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Théodore de Banville
Critical biography of Théodore de Banville, a French poet and writer.
Theodore De Banville
Theodore de Banville (1823-1891) was a prolific poet, dramatist, critic and prose fiction writer whose significant contribution to poetic and aesthetic debates in nineteenth-century France has long been overlooked. Despite his profound influence on major writers such as Baudelaire, Rimbaud, Verlaine and Mallarme, Banville polarised critical opinion throughout his fifty-year career. While supporters championed him as a virtuoso of French verse, many critics dismissed his formal pyrotechnics, effervescent rhythms and extravagant rhymes as mere clowning. This book explores how Banville's remarkably coherent body of verse theory and practice, full of provocative energy and mischievous humour, sh...
Théodore de Banville
Théodore de Banville (1823-1891) was a prolific poet, dramatist, critic and prose fiction writer whose significant contribution to poetic and aesthetic debates in nineteenth-century France has long been overlooked. Despite his profound influence on major writers such as Baudelaire, Rimbaud, Verlaine and Mallarmé, Banville polarised critical opinion throughout his fifty-year career. While supporters championed him as a virtuoso of French verse, many critics dismissed his formal pyrotechnics, effervescent rhythms and extravagant rhymes as mere clowning. This book explores how Banville’s remarkably coherent body of verse theory and practice, full of provocative energy and mischievous humour...
Theodore de Banville
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Théodore de Banville
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Nineteenth Century
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Nineteenth-Century French Song
"Song by song, this comprehensive study addresses each composer's complete works for solo voice and piano. When necessary, errors in popular published editions are pointed out and corrected. For each song, the full French text is given, followed by Barbara Meister's translation."--Page 4 of cover.
Aisthesis
Composed in a series of scenes, Aisthesis–Rancière’s definitive statement on the aesthetic–takes its reader from Dresden in 1764 to New York in 1941. Along the way, we view the Belvedere Torso with Winckelmann, accompany Hegel to the museum and Mallarmé to the Folies-Bergère, attend a lecture by Emerson, visit exhibitions in Paris and New York, factories in Berlin, and film sets in Moscow and Hollywood. Rancière uses these sites and events—some famous, others forgotten—to ask what becomes art and what comes of it. He shows how a regime of artistic perception and interpretation was constituted and transformed by erasing the specificities of the different arts, as well as the borders that separated them from ordinary experience. This incisive study provides a history of artistic modernity far removed from the conventional postures of modernism.
