The Impersonal Sublime: Hugo, Baudelaire, Lautreamont

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9780804717861: The Impersonal Sublime: Hugo, Baudelaire, Lautreamont
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The question of the sublime, which links the idea of aesthetic force with rhetorical impact and moral law, has been an important topic in discussion of eighteenth- and nineteenth-century art and the shift between them. This book argues that the sublime is equally important in understanding the shift from romanticism to modernism later in the century. The author studies the work of three French authors conventionally considered pivotal figures in the trajectory from romanticism to modernism: Hugo, father of romanticism; Baudelaire, precursor of symbolist modernism; and Lautreamont, hero of (post) modernism. She traces this literary-historical as Hugo's Quatre-vingt-treize and L'Homme qui rit, Baudelaire's Spleen de Paris and Petits poemes en prose, and Lautreamont's Chants de Maldoror and Poesies - all seen from a perspective of the aesthetics of the sublime. This perspective is developed through analyses of the treatises on the sublime by Longinus, Boileau, Burke, and Kant.

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Guerlac, Suzanne
Published by Stanford University Press, Stanford (1990)
ISBN 10: 0804717869 ISBN 13: 9780804717861
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Book Description Stanford University Press, Stanford, 1990. Hardcover. Condition: New. Dust Jacket Condition: New. First Edition. Study of the aesthetics of the sublime tracing its trajectory from romanticism through symbolism and decadence to modernism. The question of the sublime, which links the idea of aesthetic force with rhetorical impact and moral law, has been an important topic in discussion of eighteenth and nineteenth-century art and the shift between them. This book argues that the sublime is equally important in understanding the shift from romanticism to modernism later in the century. The author studies the work of three French authors conventionally considered pivotal figures in the trajectory from romanticism to modernism: Hugo, father of romanticism; Baudelaire, precursor of symbolist modernism; and Lautreamont, hero of (post) modernism. She traces this literary-historical as Hugo's Quatre-vingt-treize and L'Homme qui rit, Baudelaire's Spleen de Paris and Petits poemes en prose, and Lautreamont's Chants de Maldoror and Poesies - all seen from a perspective of the aesthetics of the sublime. This perspective is developed through analyses of the treatises on the sublime by Longinus, Boileau, Burke, and Kant. The author blends three points of view in her exploration, historical, theoretical, and literary and demonstrates that specific questions relevant to our comprehension of romanticism, modernity, and the sublime pervade the texts studied. While each reading is meant to stand on its own and to respect the specificity of the work in question (as well as the broader commitments of that writer), the author suggests that a developing argument concerning the sublime can be appreciated only by following the connections made in the passage from one text to another. Finally, the author argues against the dominant critical treatment of the sublime in the Anglo-American context, which analyzes the sublime in phenomenological terms and associates it with a psychoanalytic notion of sublimation. Hugo, Baudelaire, and Lautreamont reveal the sublime to be at work in the modern French context in a desublimating and nonphenomenological mode, one that is ultimately more compatible with fundamental issues at stake in the sublime such as the enhancement of, and challenge to, the notion of the aesthetic per se that characterizes art developments in the modern period. Includes notes, bibliography and index. Size: 8vo - over 7¾" - 9¾" tall. Seller Inventory # 043156

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Guerlac, Suzanne
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Book Description Stanford Univ Pr, 1990. HRD. Condition: New. New Book. Shipped from US within 10 to 14 business days. Established seller since 2000. Seller Inventory # TX-9780804717861

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Book Description Stanford University Press, 1990. Hardcover. Condition: New. 1. Seller Inventory # DADAX0804717869

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Book Description Stanford University Press, United States, 1990. Hardback. Condition: New. Language: English . Brand New Book ***** Print on Demand *****. The question of the sublime, which links the idea of aesthetic force with rhetorical impact and moral law, has been an important topic in discussion of eighteenth- and nineteenth-century art and the shift between them. This book argues that the sublime is equally important in understanding the shift from romanticism to modernism later in the century. The author studies the work of three French authors conventionally considered pivotal figures in the trajectory from romanticism to modernism: Hugo, father of romanticism; Baudelaire, precursor of symbolist modernism; and Lautreamont, hero of (post) modernism. She traces this literary-historical as Hugo s Quatre-vingt-treize and L Homme qui rit, Baudelaire s Spleen de Paris and Petits poemes en prose, and Lautreamont s Chants de Maldoror and Poesies - all seen from a perspective of the aesthetics of the sublime. This perspective is developed through analyses of the treatises on the sublime by Longinus, Boileau, Burke, and Kant. The author blends three points of view in her exploration - historical, theoretical, and literary - and demonstrates that specific questions relevant to our comprehension of romanticism, modernity, and the sublime pervade the texts studied. While each reading is meant to stand on its own and to respect the specificity of the work in question (as well as the broader commitments of that writer), the author suggests that a developing argument concerning the sublime can be appreciated only by following the connections made in the passage from one text to another. Finally, the author argues against the dominant critical treatment of the sublime in the Anglo-American context, which analyzes the sublime in phenomenological terms and associates it with a psychoanalytic notion of sublimation. Hugo, Baudelaire, and Lautreamont reveal the sublime to be at work in the modern French context in a desublimating and nonphenomenological mode, one that is ultimately more compatible with fundamental issues at stake in the sublime - such as the enhancement of, and challenge to, the notion of the aesthetic per se that characterizes art developments in the modern period. Seller Inventory # APC9780804717861

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Book Description Stanford University Press, 2018. Hardcover. Condition: New. Never used! This item is printed on demand. Seller Inventory # 0804717869

