin-de-siècle. / The resumption of the biblical myth of Salome, first portrayed in the Gospels of St. Mark and St. Matthew, became a school in the French symbolist movement. Salome, who has been presented as a mere appendage of his mother, Herodias, appears, at the end of the nineteenth century, as a great personification of perverse anima, assuming the role that once belonged to Cleopatra and Helen. The myth deals with the story of Salome, Princess of Judea, who, under the influence of her mother, performs a dance of the seven veils for her stepfather, and, as a reward for the voluptuous spectacle, receives the head of the prophet John the Baptist. Portrayed by artists of all segments of art, this remodeled Salome represents the essence of the symbolist movement itself – with the transgression of the poetic language, theme and attitude of the contemporary artistic productions – as well as his maudits poets (and artists). They are marginalized by an oppressive and utilitarian society, and that, by doing justice to the princess, they do justice to their own class. Thus, with a Princess-Odalisque Salome, symbolism affirms its combative stance, of struggle for the liberation of poetry and art. In this work, we intend to analyze and compare the works Salomé, drama in one act by Oscar Wilde, and Hérodiade, dramatic poem by Stéphane Mallarmé, in order to verify if there are and which would be the confluences – and even influences – between the two productions, whereas they were both idealized at the same period and scenario: the French symbolism, at the end of the nineteenth century. The importance of these two works for the modern art is unquestionable: with Hérodiade – who is actually Salomé, although bears his title from the mother's name on account of the sonority – we see the ontological mallarmean scheme emerging, one of the most important precursors of modern poetry, in a work that transcends the epithet of the bloody beheading of the prophet John the Baptist, to dwell on the image of the virgin princess submerged in ennui, who, in her own words, “doesn't want anything human”, and who longs until the last and unblemished thread of his hair to unconcretize herself while a human being in the pursuit of Purity. Meanwhile in Salomé, we came across the one that became the "elected" version of the myth, and that populated the imaginary of several artists of the twentieth century, from composers to cinematographic directors. In Wilde, to the dance of the seven veils and to the beheading of the prophet, follows a fatal dose of madness, leading a princess to a bloodthirsty death. The leading thread of both productions seems to culminate in that Balakian (2000, p. 65) classified as "obsessive, non-rewarding narcissism, because it has no way out", in relation to the mallarmean work: in Hérodiade, the self-contemplation leads the princess to solitude, to the boredom and the desire to evasion the world ; In Wilde, (self) contemplation leads to the way of madness and death. In both, therefore, and in each in its own way, we are faced with sterile (self) contemplation. Be it trhough Wilde's bloody, passionate, delirious Salomé, or Mallarmé's pure, virginal, ennuyée Hérodiade, these two representations of the princess fatally leaned on a barren contemplation – vain contemplation of their own beauty, or of beauty of other – and, magnanimously, join the countless works dedicated to the absolute muse, topus of the fin-de-siècle.

A presente pesquisa é dedicada à poesia do simbolista português Camilo Pessanha, tendo em vista sua relação com a dos autores franceses Paul Verlaine e Stéphane Mallarmé, na tentativa de mostrar que Pessanha em muito supera a imagem de Verlaine Português, ao propor uma obra inovadora e fragmentária, que em alguns aspectos aproxima-se da escrita mallarmeana, preservando, no entanto, toda sua identidade e originalidade. Para tanto, atentou-se aos princípios formais da poética simbolista presentes na obra de cada um dos três, notadamente à sonoridade utilizada como forma de sugestão. Do mesmo modo, foi examinado como o uso de sintaxe truncada em poemas fragmentários pode favorecer os efeitos musicais e plásticos do texto também no sentido de suscitar e evocar imagens. Além disso, buscou-se identificar temas e símbolos comuns ao Simbolismo para verificar como cada um deles desenvolve tais aspectos em suas composições poéticas. A partir das semelhanças, dissonâncias e especificidades entre a poética desses três autores, tentou-se, pois, estabelecer pontos de contato entre a obra de Camilo Pessanha e as de Paul Verlaine e de Stéphane Mallarmé. Estudou-se também o lugar de Camilo Pessanha no movimento simbolista português, uma vez que foi, dentre os portugueses, aquele que mais se aproximou do Simbolismo parisiense, a despeito de muito pouco ter vivido em Portugal. Por fim, pretendeu-se destacar a grande importância destes três poetas para o desenvolvimento daquilo que se convencionou chamar de modernidade lírica. / The present research studies the poetry from the Portuguese symbolist poet Camilo Pessanha, considering his relation with the French authors Paul Verlaine and Stéphane Mallarmé, aiming to display that Pessanha surpasses by far the \"Portuguese Verlaine\" image, by proposing an innovative and fragmentary writing, which in some aspects nears mallarmean writing, although preserving his entire identity and originality. To that end, the formal principles from the symbolist poetic found in the works of the three aforementioned poets were observed, especially sonority as means of suggestion. Moreover, it was analyzed how the use of intricate syntax in fragmentary poems can assist the musical and pictorial effects of the poem to evoke images. It is expected to disclosure the similarities, dissonances and specificities between the poetic of the aforementioned authors, in an attempt to establish contact points between the Camilo Pessanhas writing and the poetics of Paul Verlaine and Stéphane Mallarmé. Camilo Pessanhas place in the Portuguese symbolist movement was also studied, considering that he was, among the Portuguese poets, the one who neared the Parisian symbolism the most, though he did not live much in Portugal. Finally, it was intended to highlight the great importance from these three poets to the development of what we stipulated to name the lyrical modernity.

