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Contributing to the current lively discussion of collaboration in
French letters, this collection raises fundamental questions about
the limits and definition of authorship in the context of the
nineteenth century's explosion of collaborative ventures. While the
model of the stable single author that prevailed during the
Romantic period dominates the beginning of the century, the
authority of the speaking subject is increasingly in crisis through
the century's political and social upheavals. Chapters consider the
breakdown of authorial presence across different constructions of
authorship, including the numerous cenacles of the Romantic period;
collaborative ventures in poetry through the practice of the
"Tombeaux" and as seen in the Album zutique; the interplay of text
and image through illustrations for literary works; the collective
ventures of literary journals; and multi-author prose works by
authors such as the Goncourt brothers and Erckmann-Chatrian.
Interdisciplinary in scope, these essays form a cohesive
investigation of collaboration that extends beyond literature to
include journalism and the relationships and tensions between
literature and the arts. The volume will interest scholars of
nineteenth-century French literature, and more generally, any
scholar interested in what's at stake in redefining the role of the
French author
Mingling fact and fiction, The Three Rimbauds imagines how
Rimbaud's life would have unfolded had he not died at the age of
thirty-seven. The myth of Arthur Rimbaud (1854-1891) focuses on his
early years: how the great enfant terrible tore through the
nineteenth-century literary scene with reckless abandon, leaving
behind him a trail of enemies, the failed marriage of an ex-lover
who shot him, and a body of revolutionary poetry that changed
French literature forever. He stopped writing poetry at the age of
twenty-one when he left Europe to travel the world. He returned
only shortly before his death at the age of thirty-seven. But what
if 1891 marked not the year of his death, but the start of a great
new beginning: the poet's secret return to Paris, which launched
the mature phase of his literary career? This slim, experimental
volume by Dominique Noguez shows that the imaginary "mature"
Rimbaud-the one who returned from Harar in 1891, married Paul
Claudel's sister in 1907, converted to Catholicism in 1925, and
went on to produce some of the greatest works in twentieth-century
French prose-was already present in the almost forgotten works of
his childhood, in style and themes alike. Only by reacquainting
ourselves with the three Rimbauds-child, young adult, and imaginary
older adult-can we truly gauge the range of the complete writer.
By the 1850s, the expansion of printing and distribution
technologies provided writers with more readers and literary
outlets than ever before, while the ever-changing political
contexts occasioned by the revolutions of 1830 and 1848 brought
about differing degrees of political, social, and literary censure
and pressure. Seth Whidden examines crises of literary authority in
nineteenth-century French literature, both in response to the
attempts of the Second Empire (1852-1870) to restore the
unquestioned imperial authority that had been established by
Napoleon I and in the aftermath of the bloody Paris Commune of
1871. In each of his chapters, Whidden offers a representative case
study highlighting one of several phenomena-literary collaboration,
parody, destabilized poetic form, the substitution of one poetic or
narrative voice with that of the man-that enabled challenges to the
traditional status of the writer and, by extension, the political
authority that it reflected. Whidden focuses on the play Le
Supplice d'une femme (1865); the Cercle Zutiste, a group of
writers, musicians, and artists who met regularly in the fall of
1871, only months after the fall of the Second Empire; Arthur
Rimbaud's Commune-era poems; and Jules Verne's 1851 'Un voyage en
ballon,' later reprinted as 'Un drame dans les airs' in 1874.
Whidden concludes with a futuristic look at authority and auctority
as it pertains to midcentury writers taking stock of the weakened
authority still possible in a post-Second Empire France and
envisioning what kind of auctority is still to come.
When blacksmith Pierre Michaux affixed pedals to the front axle of
a two-wheeled scooter with a seat, he helped kick off a craze known
as velocipedomania, which swept France in the late 1860s. The
immediate forerunner of the bicycle, the velocipede
similarly reflected changing cultural attitudes and
challenged gender norms. Â
Velocipedomania is the first in-depth study of the velocipede
fad and the popular culture it inspired. It explores how the device
was hailed as a symbol of France’s cutting-edge technological
advancements, yet also marketed as an invention with a noble
pedigree, born from the nation’s cultural and literary heritage.
Giving readers a window into the material culture and enthusiasms
of Second Empire France, it provides the first English translations
of 1869’s Manual of the Velocipede, 1868’s Note on
Monsieur Michaux’s Velocipede, and the 1869
operetta Dagobert and his Velocipede. It also reprints scores
of rare images from newspapers and advertisements, analyzing how
these magnificent machines captured the era’s visual imagination.