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Book Description Stanford University Press, United States, 1990. Hardback. Condition: New. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. The question of the sublime, which links the idea of aesthetic force with rhetorical impact and moral law, has been an important topic in discussion of eighteenth- and nineteenth-century art and the shift between them. This book argues that the sublime is equally important in understanding the shift from romanticism to modernism later in the century. The author studies the work of three French authors conventionally considered pivotal figures in the trajectory from romanticism to modernism: Hugo, father of romanticism; Baudelaire, precursor of symbolist modernism; and Lautreamont, hero of (post) modernism. She traces this literary-historical as Hugo s Quatre-vingt-treize and L Homme qui rit, Baudelaire s Spleen de Paris and Petits poemes en prose, and Lautreamont s Chants de Maldoror and Poesies - all seen from a perspective of the aesthetics of the sublime. This perspective is developed through analyses of the treatises on the sublime by Longinus, Boileau, Burke, and Kant. The author blends three points of view in her exploration - historical, theoretical, and literary - and demonstrates that specific questions relevant to our comprehension of romanticism, modernity, and the sublime pervade the texts studied. While each reading is meant to stand on its own and to respect the specificity of the work in question (as well as the broader commitments of that writer), the author suggests that a developing argument concerning the sublime can be appreciated only by following the connections made in the passage from one text to another. Finally, the author argues against the dominant critical treatment of the sublime in the Anglo-American context, which analyzes the sublime in phenomenological terms and associates it with a psychoanalytic notion of sublimation. Hugo, Baudelaire, and Lautreamont reveal the sublime to be at work in the modern French context in a desublimating and nonphenomenological mode, one that is ultimately more compatible with fundamental issues at stake in the sublime - such as the enhancement of, and challenge to, the notion of the aesthetic per se that characterizes art developments in the modern period. Seller Inventory # BTE9780804717861

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Suzanne Guerlac
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Book Description Stanford University Press, United States, 1990. Hardback. Condition: New. Language: English . Brand New Book ***** Print on Demand *****.The question of the sublime, which links the idea of aesthetic force with rhetorical impact and moral law, has been an important topic in discussion of eighteenth- and nineteenth-century art and the shift between them. This book argues that the sublime is equally important in understanding the shift from romanticism to modernism later in the century. The author studies the work of three French authors conventionally considered pivotal figures in the trajectory from romanticism to modernism: Hugo, father of romanticism; Baudelaire, precursor of symbolist modernism; and Lautreamont, hero of (post) modernism. She traces this literary-historical as Hugo s Quatre-vingt-treize and L Homme qui rit, Baudelaire s Spleen de Paris and Petits poemes en prose, and Lautreamont s Chants de Maldoror and Poesies - all seen from a perspective of the aesthetics of the sublime. This perspective is developed through analyses of the treatises on the sublime by Longinus, Boileau, Burke, and Kant. The author blends three points of view in her exploration - historical, theoretical, and literary - and demonstrates that specific questions relevant to our comprehension of romanticism, modernity, and the sublime pervade the texts studied. While each reading is meant to stand on its own and to respect the specificity of the work in question (as well as the broader commitments of that writer), the author suggests that a developing argument concerning the sublime can be appreciated only by following the connections made in the passage from one text to another. Finally, the author argues against the dominant critical treatment of the sublime in the Anglo-American context, which analyzes the sublime in phenomenological terms and associates it with a psychoanalytic notion of sublimation. Hugo, Baudelaire, and Lautreamont reveal the sublime to be at work in the modern French context in a desublimating and nonphenomenological mode, one that is ultimately more compatible with fundamental issues at stake in the sublime - such as the enhancement of, and challenge to, the notion of the aesthetic per se that characterizes art developments in the modern period. Seller Inventory # APC9780804717861

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Book Description Stanford University Press. Hardcover. Condition: New. 248 pages. Dimensions: 8.6in. x 5.6in. x 0.9in.The question of the sublime, which links the idea of aesthetic force with rhetorical impact and moral law, has been an important topic in discussion of eighteenth- and nineteenth-century art and the shift between them. This book argues that the sublime is equally important in understanding the shift from romanticism to modernism later in the century. The author studies the work of three French authors conventionally considered pivotal figures in the trajectory from romanticism to modernism: Hugo, father of romanticism; Baudelaire, precursor of symbolist modernism; and Lautreamont, hero of (post) modernism. She traces this literary-historical as Hugos Quatre-vingt-treize and LHomme qui rit, Baudelaires Spleen de Paris and Petits poemes en prose, and Lautreamonts Chants de Maldoror and Poesies - all seen from a perspective of the aesthetics of the sublime. This perspective is developed through analyses of the treatises on the sublime by Longinus, Boileau, Burke, and Kant. The author blends three points of view in her exploration - historical, theoretical, and literary - and demonstrates that specific questions relevant to our comprehension of romanticism, modernity, and the sublime pervade the texts studied. While each reading is meant to stand on its own and to respect the specificity of the work in question (as well as the broader commitments of that writer), the author suggests that a developing argument concerning the sublime can be appreciated only by following the connections made in the passage from one text to another. Finally, the author argues against the dominant critical treatment of the sublime in the Anglo-American context, which analyzes the sublime in phenomenological terms and associates it with a psychoanalytic notion of sublimation. Hugo, Baudelaire, and Lautreamont reveal the sublime to be at work in the modern French context in a desublimating and nonphenomenological mode, one that is ultimately more compatible with fundamental issues at stake in the sublime - such as the enhancement of, and challenge to, the notion of the aesthetic per se that characterizes art developments in the modern period. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Hardcover. Seller Inventory # 9780804717861

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Suzanne Guerlac
Published by Stanford University Press (1990)
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Book Description Stanford University Press, 1990. Condition: New. book. Seller Inventory # M0804717869

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