Français 8740: Le Roman français au Dix-neuvième siècle

Séminaire de Littérature Française du Dix-neuvième siècle

Sujet:
Autour de Rimbaud

Automne 1997: Le lundi et le mercredi 19h30 - 21h20, 0280 Manoogian


Prof. Charles J. Stivale
Manoogian 361, 577-0970/3002
e-mail: C_Stivale@wayne.edu
Heures de bureau: le lundi et le mercredi: 16h-18h et sur rendez-vous


Questions d'étude 1

I. L. Porter, The Crisis of French Symbolism, ch. 1

1. (pp.1-6) Does Porter consider Romanticism (up to 1830) to have constituted a formal rupture for lyric poetry? How does he justify his position? How does Porter contrast traditional literary history with his own view? What shifts does Porter see that transform the traditional literary historical view?

2. (pp. 6-13) How does Porter distinguish "tendencies" of Symbolism within the traditional literary historical view? What new
progression does Porter propose and how does he justify this? What "solutions" does he claim that Symbolists adopt, and how does he juxtapose these "solutions" to Romanticism? How does each Symbolist inject "a personal stamp upon the common theme" (13) that Porter identifies?

3. (pp.14-19) How does Porter attempt to demarcate the "Symbolist period"? What limitations are offered by each criterion identified? How does Porter oppose the "strict constructivist view" of Symbolism, and what does he suggest to replace it?

4. (pp.20-26) How does Porter distinguish Symbolist poetry from earlier verse? Why does Jakobson's model of linguistic communication offer a "unifying concept" for comprehending French Symbolism? Why does poetry require modification of this model, according to Porter, and what kind of modification? How does Romantic poetry address this modification? What does each Symbolist poet (that Porter will study) share from this perspective, and how do they differ?

II. L. Fowlie, Rimbaud and Jim Morrison, ch. 1

1. (pp.1-7) What causes Fowlie to create the rapprochement between Rimbaud and Morrison? What aspects of Morrison's life (and representations of this life, e.g. by Oliver Stone) reinforce this rapprochement? What is Fowlie's "general thesis" that he presents in his preface for the unpublished The Doors Complete?

2. (pp.7-20) What elements contribute to the myth of Rimbaud, according to Fowlie, and to the rapprochement of this myth to that of Morrison? What trepidations did Fowlie have about translating Rimbaud's works, and how did he attempt to overcome his difficulties? What did Fowlie's "apprenticeship" in Jim Morrison's life and works bring to his understanding of Rimbaud and of Rimbaud's relation to the 1960s generation?

3. (pp.20-34) How did Fowlie infuse his lectures with his understanding of the Rimbaud-Morrison connection? What do the examples of Fowlie's campus visits reveal about the Rimbaud-Morrison connection and about Fowlie's growing appreciation
of it?

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