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| Author | : Stéphane Mallarmé |
| Publisher | : New Directions Publishing |
| Total Pages | : 164 |
| Release | : 2001 |
| Genre | : Literary Collections |
| ISBN | : 9780811214513 |
A number of sections are devoted to Mallarme's great magazine of wit and opinion, La Derniere Mode, or The Latest Fashion, every page of which he wrote himself under various pseudonyms of both genders.
| Author | : Stéphane Mallarmé |
| Publisher | : New Directions Publishing |
| Total Pages | : 148 |
| Release | : 1982 |
| Genre | : Literary Collections |
| ISBN | : 9780811208239 |
The essential work of Mallarmé, collected in a bilingual French and English edition.
| Author | : Stéphane Mallarmé |
| Publisher | : |
| Total Pages | : 240 |
| Release | : 2018-09-13 |
| Genre | : Poetry |
| ISBN | : 9781878972422 |
The French poet Stephane Mallarme (1842-1898) was modernism's great champion of the book as both a conceptual and material entity: probably his most famous pronouncement is 'everything in the world exists in order to end up as a book.' The Book was Mallarme's total artwork, a book to encompass all books. Frequently quoted, sometimes excerpted, but never before translated in its entirety, The Book is a visual poem about its own construction, the scaffolding of a cosmic architecture intended to reveal 'all existing relations between everything.'
| Author | : Stéphane Mallarmé |
| Publisher | : Harvard University Press |
| Total Pages | : 313 |
| Release | : 2009-06-15 |
| Genre | : Literary Criticism |
| ISBN | : 0674265777 |
"This is a book just the way I don't like them," the father of French Symbolism, Stéphane Mallarmé, informs the reader in his preface to Divagations: "scattered and with no architecture." On the heels of this caveat, Mallarmé's diverting, discursive, and gorgeously disordered 1897 masterpiece tumbles forth--and proves itself to be just the sort of book his readers like most. The salmagundi of prose poems, prose-poetic musings, criticism, and reflections that is Divagations has long been considered a treasure trove by students of aesthetics and modern poetry. If Mallarmé captured the tone and very feel of fin-de-siècle Paris, he went on to captivate the minds of the greatest writers of the twentieth century--from Valéry and Eliot to Paul de Man and Jacques Derrida. This was the only book of prose he published in his lifetime and, in a new translation by Barbara Johnson, is now available for the first time in English as Mallarmé arranged it. The result is an entrancing work through which a notoriously difficult-to-translate voice shines in all of its languor and musicality. Whether contemplating the poetry of Tennyson, the possibilities of language, a masturbating priest, or the transporting power of dance, Mallarmé remains a fascinating companion--charming, opinionated, and pedantic by turns. As an expression of the Symbolist movement and as a contribution to literary studies, Divagations is vitally important. But it is also, in Johnson's masterful translation, endlessly mesmerizing.
| Author | : Stéphane Mallarmé |
| Publisher | : |
| Total Pages | : 202 |
| Release | : 1956 |
| Genre | : French poetry |
| ISBN | : |
| Author | : Stéphane Mallarmé |
| Publisher | : Oxford University Press |
| Total Pages | : 321 |
| Release | : 2008-11-13 |
| Genre | : Literary Criticism |
| ISBN | : 0199537925 |
Stéphane Mallarmé was a radically innovative poet of the 19th century, in English as well as in French. This text contains his poetry and his Poesies in the last arrangement known to have been approved by the author and provides a wide-ranging survey of his work.
| Author | : Marian Zwerling Sugano |
| Publisher | : Stanford University Press |
| Total Pages | : 300 |
| Release | : 1992 |
| Genre | : Poetry |
| ISBN | : 9780804719469 |
"Although Mallarme is commonly viewed as the high priest of the autonomous work of art, by far the bulk of his actual poetic writing was occasional verse. With few exceptions the works written after 1873 manifest a reinvestment in the world subsequent to the metaphysical crises of the 1860's. In addition to the "Tombeaux," the toasts, and certain of the "Eventails," Mallarme composed the Vers de circonstance, more than 450 quatrains and distichs inscribed on envelopes, postcards, calling cards, Easter eggs, small stones, photographs, and jugs of Calvados. This is the first comprehensive reading and analysis of the neglected late poetry, heretofore dismissed as of marginal interest." "This book has a dual purpose. By exploring the occasional verse of Mallarme, which itself thematizes the problematics of the occasion, the author seeks to rehabilitate such writing for critical study. She does this not by proclaiming its high seriousness, but by insisting on its casual, amenable, public nature. Unlike previous critics, who have often apologized for straying into the fringes of the canon, the author delights in the marginal, insisting that in a poetics of the occasion, traditional oppositions such as center/margin become skewed and break down." "The author's second purpose is to come to a better understanding of Mallarme in light of what he actually wrote, rather than the work projected in his correspondence and prose articles, which has claimed so much critical attention. Each of the chapters of the book highlights one aspect of occasional poetry through an investigation of representative texts, both canonical and occasional. The author also discusses the relationship between Mallarme's poetics and the plastic arts, tracing the changing conception of the representation of the monument from the nineteenth to the twentieth century, as well as the correspondences between the more radical aspects of Mallarme's practice of writing and the contemporary arts." "Far more than a study of a single writer, this book is the first to propose a pragmatic definition of occasional literature, to undertake a broad study of the problem of occasion in literature, and to trace the historical trajectory of occasional writing as a specific discourse. The book is illustrated with 27 halftones."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
