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In the 1850s, ancien and Haussmannian Paris clash, giving birth to a violent disjunction. At that moment in time, an other present is born, a new history, like Baudelaire's poet freely abandoning his halo on the macadam. The laurel crown has been discarded; the pastoral poet is dead; classical lyric poetry is dead. The steam-driven, gaslit, electrically-charged poet is born. "Retreat Academic Muse!," Baudelaire commands, "I don't care about that old stutterer."
With Paris Spleen, we move toward a new rhythm, a rhythm born of the pace, speed, and reality of a metropolis hitherto never seen or experienced. It is the rhythm of the street, of the swift-moving eye, of overloaded senses and hyper-perception, of newspapers and optical devices. Baudelaire's life spans the essential birth of whole new forms of technology, including steam locomotives, gas light, and electricity, not to speak of the typewriter and the Daguerreotype. The dandy sees and moves with the coming speed of light. His life is one lived in the midst of illumination, mechanics, and simulacra.
Baudelaire's Paris is a place of experience, a metropolis that spawns unique and particular realities, a kaleidoscope of visions and mirror of alternative societies. The grist of his poems is not ancient Greece or the Renaissance. As he stated in the so-called preface to Paris Spleen, it is especially from frequenting great cities, from the crossroads of their innumerable relations, that the haunting ideal of the prose poem was born. Our flâneur wanders swiftly through crowds, in contact, but anonymous, extracting from the city material to forge his new ars poetica, like a bricolage artist.
The future is called forth. The street is the new Olympus; the phantasmagoric city is a big harlot whose infernal charm continually rejuvenates the poet. The ironic, infernal beacon is the totem of the new age: the age of dissonance, the age of artificial paradises. "I love you, O infamous capital!" the poet exults.
Here is Paris Spleen, an invitation to voyage, to have the entirety of Baudelaire's Paris enter into our flesh and for us to undergo contagion, if our spleens can handle it.
With Paris Spleen, we move toward a new rhythm, a rhythm born of the pace, speed, and reality of a metropolis hitherto never seen or experienced. It is the rhythm of the street, of the swift-moving eye, of overloaded senses and hyper-perception, of newspapers and optical devices. Baudelaire's life spans the essential birth of whole new forms of technology, including steam locomotives, gas light, and electricity, not to speak of the typewriter and the Daguerreotype. The dandy sees and moves with the coming speed of light. His life is one lived in the midst of illumination, mechanics, and simulacra.
Baudelaire's Paris is a place of experience, a metropolis that spawns unique and particular realities, a kaleidoscope of visions and mirror of alternative societies. The grist of his poems is not ancient Greece or the Renaissance. As he stated in the so-called preface to Paris Spleen, it is especially from frequenting great cities, from the crossroads of their innumerable relations, that the haunting ideal of the prose poem was born. Our flâneur wanders swiftly through crowds, in contact, but anonymous, extracting from the city material to forge his new ars poetica, like a bricolage artist.
The future is called forth. The street is the new Olympus; the phantasmagoric city is a big harlot whose infernal charm continually rejuvenates the poet. The ironic, infernal beacon is the totem of the new age: the age of dissonance, the age of artificial paradises. "I love you, O infamous capital!" the poet exults.
Here is Paris Spleen, an invitation to voyage, to have the entirety of Baudelaire's Paris enter into our flesh and for us to undergo contagion, if our spleens can handle it.
In the 1850s, ancien and Haussmannian Paris clash, giving birth to a violent disjunction. At that moment in time, an other present is born, a new history, like Baudelaire's poet freely abandoning his halo on the macadam. The laurel crown has been discarded; the pastoral poet is dead; classical lyric poetry is dead. The steam-driven, gaslit, electrically-charged poet is born. "Retreat Academic Muse!," Baudelaire commands, "I don't care about that old stutterer."
With Paris Spleen, we move toward a new rhythm, a rhythm born of the pace, speed, and reality of a metropolis hitherto never seen or experienced. It is the rhythm of the street, of the swift-moving eye, of overloaded senses and hyper-perception, of newspapers and optical devices. Baudelaire's life spans the essential birth of whole new forms of technology, including steam locomotives, gas light, and electricity, not to speak of the typewriter and the Daguerreotype. The dandy sees and moves with the coming speed of light. His life is one lived in the midst of illumination, mechanics, and simulacra.