By looking at how it influenced French attitudes towards politics,
national identity, technology, fashion, fitness, and gender roles,
this book shows how the short-lived craze
of velocipedomania had a big impact.Â
The poems in Rythmes pittoresques, first published in 1890, present
not only a poet searching for a voice, but also a female poet
searching for a voice while breaking down rules of both
versification and gender-determined source of expression. They went
straight to the heart of the male-dominated poetry of the time and
effectively threatened its existence. Of the group of poets who
were the first to write free-verse poetry in French - Marie
Krysinska, Arthur Rimbaud, Jules Laforgue, Gustave Kahn - only
Marie Krysinska (1857-1908) has not received critical recognition.
Although it was quickly dismissed by critics simply because it was
written by a female poet, Krysinska's poetry gives insight into the
creation of a new form of feminine expression as well as the
persecution of the female artist viewed by her largely male peers,
readership and competitors.
When blacksmith Pierre Michaux affixed pedals to the front axle of
a two-wheeled scooter with a seat, he helped kick off a craze known
as velocipedomania, which swept France in the late 1860s. The
immediate forerunner of the bicycle, the velocipede
similarly reflected changing cultural attitudes and
challenged gender norms. Â
Velocipedomania is the first in-depth study of the velocipede
fad and the popular culture it inspired. It explores how the device
was hailed as a symbol of France’s cutting-edge technological
advancements, yet also marketed as an invention with a noble
pedigree, born from the nation’s cultural and literary heritage.
Giving readers a window into the material culture and enthusiasms
of Second Empire France, it provides the first English translations
of 1869’s Manual of the Velocipede, 1868’s Note on
Monsieur Michaux’s Velocipede, and the 1869
operetta Dagobert and his Velocipede. It also reprints scores
of rare images from newspapers and advertisements, analyzing how
these magnificent machines captured the era’s visual imagination.
By looking at how it influenced French attitudes towards politics,
national identity, technology, fashion, fitness, and gender roles,
this book shows how the short-lived craze
of velocipedomania had a big impact.Â
Before he had turned 21, Arthur Rimbaud (1854-1891) upended the
house of French poetry and left it in shambles. What makes
Rimbaud's poetry important, argues Seth Whidden, is part of what
makes his life so compelling: rebellion, audacity, creativity and
exploration. Almost all of Rimbaud's poems were written between the
ages of fifteen and twenty. Against the backdrop of the crumbling
Second Empire and the tumultuous Paris Commune, the poet took
centuries-old traditions of French versification and picked them
apart with an unmatched knowledge of how they fitted together.
Combining sensuality with pastoral, parody, political satire,
fable, eroticism and mystery, Rimbaud's works range from
traditional verse forms to prose-poetry and the two first
free-verse poems written in French. By situating Rimbaud's writing
in Africa as part of a continuum that spans his entire life, this
book offers a corrective to the traditional split between his life
as a poet and his life afterwards. Written for general readers and
students of literature alike, Arthur Rimbaud presents the original
damned poet who continues to captivate readers, artists and writers
all over the world.
The "enfant terrible" of French letters, Jean-Nicholas-Arthur
Rimbaud (1854-91) was a defiant and precocious youth who wrote some
of the most remarkable prose and poetry of the nineteenth century,
all before leaving the world of verse by the age of twenty-one.
More than a century after his death, the young rebel-poet continues
to appeal to modern readers as much for his turbulent life as for
his poetry; his stormy affair with fellow poet Paul Verlaine and
his nomadic adventures in eastern Africa are as iconic as his
hallucinatory poems and symbolist prose.
The first translation of the poet's complete works when it was
published in 1966, "Rimbaud: Complete Works, Selected Letters"
introduced a new generation of Americans to the alienated
genius--among them the Doors's lead singer Jim Morrison, who wrote
to translator Wallace Fowlie to thank him for rendering the poems
accessible to those who "don't read French that easily." Forty
years later, the book remains the only side-by-side bilingual
edition of Rimbaud's complete poetic works.
Thoroughly revising Fowlie's edition, Seth Whidden has made changes
on virtually every page, correcting errors, reordering poems,
adding previously omitted versions of poems and some letters, and
updating the text to reflect current scholarship; left in place are
Fowlie's literal and respectful translations of Rimbaud's complex
and nontraditional verse. Whidden also provides a foreword that
considers the heritage of Fowlie's edition and adds a bibliography
that acknowledges relevant books that have appeared since the
original publication. On its fortieth anniversary, "Rimbaud"
remains the most authoritative--and now, completely
up-to-date--edition ofthe young master's entire poetic ouvre.
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