| Author | : Paul Valéry |
| Publisher | : Farrar, Straus and Giroux |
| Total Pages | : 400 |
| Release | : 2020-04-14 |
| Genre | : Poetry |
| ISBN | : 0374713952 |
A fresh look into the monumental work of Paul Valéry, one of the major French literary figures of the twentieth century. Heir to Mallarmé and the symbolists, godfather to the modernists, Paul Valéry was a poet with thousands of readers and few followers, great resonance and little echo. Along with Rilke and Eliot, he stands as a bridge between the tradition of the nineteenth century and the novelty of the twentieth. His reputation as a poet rests on three slim volumes published in a span of only ten years. Yet these poems, it turns out, are inseparable from another, much vaster intellectual and artistic enterprise: the Notebooks. Behind the published works, behind the uneventful life of the almost forgotten and then exceedingly famous poet, there hides another story, a private life of the mind, that has its record in 28,000 pages of notes revealed in their entirety only after his death. Their existence had been hinted at, evoked in rumors and literary asides; but once made public it took years for their significance to be fully appreciated. It turned out that the prose fragments published in Valéry’s lifetime were not the after-the-fact musings of an accomplished poet, nor his occasional sketchbook, nor excerpts from his private journal. They were a disfigured glimpse of a vast and fragmentary “exercise of thought,” a restless intellectual quest as unguided and yet as persistent, as rigorous, and as uncontainable as the sea that is so often their subject. The Idea of Perfection shows both sides of Valéry: the craftsman of sublimely refined verse, and the fervent investigator of the limits of human intellect and expression. It intersperses his three essential poetic works—Album of Early Verse, The Young Fate, and Charms—with incisive selections from the Notebooks and finishes with the prose poem “The Angel.” Masterfully translated by Nathaniel Rudavsky-Brody, with careful attention to form and a natural yet metrical contemporary poetic voice, The Idea of Perfection breathes new life into poems that are among the most beautiful in the French language and the most influential of the twentieth century.
| Author | : Stéphane Mallarmé |
| Publisher | : |
| Total Pages | : 148 |
| Release | : 2016-02-08 |
| Genre | : |
| ISBN | : 9780692640968 |
I started to translate Mallarmé's poems because I wasn't content with the English versions I could find. In translation, poets who preceded and followed Mallarmé are accessible to us. Baudelaire is accessible to us, Apollinaire is accessible to us. I couldn't find a way into Mallarmé in the English versions I found, and I suspected it wasn't his fault. Mallarmé was an English teacher, and he did translations of the poems of his beloved Edgar Allan Poe, in prose, of course. But his poems in French were metrical and rhymed. Sometimes the meaning of his poems is guided, let us say, by the rhyme and meter he chose, "ceding the initiative to words" as he wrote in "Variations sur un sujet". There are alternate homophonic readings of some of his lines as well, that could never be rendered into another language as poetry, only as notes. My inability to reproduce the multiple layers of Mallarmé's poems in French into American verse is a disappointment, but an inevitable one. Those layers rely on sound similarities that aren't available in our language.Most translations of Mallarmé into English rhyme and use traditional meters. This seemed to me to be the wrong approach. We have seen how Mallarmé approached translating Poe, after all. Mallarmé translated this way moves even further away from the meaning of the poem as a second rhyme scheme, this time in English, imposes an alien framework over the poem. These translations, no matter how carefully constructed, often sound academic to me.I come from a poetry tradition that learned a great deal from 20th century French poetry, Apollinaire, Reverdy, Desnos and all the rest of them. Some of the great pleasures in music in 20th century American poetry come from responses to French poetry, for instance, John Ashbery's "The Tennis Court Oath", or Charles Olson's Rimbaud takeoff "Variations done for Gerald Van Der Wiele", or Ted Berrigan's translations of French poetry in "Bean Spasms". Hopefully the music I heard there echoes a little in these versions.
| Author | : Stéphane Mallarmé |
| Publisher | : Routledge |
| Total Pages | : 0 |
| Release | : 2003 |
| Genre | : |
| ISBN | : 9780415967679 |
"In October 1879 Stephane Mallarme's eight-year-old son Anatole died after several months of illness. Mallarme (1842-1898), the great poet of French Symbolism, heir of Baudelaire and one of the founders of modern poetry, made notes towards a poem that was to become the Tombeau d'Anatole - Anatole's Tomb. The poem was never written, and Mallarme makes no reference to the project in his correspondence. When they were first published in French in 1961, the notes revealed a largely unknown side of Mallarme, which even now disturbs the idea of the poet of pristine impersonality and detachment. In the Tombeau d'Anatole he expresses his 'fury against the formless'; the consolations - and inconsolability - of bereavement."--BOOK JACKET.
