Jacques Derrida n’a écrit qu’un seul ouvrage sur Baudelaire : Donner le temps I. La fausse monnaie (1991). Dans cette étude, il s’agit de préciser, notamment autour de la question de la perversité, les liens unissant le poète au philosophe en accordant une attention particulière aux textes « Le mauvais vitrier » (Baudelaire), « The Imp of the Perverse » (Edgar Poe), « La fausse monnaie » (Baudelaire) et Mémoires d’aveugle (Derrida). Imbriquées dans une logique de l’événement, les deux notions de perversité et de don peuvent s’éclairer mutuellement et ont des répercussions jusque dans les textes et pour la littérature elle-même. / Jacques Derrida only wrote one book on Baudelaire, entitled Given Time: I. Counterfeit Money (1991). With special focus on a number of other texts, including “The Bad Glazier” (Baudelaire), The Imp of the Perverse (Edgar Allan Poe), “Counterfeit Money” (Baudelaire) and Memoirs of the Blind (Derrida), this analysis clarifies the relations linking the poet to the philosopher, particularly with regard to the question of perversity, or rather, in Poe’s words, perverseness. Bound up in event logic, the two notions of perversity and gift can explain one another and their repercussions are far-reaching both in the texts and in literature itself.

Jacques Derrida n’a écrit qu’un seul ouvrage sur Baudelaire : Donner le temps I. La fausse monnaie (1991). Dans cette étude, il s’agit de préciser, notamment autour de la question de la perversité, les liens unissant le poète au philosophe en accordant une attention particulière aux textes « Le mauvais vitrier » (Baudelaire), « The Imp of the Perverse » (Edgar Poe), « La fausse monnaie » (Baudelaire) et Mémoires d’aveugle (Derrida). Imbriquées dans une logique de l’événement, les deux notions de perversité et de don peuvent s’éclairer mutuellement et ont des répercussions jusque dans les textes et pour la littérature elle-même. / Jacques Derrida only wrote one book on Baudelaire, entitled Given Time: I. Counterfeit Money (1991). With special focus on a number of other texts, including “The Bad Glazier” (Baudelaire), The Imp of the Perverse (Edgar Allan Poe), “Counterfeit Money” (Baudelaire) and Memoirs of the Blind (Derrida), this analysis clarifies the relations linking the poet to the philosopher, particularly with regard to the question of perversity, or rather, in Poe’s words, perverseness. Bound up in event logic, the two notions of perversity and gift can explain one another and their repercussions are far-reaching both in the texts and in literature itself.