Baudelaire's Paris is a place of experience, a metropolis that spawns unique and particular realities, a kaleidoscope of visions and mirror of alternative societies. The grist of his poems is not ancient Greece or the Renaissance. As he stated in the so-called preface to Paris Spleen, it is especially from frequenting great cities, from the crossroads of their innumerable relations, that the haunting ideal of the prose poem was born. Our flâneur wanders swiftly through crowds, in contact, but anonymous, extracting from the city material to forge his new ars poetica, like a bricolage artist.
The future is called forth. The street is the new Olympus; the phantasmagoric city is a big harlot whose infernal charm continually rejuvenates the poet. The ironic, infernal beacon is the totem of the new age: the age of dissonance, the age of artificial paradises. "I love you, O infamous capital!" the poet exults.
Here is Paris Spleen, an invitation to voyage, to have the entirety of Baudelaire's Paris enter into our flesh and for us to undergo contagion, if our spleens can handle it.
With Paris Spleen, we move toward a new rhythm, a rhythm born of the pace, speed, and reality of a metropolis hitherto never seen or experienced. It is the rhythm of the street, of the swift-moving eye, of overloaded senses and hyper-perception, of newspapers and optical devices. Baudelaire's life spans the essential birth of whole new forms of technology, including steam locomotives, gas light, and electricity, not to speak of the typewriter and the Daguerreotype. The dandy sees and moves with the coming speed of light. His life is one lived in the midst of illumination, mechanics, and simulacra.
Baudelaire's Paris is a place of experience, a metropolis that spawns unique and particular realities, a kaleidoscope of visions and mirror of alternative societies. The grist of his poems is not ancient Greece or the Renaissance. As he stated in the so-called preface to Paris Spleen, it is especially from frequenting great cities, from the crossroads of their innumerable relations, that the haunting ideal of the prose poem was born. Our flâneur wanders swiftly through crowds, in contact, but anonymous, extracting from the city material to forge his new ars poetica, like a bricolage artist.
The future is called forth. The street is the new Olympus; the phantasmagoric city is a big harlot whose infernal charm continually rejuvenates the poet. The ironic, infernal beacon is the totem of the new age: the age of dissonance, the age of artificial paradises. "I love you, O infamous capital!" the poet exults.
Here is Paris Spleen, an invitation to voyage, to have the entirety of Baudelaire's Paris enter into our flesh and for us to undergo contagion, if our spleens can handle it.
Über den Autor
Las flores del mal (título original en francés: Les Fleurs du mal) es una colección de poemas de Charles Baudelaire. Considerada la obra máxima de su autor, abarca casi la totalidad de su producción poética desde 1840 hasta la fecha de su primera publicación.La primera edición constó de 1.300 ejemplares y se llevó a cabo el 25 de junio de 1857. La segunda edición de 1861 elimina los poemas censurados, pero añade 30 nuevos. La edición definitiva será póstuma, en 1868 y, si bien no incluye los poemas prohibidos, añade algunos más. Esta versión consta de 151 poemas. La censura que recayó sobre algunos de sus poemas no sería levantada en Francia hasta 1949.Las Flores del mal es considerada una de las obras más importantes de la poesía moderna, que imprime una estética nueva, donde la belleza y lo sublime surgen, a través del lenguaje poético, de la realidad más trivial, aspecto que ejerció una influencia considerable en poetas como Paul Verlaine, Stéphane Mallarmé o Arthur Rimbaud.EstructuraA mi queridísimo y veneradísmo maestro y amigo Théophile Gautier. Aunque te ruego que apadrines Las flores del mal, no creas que ande tan descarriado ni que sea tan indigno del título de poeta como para creer que estas flores enfermizas merecen tu noble patrocinio. Ya sé que en las etéreas regiones de la verdadera poesía no existe el mal y tampoco el bien, como sé que no es imposible que este mísero diccionario de la melancolía y del crimen justifique las reacciones de la moral, del mismo modo que el blasfemo viene a reafirmar la religión. Pero en la medida de mis posibilidades, y a falta de algo mejor, he querido rendir un profundo homenaje al autor de Albertus, La comedia de la muerte y Viaje a España, al poeta impecable, al mago de la lengua francesa, de quien me declaro con tanto orgullo como humildad, el más devoto, el más respetuoso y el más envidiado de los discípulos.Charles Baudelaire: Las flores del malA lo largo de toda la obra, Baudelaire juega sobre las correspondencias verticales y horizontales que más adelante inspirarán a otros muchos poetas toda su obra se construye como un itinerario moral, espiritual y físico. Baudelaire divide el libro en siete partes, introducidas por el famoso poema Al lector: Esplín e ideal, Cuadros parisinos, El vino, Flores del mal y Rebelión, con una conclusión final: La muerte.
