Figurer l'energie : baudelaire ecrivain du visuel
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Abstract EN:
Through a new reading of baudelaire's studies on painting, this thesis shows how the poet analyses the debts his sensitivity owes to the energy expressed in some of his favourite paintings. By finding other means of expressing poetry, art criticism gradually unveils the grounds of an imagination in which expression is inseparable from intensity. The opening deals with the historical background : it shows what baudelaire owes to diderot and stendhal in this new approach of uecrivain du visuel which conveys the vitality of images into his own poetical expression. Hinging literature and painting around the notion of energy, the poet of les fleurs du -miarf-eehoes4yh~ai-emtbur&tslj3f_anjncura^^ his prose as well as in his poems). Paradoxically enough7^hls^-omantlc^ntens^y-co^^negative feelings and discovers its role in delacroix who attributes the energetic movement of his painting to 'a dark hole that needs filling'. This thesis studies two periods in baudelaire's esthetics that span through the 18571861 edition of the work rewritten in verse ; it shows that the motive of nervous tension prevailing between 1845 and 1855 becomes a real depression of the soul between 1859 and 1863. As the ensuing violence of 'the obscure enemy' pervades les fleurs du mal , the prose of this 'impassioned visionary* illustrates an energy through boredom whose underlying 'painful secret' can be felt. By expressing 'the violence set in passion' linked to the 'atmosphere of the human drama' the critical work implies a genuine poietic dimension : 'just as eugene delacroix drove his art to the heights of great poetry, edgar poe likes to brandish his figures against purplish and greeenish backgrounds revealing the phosphorescence of decay and the scent of storm. '
Abstract FR:
Relisant les ecrits consacres par baudelaire a la peinture, cette these montre comment le poete commente l'effet que produit sur sa sensibilite venergie de tableaux particulierement admires. Continuant la poesie par d'autres moyens, la critique d'art met progressivement a nu la matiere d'un imaginaire ou ^expression s'avere inseparable de l'intensite. Une premiere partie resitue le contexte historique : baudelaire herite de diderot et stendhal cette nouvelle position d'enonciation de x ecrivain du visuel qui transfere dans ^^a_proprepoetique la vitalite des images. Articulant litterature et peinture autouf^e^a^iottont^energtetle'poe prose comme dans ses vers "les explosions lyriques d'une melancolie incurable". Romantique, cette intensite paradoxalement porteuse de negativite trouve un modele chez delacroix attribuant le "mouvement energique" de sa peinture a "un fond tout noir a contenter". De part et d'autre de la publicationrecriture du recueil en vers (1857-1861), la these etudie deux epoques de l'esthetique baudelairienne ou, motif insistant entre 1845 et 1855, "la tension des nerfs" fait place, entre 1859 et 1863, a une veritable "depression d'ame". Mettant en oeuvre la vigueur propre a "l'obscur ennemi" qui ravage les fleurs du mal , la prose de ce "visionnaire passionne" figure une energie de l'ennui dont "le secret douloureux" se devine entre les lignes. Restituant "la violence dans la passion" propre a "l'atmosphere du drame humain", l'acte critique implique une dimension veritablement poietique : "comme notre eugene delacroix, qui a eleve son art a la hauteur de la grande poesie, edgar poe aime a agiter ses figures sur des fonds violatres et verdatres ou se revelent la phosphorescence de la pourriture et la senteur de l'orage.