During the late 19th century, arts and literature had a surge of sensory awareness, made manifest through sensory analogy, intersensory metaphor, and synaesthesia. This dissertation explores this phenomenon through a study of five poets and artists: Charles Baudelaire, Arthur Rimbaud, Dante Gabriel Rossetti, John Barlas, and Julia Margaret Cameron. Using imaginative sensing, these artists transformed the relationship between artist and observer, assigning greater responsibility to their audience while simultaneously asserting artistic control of their work. Their fascination with sensory mixing and multisensory awareness demonstrates unique ideas about perception and embodiment, ideas that have sparked both controversy and imitation. I begin with a brief history of the condition known as synaesthesia, considering its position as an “abnormal” clinical condition, a desired artistic state of transcendence, and a simple transfer of metaphor. Chapter 1 describes how two French poems brought synaesthesia to public consciousness and prompted a literary movement. In Chapter 2, I explore how poet-painter Dante Rossetti used “acts of attention” and unheard music to demand viewers’ embodied participation. Chapter 3 introduces John Barlas, a relatively obscure British poet who crafted exotic, sensory-laden environments that hovered between the actual and imagined, insisting that the reader use his sensory imagination to participate. Moving to the realm of photography in Chapter 4, I consider Julia Margaret Cameron, whose “out-of-focus” pictures changed photography from a mechanistic technology to high art by incorporating the sense of touch. Historically, the senses have been ranked and separated, with priority given to vision, the sense most associated with reason. I argue that considering the senses as bundles of interconnected experiences and through imagination rather than as isolated methods of physical perception can show how the senses function culturally and give us a much greater understanding of how we process the world. While no time period has regarded the senses with the intensity of the late 19th century, the embodied approach of the era can be applied to our current “sensory revolution” and can impact how we regard technology, cultural studies, and interdisciplinarity. Evaluating how 19th century artists blended the senses through imaginative constructs gives a more thorough explanation of the characteristic sensuality of the period and provides a model for how sensing can function more fully in current endeavors.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-04-19T17:44:42Z No. of bitstreams: 1 DIS_ISRAEL_MENDES_COMPLETO.pdf: 2626772 bytes, checksum: 4871148c45e94b1a05d0e829a5947170 (MD5) / Made available in DSpace on 2016-04-19T17:44:42Z (GMT). No. of bitstreams: 1 DIS_ISRAEL_MENDES_COMPLETO.pdf: 2626772 bytes, checksum: 4871148c45e94b1a05d0e829a5947170 (MD5) Previous issue date: 2016-01-12 / This work promotes a search of the structural relationship between poetry and play. Thus, a theoretical and literary pathway was mandatory. French Symbolism was the analytical starting point of this study, especially in the figures of Baudelaire, Rimbaud and Mallarm?. This last one, taken as the apex of the playful and experimental poetry of his time, was the greatest pillar of this approach. In addition, a playful pathway was also required, blending concepts and theories sourced from the game field. This search yet showcased the investigation of compelling issues such as hypertextuality, co-authorship and rewriting. / O presente trabalho promove uma busca pela rela??o estrutural entre a poesia e os jogos. Para tanto, um percurso te?rico-liter?rio se fez necess?rio. O Simbolismo Franc?s foi o ponto de partida anal?tico deste estudo, em especial nas figuras de Baudelaire, Rimbaud e Mallarm?. Este ?ltimo, enquanto ?pice da poesia l?dica e experimental da sua ?poca, foi o grande pilar desta abordagem. Al?m disso, tamb?m foi necess?rio um percurso l?dico, fazendo uso de conceitos e teorias pertencentes ao universo dos jogos. Esta busca permitiu ainda investigar quest?es intrigantes como hipertextualidade, co-autoria e reescritura.

Ce mémoire étudie les œuvres poétiques des Hydropathes, cercle de poètes de la bohème parisienne de la fin du dix-neuvième siècle. Historiquement placés entre Parnasse et Décadence, les Hydropathes constituent un moment charnière de l'évolution de la poésie vers sa modernité, mais leurs œuvres demeurent à l'ombre des légendes de la vie de bohème auxquelles ce cercle est associé. En abordant d'abord l'étude détaillée d'un poème exemplaire de la pratique parodique du cercle, cette étude exhume divers éléments capables de contribuer à l'appréciation des singularités créatrices de ces poètes par-delà le rire auquel on réduit généralement leur production. Trois éléments majeurs deviennent constitutifs des chapitres subséquents de ce mémoire : l'influence ambivalente de Victor Hugo et des principes du romantisme, modèle convoité autant que dépassé; la modélisation des œuvres sur celle de Charles Baudelaire, influence admise du mouvement décadent qui émerge sans toutefois faire l'unanimité; et la prégnance d'une mémoire politique de la bohème comme dilemme motivant le rictus des Hydropathes à l'égard de ces avenues et de leurs apories quant à la portée politique du poème. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Fumisme, bohème, décadence, parodie, ironie, rires poétiques, Victor Hugo, Charles Baudelaire, Émile Goudeau, hydropathes, Chat Noir.

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In this dissertation, I argue that Yves Bonnefoy, a major 20th-century French poet and a heir to French poetic modernity, pursued the dialogue between poetry and painting that has been central to French poetry, and in doing so praised some specific artists in the 20th century in a coherent manner, outlining what I call a counter-history of 20th century art. This counter-history, I argue, reveals his fundamental opposition to modern art. What emerges from the study of his prose writings on 20th-century art is the fact that Bonnefoy continued modernity yet critiqued it. In doing so he was influenced philosophically by Heidegger and poetically by Baudelaire, and also marked by his break with Surrealism and Breton. This leads me to conclude that Bonnefoy was a sort of "antimodern"; and that he laid out the foundations of an "antimodern" vision of 20th-century art. My research reveals a coherent family of artists emerging from Bonnefoy's writings, who saw themselves as part of this alternative art history.

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