LEducation dune fée (Litterature) (French Edition)

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Main fields of expertise: He coordinates the creation of the mapping of researchers and experts on early school leaving WP3 and contributes to the work on the database on ESL WP2. He contributes to the work on the mapping WP2 http: He is now in charge of the Centre Alain Savary.

Institut Français de l’Education (IFÉ) - ENSL

Contribue au travail sur le site web. Contribue au travail sur le site web et sur les traductions. The fashion for linking poetry with the plastic arts had grown up during the s. Gautier simply developed the implications of this trend to the ultimate, concentrating on the language of shape, colour, and texture and limiting form almost exclusively to the very restrictive octosyllabic quatrain.

Even themes that in his prose fiction suggest a genuine spiritual unrest, such as the fluid nature of identity or the destructive power of love, become the occasion for virtuoso ornamental elaboration. The best of these poems are transpositions from one art form to another, particularly those based on music. Although his theoretical pronouncements on the supremacy of beauty suggest affinities with Gautier, Leconte de Lisle was far from believing that the subject matter of poetry was of no significance.

He wanted his poetry to transmute knowledge into a higher form of truth, and he believed in the necessity of systematic research before composition.

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The highly material surface of his poems is used to disguise a profound nihilism. For Leconte de Lisle the history of mankind presents a long, slow decline from the golden age of antiquity, leading inevitably toward the cosmic annihilation that post-Darwinian biologists saw as the natural end of evolution. The stories recounted from European and Eastern mythology and the portraits of exotic animals and landscapes, though superficially scientific in their blending of scholarly documentation and objective narrative manner, all distill the same sense of revolt against a destiny that binds mankind to expiate crimes it is fated to commit.

Gautier, Hugo, and Leconte de Lisle were the three contemporary French poets for whom Charles Baudelaire felt the greatest admiration, although he had no time for formalism, didacticism, or the cult of antiquity.

To two basic ideas, however, he remained constant: The first of these explains the importance that he assigns to intuition , imagination, synesthesia, and the thrilling necessity for the artist to plunge himself into the world about him. The second led him to a poetics of frustration and revolt: Whether the Catholic images and doctrines—the language of his age and class—in which he formulated his poems are to be taken literally or whether they are best viewed as the discourse he chose to grapple with in formulating the material and historical specificities of modern life, Baudelaire was a poet deeply concerned with the relationship between humanity, morality, and art.

He located morality for the artist pictured, as in Hugo, as the prophet and representative of his generation in his effort to see and communicate to his contemporaries the truth about themselves. The artist must bring clarity of vision into a world he saw as given over to the fogs and miasmas of hypocrisy, fudging, slothful conformism, and vicious self-seeking.

He was genuinely distressed by the official condemnation of the first edition of Les Fleurs du mal on a charge of obscenity provoked by its supposed erotic realism. The tensions within Baudelaire are depicted at their height in the second edition of Les Fleurs du mal The struggle is presented in a series of experiences that start with the poet himself, move out into the ugly—and yet, he finds, thrilling—urban environment of contemporary Paris, and gradually uncover the black depths of deformation and decay within the men and women who inhabit this modern landscape of masses and markets. The stylistic antitheses mirror the content.

From 1850 to 1900

Within individual poems Baudelaire shifts between the rhetorical, the impressionist, the abstract, and the intensely physical, concrete instance. He balances banality and originality, the prosaic and the melodic, to emphasize the interdependence of opposites, the chaos of forms and experience that he sees as the ground of the human condition. In the last years of his life, Baudelaire tried to extend the literary means at his disposal by experimenting with prose poetry.

The label Realism came to be applied to literature by way of painting as a result of the controversy surrounding the work of Gustave Courbet in the early s.

Literary realism, however, was a much less easily definable concept. Even the members of the so-called Realist school were not entirely in agreement. The practice of those labeled Realists was even more diverse than their theory. It is easy to see why Gustave Flaubert was so firm in dissociating himself from such writers as Champfleury and Duranty, given that his own work undermined all sense of stability in perceptions and values by emphasizing the idea that any version of reality is relative to the person who perceives it.

Salammbo and La Tentation de Saint-Antoine ; The Temptation of Saint Anthony , in which he portrays exotic subjects in a heightened lyrical fashion. However, his major novels— Madame Bovary ; Eng. Emma Bovary , trapped in the unrelieved dullness of provincial landscape and domesticity, destroys herself by attempting to base her life on the ideas of passion and happiness she has gathered from popular romance.

In her efforts to make the world around her fit her preconceived images, Emma—at best a dreamer, at worst a social climber—is an easy victim for the exploitative men who come her way, and she is inexorably drawn onward to financial ruin and, eventually, suicide.

The key to both Madame Bovary and Sentimental Education is the brilliance of a style that manages to mold its contours to the personality, ambitions, and limits of each character it evokes. Over the whole, Flaubert casts his own authorial presence, unobtrusive but visible, drily ironic, and sharply analytic.

His Trois contes ; Three Tales is a stylistic tour de force, evoking the possibilities and limits of three lives, each lived at a distinct and significant moment of historical transition, and telling the tale of each life in the language, artistic forms, and perspectives each moment offers. The society of the Second Empire, and indeed that of the early decades of the Third Republic , did not like to see itself too accurately portrayed on the stage; yet at the same time, in reaction against the escapism and nonconformity of Romantic drama , its members wanted the stage to reflect contemporary values and preoccupations.

Hence the predominance from to of social drama on the one hand and light comedy, farce, and operetta on the other.

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The Franco-German War and the consequent collapse of the empire had little perceptible effect on mainline theatre, though Offenbach lost favour because of his German associations. Attempts by other writers Flaubert, the Goncourts, Zola to establish a more genuinely realistic form of theatre failed, partly because public taste and theatrical commercialism made experiment nearly impossible and partly because the plays written were theatrically incompetent.

Antoine, who aimed at creating a unity between the staging decor and acting style of a play and its content, in the interest of total realism, introduced Paris to the drama of Henrik Ibsen and August Strindberg. Pelleas and Melisande , Monna Vanna ; Eng. The significance of such theatrical innovation was felt more widely in the following century. The Naturalists purported to take a more scientifically analytic approach to the presentation of reality than had their predecessors, treating dissection as a prerequisite for description.

It is difficult to find a coherent statement of the Naturalist theoretical position. However, like Flaubert, the Naturalists did not see reality as capable of any simple objective transcription.

Zola and Maupassant accepted as part of literary truth the transposition of reality through the temperament of the individual writer and the role played by form in the construction of the real. This extensiveness is emphasized by the subtitle of his novel cycle Les Rougon-Macquart: The linking of so many novels through a single family and the emphasis on the deterministic effects of heredity and environment confirm the scientific purpose.

Nana , and the ferocious attachment of the peasantry to their land in La Terre ; Earth.

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