A presente pesquisa é dedicada à poesia do simbolista português Camilo Pessanha, tendo em vista sua relação com a dos autores franceses Paul Verlaine e Stéphane Mallarmé, na tentativa de mostrar que Pessanha em muito supera a imagem de Verlaine Português, ao propor uma obra inovadora e fragmentária, que em alguns aspectos aproxima-se da escrita mallarmeana, preservando, no entanto, toda sua identidade e originalidade. Para tanto, atentou-se aos princípios formais da poética simbolista presentes na obra de cada um dos três, notadamente à sonoridade utilizada como forma de sugestão. Do mesmo modo, foi examinado como o uso de sintaxe truncada em poemas fragmentários pode favorecer os efeitos musicais e plásticos do texto também no sentido de suscitar e evocar imagens. Além disso, buscou-se identificar temas e símbolos comuns ao Simbolismo para verificar como cada um deles desenvolve tais aspectos em suas composições poéticas. A partir das semelhanças, dissonâncias e especificidades entre a poética desses três autores, tentou-se, pois, estabelecer pontos de contato entre a obra de Camilo Pessanha e as de Paul Verlaine e de Stéphane Mallarmé. Estudou-se também o lugar de Camilo Pessanha no movimento simbolista português, uma vez que foi, dentre os portugueses, aquele que mais se aproximou do Simbolismo parisiense, a despeito de muito pouco ter vivido em Portugal. Por fim, pretendeu-se destacar a grande importância destes três poetas para o desenvolvimento daquilo que se convencionou chamar de modernidade lírica. / The present research studies the poetry from the Portuguese symbolist poet Camilo Pessanha, considering his relation with the French authors Paul Verlaine and Stéphane Mallarmé, aiming to display that Pessanha surpasses by far the \"Portuguese Verlaine\" image, by proposing an innovative and fragmentary writing, which in some aspects nears mallarmean writing, although preserving his entire identity and originality. To that end, the formal principles from the symbolist poetic found in the works of the three aforementioned poets were observed, especially sonority as means of suggestion. Moreover, it was analyzed how the use of intricate syntax in fragmentary poems can assist the musical and pictorial effects of the poem to evoke images. It is expected to disclosure the similarities, dissonances and specificities between the poetic of the aforementioned authors, in an attempt to establish contact points between the Camilo Pessanhas writing and the poetics of Paul Verlaine and Stéphane Mallarmé. Camilo Pessanhas place in the Portuguese symbolist movement was also studied, considering that he was, among the Portuguese poets, the one who neared the Parisian symbolism the most, though he did not live much in Portugal. Finally, it was intended to highlight the great importance from these three poets to the development of what we stipulated to name the lyrical modernity.

Se peut-il que l'auteur s'efface en partie de son texte ? Se peut-il que sa discrétion soit délibérée, et au point de déléguer des pouvoirs auctoriaux à son destinataire ? Peut-il prendre les devants sur l'opération critique qui voudrait le "tuer" ? Et comment réagir face à une telle production ? Le lecteur n'en deviendrait-il pas autre ? L'objet de cette thèse sera de montrer qu'une littérature "moindre-auctoriale" est possible. Mieux ; qu'elle existe. / Is it possible that the author clears himself from his text ? is it possible that his discretion is delibarate, and to the point of delegating auctorial powers to his recipient ? Can he take the lead on the critical operation that would "kill" him ? And how to respond to such production ? Wouldn't the reader become another one ? The goal of this thesis will be show that a "lesser-auctorial" litterature is possible. Better ; that it exists.

