Download Baudelaire: L'Irréductible by Antoine Compagnon PDF

By Antoine Compagnon

Contrairement à l'idée reçue qui fait de lui le précurseur des avant-gardes du XXe siècle, Baudelaire fut à los angeles fois moderne et antimoderne. On l’éprouve ici devant certaines nouveautés qui l’obsédèrent : los angeles presse, los angeles photographie, l. a. ville et l’art.

C’étaient diverses facettes d’une même « selected moderne », fuyante et contradictoire, à laquelle il donna le nom de modernité.
Le poète allie devant elles l’horreur et l’extase : les journaux à grand tirage le dégoûtent, mais il assiège ces « canailles » de directeurs pour qu’ils le publient ; il attaque los angeles photographie, mais il pose pour des clichés de légende. Cette ambivalence constitue los angeles toile de fond du Spleen de Paris, sommet des contradictions du dernier Baudelaire, véritable objecteur de l. a. judgment of right and wrong moderne.

Un Baudelaire insoupçonné autant qu’irréductible.

Cahier photograph papier/numérique

Illustration originale d’après un portrait de Charles Baudelaire par Nadar, vers 1855
© Flammarion, 2014.

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Extra info for Baudelaire: L'Irréductible

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511) ‘Une langue de femme n’est bonne qu’à torcher un cul’ (p. ’ (p. 422) he tells Duclos, the female narrator, 40 Sade whose tongue is employed to tell stories on command for men and who is herself, therefore, an arse-licker of sorts. 13 On the other hand, the choice of female narrators is characteristic of the eighteenthcentury novel, and even of libertine writing, in which it carries appreciable erotic advantages. 14 Against the hatred of women in general and the maternal in particular, identifiable so often at the surface of the Sadean text, Frappier-Mazur’s analysis thus suggests the possibility of a lingering unconscious erotic dependency on the mother.

Secondly, style and structure are informed by a ‘contained and single-minded vision’: the classical utopia is a fortress. 19 This classical modelling has implications for the reader’s role, to which we shall return later. First, we shall examine how the entire framework of Les 120 Journées is dictated by order and systematisation. Number and symmetry dominate the structure and meanings of Les 120 Journées to an obsessive degree. In all Sade’s writing, symmetry governs the constructions of the living tableaux, in which men and women are sexually linked to each other as in a chain or rosary beads, or the human towers of circus acrobats.

The latter are brutally punished if their chamber pots are found to be full in the mornings, and there are similar consequences if they are found to have wiped their bottoms without permission. Eventually, it is forbidden to shit anywhere, or even to fart, except directly into the mouth of a libertine. Just as details of stronger perversions are withheld until a time deemed appropriate for their revelation, so the defecation of victims is placed under systems of sadistic control by the libertines which ensure the retention of faeces until a similarly appropriate time.

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