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<p>Although Charles Baudelaire's poetry was censored in part for his graphic representations of death, for Baudelaire himself, death was the ultimate censorship. He grappled with its limitations of the possibility of articulation in Les Fleurs du mal, Le Spleen de Paris, "Le Poème du hachisch," and other works. The first chapter of this dissertation, "Dead Silent," explores Baudelaire's use of apophasis as a rhetorical tactic to thwart the censoring force of death as what prevents the speaking subject from responding. Chapter two, "Voices Beyond the Grave," then investigates the opposite poetics of articulation and inarticulation, in the form of post-mortem voice from within the cemetery, and particularly as didactic speech that contradicts the living. "Baudelaire's Widows" argues that the widow is for Baudelaire a figure of modernity par excellence, auguring the anticipation of mourning and the problem of remembering the dead as a lifelong cognitive dilemma. Chapter four, "Lethal Illusions," combines analysis of suicide in "La Corde" and "Le Poème du hachisch" with interrogation of mimesis. If the intoxicant serves as suicide and mirror, the production of illusion is the possibility and the fatal pathology of art. Yet art simultaneously channels a truth understood as the revelation of illusions--not least the illusion of a life without death.</p> / Dissertation

Thesis (B.A.)--Bi-College (Haverford and Bryn Mawr Colleges) Dept. of French, 2004. / Includes bibliographical references.

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Magistrinio darbo tema – ,,Mirties traktuotė Edgaro Allano Poe ir Charles’o Baudelaire’o kūryboje“. Pagrindiniai keliami klausimai – kaip mirtis yra vaizuojama (panašumai ir skirtumai) bei ar autorių požiūris į mirtį, jų filosofinis mirties supratimas pakeitė požiūrį į literatūrą. Mirties traktuotė Poe ir Baudelaire’o kūryboje bus aptariama dviejuose skyriuose. Pirmame skyriuje jų kūryba lyginama pagal šiuos aspektus: mirtis ir meilė, gyvenimo iliuziškumas, gyvenimas – kelionė į mirtį, laikinumas, makabriškumas. Gyvųjų ir mirusiųjų pasauliai, įasmeninta mirtis, mirties gamtovaizdžiai. Pirmame skyriuje analizuojami mirties vaizdavimo panašumai, o antrame skyriuje – motyvai ryškesni, išskirtiniai vieno ar kito poeto kūryboje. Poe – mirtis ir baimė, o Baudelaire’o – nuobodulys, narciziška mirtis, mirtis ir kūryba. Poe ir Baudelaire’o kūryboje ironija ar sarkazmas dažniausiai slepia skaudžiai išgyvenamą pasaulio netobulumą. Jis netobulas jiems atrodė jau vien todėl, kad laikinas, yrantis. Negalėdami su tuo susitaikyti jie kūrė utopinę tikrovę anapus mirties, o kaip pakaitalą šiame pasaulyje tobulumo atspindžiu laikė vaizduotę ir jos padarinį – kūrybą. Tai jiems buvo pasaulis, kur dingsta netobulumas. Tikrovės perkūrimas ir tobulinimas buvo jų svarbiausias tikslas. Menas – tikrovė, ir tik tokioje perkurtoje erdvėje įmanoma gyventi. Šie poetai, pabrėždami pasaulio iliuziškumą, sustiprino kuriamosios tikrovės lygiateisiškumą tikram gyvenimui. Gyvenimas – nuolatinis artėjimas... [toliau žr. visą tekstą] / The theme of master’s work – ,,The treatment of death in Poe’s and Baudelaire’s creation“. The main raising questions – how death is reflected (the main similarities and differences) and does the view to the death, philosophical death understanding of this writers, changed view to entire literature? There are two parts of work. The analysis of main similarities of the death are reflectioning in the first one, differences are considering in the second part of work. First part is about main similar motives as: death and love, illusory of life, life – travel to death, temporality, macabre. The worlds of alives and deads, personified death, landscapes of the death. The fear of death description is the main difference of death reflection in Poe’s creation. Spleene, narcisstic death, death and creation – in Baudelaire’s. Imperfection of this world is the course of irony and sarcasm in Poe’s and Baudelaire’s creation. It seemed imperfect, because of its temporality and transience. They couldn’t face it and created utopic reality beyond the death. It was the place, where all imperfection fades away. The main purpose of these writers was recreation and making perfect the reality. The art is perfect reality, and in this recreated space it is possible to live. Poe and Baudelaire treated life the same illusory as dreams, illusions. Because of this, the world of art was the same important, true as life. They criticizes, and ironicies the order of the world, but art and beauty worships... [to full text]

This thesis is dedicated to the study of the relationship between the solitude of the Poet and the multitude of Paris in les Petits poemes en prose by Baudelaire (also known as Le Spleen de Paris ). This study shows how the Poet decided to move closer to mankind, thus sacrificing the solitude that he enjoys so much. We examine a Baudelairian theme that strongly appears in the prose poetry: the artist's prostitution. Our aim was to show that the Poet is always standing by mankind even in his most absolute solitude.

This thesis is concerned with a problem of literary history. It shows how the inscription of Baudelaire's sonnets in the field of literary discourse is inseparable from their inscription in the general context of mid-nineteenth century social discourse. Baudelaire's sonnets are first examined in terms of the French sonnet tradition, and seen to constitute a formal departure from the Classically defined sonnet. His sonnets are then considered against the background of the opposition of Classicism and Romanticism in order to show that they represented a synthesis of opposed poetic values. In Chapter 3, a close examination of the sonnets reveals a balance of formal, rhetorical, and thematic elements consistent with the synthetic tendencies identified earlier. The study of the poetics of Baudelaire's sonnets is followed by a review of his general aesthetic orientation. This review leads to the problem of the sonnets' relation to contemporary social discourse. By reading Baudelaire's sonnets in terms of the nineteenth-century discourse of progress, and in terms of Benjamin's theory of historical consciousness, I show that their aesthetics and Petrarchism, as well as their rhetorical and thematic features, had a definite counter-discursive significance.

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Texte remanié de: Diss.--Fachbereich 13 Philologie I--Mainz--Johannes-Gutenberg-Universität, 1994. / Bibliogr. p. 269-296. Index.