In the year 1916, there appeared an article by G. Jean-Aubry in "La musique française d'aujourdhui" which placed Paul Verlaine in proper historical perspective. Jean-Aubry states: Even if we consider only its musical aspect, the history of the lied in France must include the name and work of Paul Verlaine. Of course, this poet did not, alone, determine the remarkable movement which, in about 1867, transformed the romantic melody into the lied, as we understand the form today; but the publication of Fêtes galantes, La bonne chanson, and Romances sans paroles, offered musicians poems which were excellently, and indeed uniquely suited to this melodic form. In view of his historical significance, the author will examine representative poems of Paul Verlaine which have been given musical settings by various composers of the nineteenth and twentieth centuries. Within this framework a biographical overview will be presented together with a discussion of Verlaine's poetic style, relating wherever possible events of his life to contemporary developments in literature and the fine arts. His contribution to French literature will be evaluated by the examination of his "Art Poétique" and other personal statements, as well as by comments about his poetry by noted critics of French literature during and after his lifetime. Verlaine's relationships to and with other poets such as the Parnassians, Baudelaire, and Rimbaud will be investigated in order to determine their influence upon his style. His own role as leader of and/or contributor to the literature of the contemporary schools of Parnassianism, Symbolism, Impressionism, and Decadence will be examined. These four schools of thought together with the Naturalist and Romantic schools will also be explored in some depth and placed in historical perspective. For purposes of assessing Verlaine's contributions to French music and poetry, it will be necessary to determine the specific nature and structure of French verse in the nineteenth century along with the principles promulgated in the previous centuries. The role of stress, meter, rhythm, rime, imagery, color, subject matter, and other structural parameters will be illustrated through the examination of three poems: "La mer est plus belle," "Le Son du cor s'afflige vers les bois," and "L'Échellonement des haies" taken from Verlaine's book of poems entitled Sagesse. To this end, specific songs based upon Verlaine poems will be analyzed in terms of the presence or absence of musico- poetic synthesis involving harmony, tonality, tone-painting, texture, rhythm, and declamation. Representative poems given musical settings will be chosen for analysis from the major collections of the poet's life, namely, Fêtes galantes, La Bonne Chanson, Romances sans paroles, and Sagesse. The focus will be upon poems which are considered mileposts and which have been set by two or more composers. This will facilitate comparison.

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Les pages 89 à 111 sont absentes des versions imprimée et numérique.

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

La littérature contemporaine, dans un vaste mouvement d'exploration et d'expérimentation, préconise un élargissement des frontières génériques ainsi qu'un renouvellement des formes traditionnelles pour épouser les nouveaux questionnements propres à son temps. C'est dans ce contexte de «dynamisation» et d'hybridation que se développe, vers le milieu des années 1980, le genre de la fiction biographique dont les oeuvres qui s'y rattachent font surgir, par l'évocation, l'imagination et la rêverie narrative, de grands personnages qui ont marqué l'imaginaire collectif. Face à la résurgence de figures littéraires du passé dans l'imaginaire de nombreux écrivains, ce mémoire portera sur la représentation de la figure symbolique du poète maudit dans les fictions biographiques contemporaines. Il s'agit d'analyser le traitement réservé aux poètes maudits tels que Baudelaire, Verlaine et Rimbaud à l'intérieur d'oeuvres appartenant à ce genre récent. Pour ce faire, notre corpus sera formé de trois oeuvres qui revisitent ces poètes majeurs de la modernité poétique: Baudelaire en passant de Didier Blonde (2003), Rimbaud le fils de Pierre Michon (1991) et Verlaine d'ardoise et de pluie de Guy Goffette (1996). Le poète maudit étant une figure emblématique qui apparaît durant la seconde moitié du XIXe siècle et qui témoigne, à l'époque, d'une vision idéale de la littérature, cette étude tentera de comprendre les motifs d'une telle reprise. Il s'agira donc de reconstruire en détail la figure qui émane de cette écriture contemporaine, et ce à partir de trois angles d'analyse spécifiques qui témoignent d'un destin particulier, soit la relation difficile et problématique du poète à sa famille, ses rapports à la société de son temps ainsi que son inscription dans la tradition littéraire. De plus, ces fictions biographiques, puisqu'elles établissent un dialogue entre l'auteur contemporain et un personnage du passé qui le fascine, nous permettront de soulever les questions de la mémoire, de l'héritage et de la transmission qui hantent notre temps. Nous tenterons ainsi de comprendre le rapport entre l'orientation biographique de la fiction et l'état de la société et de la littérature d'aujourd'hui: Pourquoi les écrivains choisissent-ils de revisiter une figure appartenant au XIXe siècle? S'agit-il d'un moyen de légitimer leur propre statut dans le champ littéraire contemporain? ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Littérature contemporaine, Fiction biographique, Figure du poète maudit, Mémoire littéraire.

1 score (x, 113 p.) / The implementation of an informed cross-relationship between two independent art forms has often been a source of inspiration for artists throughout the millennia. However, in the late 19th century, both Russian and French thinkers and artists began to build upon this notion by creatively considering the intermingling of sensory experiences as well. The resulting artwork from this temporally specific era was described as being "Symbolist," referencing both the intermedial and multi-sensory processes involved and/or considered in creating the respective work. My personal penchant to explore this artistic approach has resulted in a symphony that was inspired by, and intimately considers, five individual pieces of French "Symbolist" art, poetry, and sculpture. Each movement specifically focuses upon one of the five human senses. The respective works are: the sculpture "Le baiser" by Auguste Rodin (touch), "Parfum exotique" from Les fleurs du mal by Charles Baudelaire (smell), "Tristesse d'été" by Stèphane Mallarmé (taste) as published in Du parnasse contemporain, the painting "Hina tefatou" by Paul Gauguin (sight/insight), and "Chanson d'automne" from Poèmes saturniens by Paul Verlaine (hearing/listening). / Committee in charge: Dr. David Crumb Chairperson, Advisor， Dr. Robert Kyr， Member； Dr. Jack Boss， Member； Dr. Jenifer Craig， Outside Member