De l'homme, de la nature et du monde, Mélanges d'histoire des sciences médiévales offerts à Danielle Jacquart, 2019
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De l'homme, de la nature et du monde, Mélanges d'histoire des sciences médiéval... more Table of contents De l'homme, de la nature et du monde, Mélanges d'histoire des sciences médiévales offerts à Danielle Jacquart
De l'homme, de la nature et du monde, Mélanges d'histoire des sciences médiévales offerts à Danielle Jacquart, 2019
Table of contents
De l'homme, de la nature et du monde, Mélanges d'histoire des sciences médiéval... more Table of contents De l'homme, de la nature et du monde, Mélanges d'histoire des sciences médiévales offerts à Danielle Jacquart
"Baudelaire and the Poetics of Minimum Quality" -
In Le Salon de 1845, Baudelaire grounds his ... more "Baudelaire and the Poetics of Minimum Quality" -
In Le Salon de 1845, Baudelaire grounds his praise of Corot’s paintings upon the remark that «une oeuvre de génie [...] est toujours très bien exécutée, quand elle l’est suffisamment». In Baudelaire’s view, what a painter has to aim for is not a maximum of quality, but the minimum sufficient to achieve the spiritual goal of the work. This goal consists
precisely in a sort of transitiveness between the artist’s and the beholder’s interiorities. Does such a persuasion play any role in Baudelaire’s own poetics? According to the author of this paper, it does. Baudelaire’s writing in Le Spleen de Paris, it is suggested, may be regarded as a writing of “minimum quality”, intended to be not so much poetry in itself, as poetry in the reader’s mind.
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De l'homme, de la nature et du monde, Mélanges d'histoire des sciences médiévales offerts à Danielle Jacquart
Papers by Adolfo Tura
De l'homme, de la nature et du monde, Mélanges d'histoire des sciences médiévales offerts à Danielle Jacquart
In Le Salon de 1845, Baudelaire grounds his praise of Corot’s paintings upon the remark that «une oeuvre de génie [...] est toujours très bien exécutée, quand elle l’est suffisamment». In Baudelaire’s view, what a painter has to aim for is not a maximum of quality, but the minimum sufficient to achieve the spiritual goal of the work. This goal consists
precisely in a sort of transitiveness between the artist’s and the beholder’s interiorities. Does such a persuasion play any role in Baudelaire’s own poetics? According to the author of this paper, it does. Baudelaire’s writing in Le Spleen de Paris, it is suggested, may be regarded as a writing of “minimum quality”, intended to be not so much poetry in itself, as poetry in the reader’s mind.