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THE PROBLEM OF GOD. THE CONTEXTS OF STÉPHANE MALLARMÉ'S WRITING

100%
Marchal B.
Pamiętnik Literacki
|
2007
|
vol. 98
|
issue 4
73-84
EN
The author attempts to settle the changes of the discourse on God and religion in the second part of 19th century. His considerations lead from romantic theology searching a human dimension of Christ, through the criticism of religion advocated by German philosophers and fascination with Buddhism in French literary circles to psychological and sociological views which define God as a figment of human imagination. Due to such approach the spiritual dilemmas of a man of the end of the century and his struggles to see in God the image oneself (being a reversion of the religious order and results of the advances in anthropology). Such rich background allows not only for a better understanding of the logic of the changes in philosophical discourse, but also their consequences for the development of writing creativity and metaphysical conceptions of one of the most appraised poets of European modernism - Stéphane Mallarmé.
2
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MALLARMÉHO NIČOTA S HEIDEGGEROVOU ÚZKOSŤOU

80%
Marion J.-L.
World Literature Studies
|
2020
|
vol. 12
|
issue 3
9 - 15
EN
The article points out the similarity of idea in poetry and philosophy. Poets and philosophers describe the same phenomena and walk the same path in solidarity. Mallarmé and Heidegger speak of Nothingness and show Nothingness. Mallarmé descended deeply enough into Nothingness to speak about it with confidence. Where to look for nothing and how to find it? How can nothing be shown? And what does nothing itself show? Nothingness is revealed through Anxiety. Therefore, the abnormal anxiety that possess the poet is an experience of suffering from Nothingness. Nothing is known as a thing or as a condition. It is happening as we speak. Nothingness is expressed as it is, as an „empty salon“.
3

RELATIONS BETWEEN MUSIC AND TEXT IN PIERRE BOULEZ'S 'PLI SELON PLI' (Analiza zwiazków slowno-muzycznych w 'Pli selon pli' Pierre'a Bouleza)

80%
Kawczynska E.
Przegląd Muzykologiczny
|
2004
|
issue 4
81-108
EN
The essay summarizes an extended analysis of relations between text and music in Pierre Boulez's cycle 'Pli selon pli'. Composed in 1958-1964, the cycle consists of three vocal-instrumental pieces and two outer movements which are instrumental, with accidental interventions of the human voice. 'Pli selon pli' draws upon poetic texts of Stéphane Mallarmé, the avant-garde French symbolic author. The composition is an homage to Mallarmé, whose poetic ideals are also Boulez's own. To identify fully the relationship between poetic and musical text, the analysis focuses on three levels: form, semantics, and prosody. First addressing generic relations between the stanza structure of the poems and the musical architecture of the pieces, the analysis then identifies more subtle interrelations between meanings and each verse's intonation and rhythmic structure. Boulez's writings on how to relate music to poetic text serve as a reference point. The analysis reveals that Boulez mostly dismisses simple solutions, rejecting such tools as onomatopoeia, and looks instead for deeper correlations between text and music based on contextual meanings and the mood created by the poetry. The composer's strategy mainly focuses on structure; Boulez builds relations between the poetic and musical text structure through formal devices (stanza divisions), logical structure as related to meaning, and rhythmic structure as related to the intonation of each verse. 'Pli selon pli' may thus be seen as Boulez's answer to Mallarmé's pivotal question whether poetry and music can be related on a deepest level.
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