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1

Apollinaire : des jeux de mots aux jeux de sens, ou « Soleil cou coupé »

100%

Sirotchouk T.

Orbis Linguarum

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2018

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issue 50

337-347

EN

Apollinaire: from plays on words to plays on meanings, or “Soleil cou coupé” Guillaume Apollinaire (1880–1918), who introduced the new spirit in French poetry at the dawn of the 20th century, is most known for being the author of Alcools. With this collection of poems published in 1913, the new poetry was born. Both enigmatic and structured, devoid of any punctuation and open to interpretation, it also offers very extravagant and daring words combinations, and is therefore subject to unexpected readings. Indeed, to create a strongly new and modern poetic language, Apollinaire doesn’t hesitate to use for example the homonymic and polysemic peculiarities of language – where puns come out, hateful for some people, but remarkable for others – that he puts at the heart of his poetic approach in order to surprise, playing with ambiguity. After a quick return on the story of the pun, this study is devoted to play on words and meanings in the poetic art of Apollinaire. It especially focuses on highlighting their two functions: breaking the linearity of the poetic text and creating a new dimension of meaning and reading.

2

Apollinaire et l'esthétique de la perte

100%

Fraisse L.

Studia Romanica Posnaniensia

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2007

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vol. 34

187-200

EN

Does aesthetics of loss exist? What can we lose when we give vent to our poetic creative activity? These questions are posed by Apollinaire in the three verses of the Calligrammes collection, used to interpret the Alcools collection: "To lose/But to lose truly/ In order to make room for revelation." Accordingly, what does the experience of creative loss consist in? It is about emphasizing all this that can be lost in a poetic text in order to see that loss can become a creative process once it turns out to be impossible, and that poetic revelation can only take place in a situation when we lose something. Apollinaire was distrustful of all explicit poetic manifestos; therefore, the answers full of nuances should be sought in the dim light of Alcools and its interpretations.

3

Métamorphoses du poète dans « Le Poète assassiné » d’Apollinaire : Apollon et Orphée, oursin et laurier

89%

Rousseau G.

Cahiers ERTA

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2023

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issue 34

73-94

EN

This article focuses on the figure of the poet in Apollinaire’s « Le Poète assassiné ». We try to show the connections that are established between loss and poetic glory. In the tale, the hero, Croniamantal, becomes successively Apollo and Orpheus. As in Ovid’s Metamorphoses, he is going to lost his beloved (story of Apollo and Daphne) before being slaughtered (the death of Orpheus). To reach glory, the poet has to sacrifice everything including himself.

4

Le vagabond et ses avatars chez Apollinaire

71%

Costaş O. I.

Quêtes littéraires

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2014

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issue 4

67-75

EN

Passionate about mundane details and singular beings, Apollinaire deploys throughout his stories and novels quite a collection of mysterious and paradoxical characters. A central place in his collection is occupied by the wanderer which illustrates the propensity of the writer towards the occult and the picturesque, towards the anecdotal and the extraordinary. As a being always on the run he is sometimes associated with a bohemian spectator, jouisseur of the street and sometimes a marginal presence bordering on antisocial. Versatile character, the apollinarian wanderer does not refer to a specific social type. Wanderer, bohemian, chiffonnier, antique dealer, he has a rather metaphorical position that allows him to expose multiple identities at once. His multivalent nature makes it difficult for a true literary taxonomy. Always seeking innovation and surprise, Apollinaire was able to refine the ambivalence of the wanderer and often relates it to the image of the artist. Marginal and mystifying, the apollinarian wanderer is yet lacking any pejorative sense because its uniqueness is only a sign of originality. With its attractive heterogeneity, the apollinarian prose creates a vast and fine repertoire with a wanderer who is constantly redefining the concept of wandering. With its multiple facets, it actually becomes a living metaphor of a work that is looking through a hybrid and plural writing, mixing genres and composite images. Exploring the prose of Apollinaire, however, we can detect multiple lines of coherence that ultimately reveal a rich array of the wanderer. Despite the nature of the chameleonic apollinarian wanderer, our challenge is to analyze his literary metamorphoses and thus arrive at a definition that surprises in its many urban disguises.

5

When poetry inspires war

55%

El-Amri A.

Lublin Studies in Modern Languages and Literature

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2015

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vol. 39

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issue 1

EN

For Apollinaire, poetry inspires war. Calligrammes, written at the very heart of the drama, involves a three-dimensional combat. His I acquires three representations that differ in status, process and the ideal defended. The first I is the empirical soldier fighting on behalf of his country in the real world. The second lyrical I is fictitious in order to fight for convulsive emotions made of dreams and frustrations. The third, creative, I of the poet defends an aesthetic that is necessary, in a pioneering spirit, to crystallize it in modern culture. In short, the creative warrior is transmuted into creating war.

FR

Le numéro contient uniquement les résumés en anglais.

PL

Tom zawiera abstrakty tylko w języku angielskim.

6

Fin de l’art ? Noétique de la littérature

51%

Kyloušek P.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2022

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vol. 32

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issue Special Issue

36-54

EN

The transformation of the arts, foreseen and announced by Hegel, coincides with the birth of modernity. One of its essential aspects is the noetic turn in literature, which can be seen as a manifestation of autoreflexivity within the framework of intraliterary dynamics: autoreflexivity engages the questioning of language, it redefines the status of the lyric subject and the narrator, it problematizes discursivity and thus proposes new approaches to referential reality. Literature becomes a specific form of thought and a crucible of reflection by occupying a terrain that neither science nor philosophy could explore, that of existential human experience, not yet conceptualized. Literature thus produces discourses and concepts that can later be grasped and systematized by science and philosophy. An exemplification attempts to illustrate this process from the 19th century to the present day.

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