PDF Pierrot posthume (French Edition)

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Carnaval La Marquise de Sade. Frontispice de Lunel. Audience Level. Related Identities.

Théâtre de poche - Pierrot posthume

Associated Subjects. Alternative Names. French Illustrator , Artist , Author , Draftsman , Bibliographic antecedent. This book is not yet featured on Listopia. Community Reviews.

Showing Rating details. All Languages. More filters. Sort order. There are no discussion topics on this book yet. About Jules Laforgue. Jules Laforgue. Jules Laforgue Montevideo, 16 August — Paris, 20 August was an innovative French poet, often referred to as a Symbolist poet. Critics and commentators have also pointed to Impressionism as a direct influence and his poetry has been called "part-symbolist, part-impressionist".

Strongly influenced by Walt Whitman, Laforgue was one of the first French poets to write in free verse.

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Philosophically, he was an ardent disciple of Schopenhauer and Von Hartmann. His poetry would be one of the major influences on the young T. She could not return his affection, so he linked [1] her sister Ernestina, a singer. Absorbed by the Revolution, Gautier wrote almost one hundred articles, equivalent to four large books, within nine months in His prestige was confirmed by his role as director of Revue de Paris from — During this time, Gautier left La Presse and became a journalist for Le Moniteur universel , finding the burden of regular journalism quite unbearable and "humiliating".

Pierrot: A Silent Witness of Changing Times

It is in this review that Gautier publicized Art for art's sake doctrines through many editorials. The s were years of assured literary fame for Gautier. Although he was rejected by the French Academy three times , , , Charles-Augustin Sainte-Beuve , the most influential critic of the day, set the seal of approval on the poet by devoting no less than three major articles in to reviews of Gautier's entire published works. The Princess offered Gautier a sinecure as her librarian in , a position that gave him access to the court of Napoleon III.

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During the Franco-Prussian War , Gautier made his way back to Paris upon hearing of the Prussian advance on the capital. He remained with his family throughout the invasion and the aftermath of the Commune , eventually dying on 23 October due to a long-standing cardiac disease. Gautier was sixty-one years old. He shared in Hugo's dissatisfaction with the theatrical outputs of the time and the use of the word "tragedy.

Gautier was influenced greatly by his friends as well, paying tribute to them in his writings.

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Gautier spent the majority of his career as a journalist at La Presse and later on at Le Moniteur universel. He saw journalistic criticism as a means to a middle-class standard of living. The income was adequate and he had ample opportunities to travel.

Gautier began contributing art criticism to obscure journals as early as After leaving La Presse to work for Le Moniteur universel , the official newspaper of the Second Empire , Gautier wrote both to inform the public and to influence its choices. His role at the newspaper was equivalent to the modern book or theatre reviewer.


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He also reviewed music, without technical terminology but with intelligence and insight, for instance into the work of his friend Berlioz, who set six of his poems c. Gautier's literary criticism was more reflective in nature, criticism which had no immediate commercial function but simply appealed to his own taste and interests. Gautier, who started off as a painter, contributed much to the world of art criticism. Instead of taking on the classical criticism of art that involved knowledge of color, composition and line, Gautier was strongly committed to Denis Diderot 's idea that the critic should have the ability to describe the art such that the reader might "see" the art through his description.

Many other critics of the generation of took on this theory of the transposition of art — the belief that one can express one art medium in terms of another.