Dans « Crise de vers » (1897), Mallarmé déclare « la disparition élocutoire du poëte », formule qui inspire aux critiques littéraires du milieu du XXe siècle la revendication de « la mort de l’auteur ». Si le poète s’efforce de disparaître, comment peut-on considérer le je parlant et le centre de la subjectivité inscrite inévitablement dans le poème ? L’impersonnalité, perçue d’abord par Mallarmé au moment de sa crise spirituelle des années 1860, est-elle compatible avec ce je ineffaçable du poème ? À partir de ces questions, la présente thèse, composée de deux parties, se propose d’interroger sa poétique de l’impersonnalité. Le premier volet vise à tracer chronologiquement l’évolution de l’idée d’impersonnalité en s’appuyant sur le discours théorique du poète. Cette idée, qui se rattache au début à un état existentiel du sujet créateur, porte au fur et à mesure sur la technique artistique et l’effet produit de l’œuvre, au cours de ses critiques sur Manet (1874-1876), Wagner (1885) et le théâtre contemporain (1886-1887). En analysant les poèmes publiés entre 1876 et 1887, période marquée par ce développement, le second volet vise à éclairer le côté pratique de l’impersonnalité. Pour saisir le paradoxe apparent de l’exigence théorique et du je poétique, nous examinerons d’un point de vue énonciatif le poème qui se produit d’une énonciation du sujet parlant. Sur ce plan de l’acte de langage, la quête mallarméenne de l’impersonnalité, articulée à celle de la pureté de la poésie, parvient, malgré son discours à la première personne, à la construction dans et par le poème d’un espace-temps fictif et théâtral qui nous apparaît à chaque lecture. / In “Crise de vers” (1897), Mallarmé declared “la disparition élocutoire du poëte”, which inspired the concept of “the death of the author” among the literary critics in the middle of 20th century. If the poet attempts to disappear, how then do we think of the speaking I and the subjectivity that is inevitably built into the poem? Is the impersonality, which Mallarmé perceived first during his spiritual crisis in the 1860s, compatible with this indelible I ? Based on these questions, the present thesis, composed of two parts, aims to investigate Mallarmé’s poetic of impersonality. The first part aims to draw chronologically on the evolution of his idea of impersonality, relying on his theoretical discourse. Relating to the beginning of an existential state of the creator, this idea applies gradually to the artistic technic and to the effects produced by works of art, through Mallarmé’s criticisms of Manet (1874-1876), Wagner (1885), and the contemporary theatre (1886-1887). Analyzing the poems published between 1876 and 1887, the period characterized by the development of the idea, the second part aims to clarify the practical side of the impersonality. For understanding the apparent paradox of the theoretical claim of the impersonality with the poetic I, we examine the poem produced from the enunciation of the speaking subject from a viewpoint of enunciation. In these pragmatic terms, Mallarmé’s search associated with that for poetic purity, has taken, despite his poetic discourse in the first person, the form of a poem of a fictional and theatrical space-time that becomes apparent to us on every reading.

This thesis aims to challenge a number of critical assumptions that have unnecessarily restricted the way we read Paul Celan's work, and poetry in general, by reading an unfinished cycle of poems called 'Eingedunkelt.' The poems were written during the Spring of 1966, when Celan was incarcerated in a psychiatric hospital in Paris, and have received little critical attention since their initial partial publication in 1968, their more extensive publication in 1991, and the exhaustive publication of the transcription of all genetic documents in 2006. The thesis consists of three chapters, the last two of which are divided into two parts. The opening chapter confronts the poems in 'Eingedunkelt' as they are now available to us as genetic documents, and engages with current theories of genetic criticism to explore new ways of reading and creating meaning within the avant-texte. Although studies of Celan's work have proliferated since his death in 1970, very few critics have been willing to look beyond the formulation of the poetics Celan defines in his 1960 Büchner prize speech 'Der Meridian.' Chapters Two and Three therefore seek to identify the presence in 'Eingedunkelt' of alternative ways of thinking about poetry that do not necessarily conform to the poetics most explicitly outlined in 1960, and that allow for the very real possibility that Celan's conception of his poetic task was often challenged and maybe even transformed. Through Celan's engagement with Stéphane Mallarmé and Jean-Paul Sartre, Chapter Two identifies the development of a poetics of suicide, according to which each poem rehearses the poet's final and greatest creative act in his or her own self-destruction. Chapter Three recognizes the existence of a counter-poetics of life through Celan's lifelong interaction with the paintings of Rembrandt van Rijn, in which the material qualities of dried oil paint, which mimic the organic qualities of human skin, offer a way to create a living, breathing, but also decaying memorial to those who died in the Shoah. This provides the platform for Celan's poetic critique of both the 1963 - 1965 Frankfurt Auschwitz Trial, and Peter Weiss's 1965 dramatization of the Trial, 'Die Ermittlung.'

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