Details
| Erscheinungsjahr: | 2021 |
|---|---|
| Genre: | Lyrik & Dramatik |
| Rubrik: | Belletristik |
| Medium: | Taschenbuch |
| Seiten: | 216 |
| ISBN-13: | 9781940625454 |
| ISBN-10: | 1940625459 |
| Sprache: | Englisch |
| Ausstattung / Beilage: | Paperback |
| Einband: | Kartoniert / Broschiert |
| Autor: | Baudelaire, Charles |
| Hersteller: | Contra Mundum Press |
| Maße: | 203 x 127 x 13 mm |
| Von/Mit: | Charles Baudelaire |
| Erscheinungsdatum: | 29.01.2021 |
| Gewicht: | 0,265 kg |
Über den Autor
Las flores del mal (título original en francés: Les Fleurs du mal) es una colección de poemas de Charles Baudelaire. Considerada la obra máxima de su autor, abarca casi la totalidad de su producción poética desde 1840 hasta la fecha de su primera publicación.La primera edición constó de 1.300 ejemplares y se llevó a cabo el 25 de junio de 1857. La segunda edición de 1861 elimina los poemas censurados, pero añade 30 nuevos. La edición definitiva será póstuma, en 1868 y, si bien no incluye los poemas prohibidos, añade algunos más. Esta versión consta de 151 poemas. La censura que recayó sobre algunos de sus poemas no sería levantada en Francia hasta 1949.Las Flores del mal es considerada una de las obras más importantes de la poesía moderna, que imprime una estética nueva, donde la belleza y lo sublime surgen, a través del lenguaje poético, de la realidad más trivial, aspecto que ejerció una influencia considerable en poetas como Paul Verlaine, Stéphane Mallarmé o Arthur Rimbaud.EstructuraA mi queridísimo y veneradísmo maestro y amigo Théophile Gautier. Aunque te ruego que apadrines Las flores del mal, no creas que ande tan descarriado ni que sea tan indigno del título de poeta como para creer que estas flores enfermizas merecen tu noble patrocinio. Ya sé que en las etéreas regiones de la verdadera poesía no existe el mal y tampoco el bien, como sé que no es imposible que este mísero diccionario de la melancolía y del crimen justifique las reacciones de la moral, del mismo modo que el blasfemo viene a reafirmar la religión. Pero en la medida de mis posibilidades, y a falta de algo mejor, he querido rendir un profundo homenaje al autor de Albertus, La comedia de la muerte y Viaje a España, al poeta impecable, al mago de la lengua francesa, de quien me declaro con tanto orgullo como humildad, el más devoto, el más respetuoso y el más envidiado de los discípulos.Charles Baudelaire: Las flores del malA lo largo de toda la obra, Baudelaire juega sobre las correspondencias verticales y horizontales que más adelante inspirarán a otros muchos poetas toda su obra se construye como un itinerario moral, espiritual y físico. Baudelaire divide el libro en siete partes, introducidas por el famoso poema Al lector: Esplín e ideal, Cuadros parisinos, El vino, Flores del mal y Rebelión, con una conclusión final: La muerte.
Details
| Erscheinungsjahr: | 2021 |
|---|---|
| Genre: | Lyrik & Dramatik |
| Rubrik: | Belletristik |
| Medium: | Taschenbuch |
| Seiten: | 216 |
| ISBN-13: | 9781940625454 |
| ISBN-10: | 1940625459 |
| Sprache: | Englisch |
| Ausstattung / Beilage: | Paperback |
| Einband: | Kartoniert / Broschiert |
| Autor: | Baudelaire, Charles |
| Hersteller: | Contra Mundum Press |
| Maße: | 203 x 127 x 13 mm |
| Von/Mit: | Charles Baudelaire |
| Erscheinungsdatum: | 29.01.2021 |
| Gewicht: | 0,265 kg |
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