La recherche en littérature générale et comparée, Oct 2007
L'article concerne ( dans le cadre d'un livre consacré à la recherche en littératures comparées e... more L'article concerne ( dans le cadre d'un livre consacré à la recherche en littératures comparées en France) les entendus et malentendus des relations entre les deux disciplines.
"La conversion sur le temps long" Cahiers d'études du religieux/ recherches interdisciplinaires. Revues.org, Oct 2012
The article focuses on the paradoxical relationship that existed between religion, authority and ... more The article focuses on the paradoxical relationship that existed between religion, authority and authorship throughout the nineteenth century, to show how, either explicitly or implicitly, the paradigm of conversion provided an aesthetic principle that profoundly molded new forms of authorship as well as a new “philosophy of composition”.
Revue de Littérature Comparée n° 308 / Poétique comparatiste, 2003
Notes : for a poetics of T. S. Eliot
Many of the controversies surrounding T. S. Eliot’s poem, T... more Notes : for a poetics of T. S. Eliot
Many of the controversies surrounding T. S. Eliot’s poem, The Waste Land, when it was published in 1922, persist today. Contradictory interpretations still argue over whether the poem is radically modern (and drastically meaningless) or rather conservative and with a metaphorical or metaphysical meaning. Eliot’s allusive practice encourages source hunting, and critical attention has been focused ever since on the academic exegesis of sources and references. The endnotes attached to the poem for the book version add significantly to the confusion. With scholars tracking down every key thus apparently offered, erudite interpretations have taken over the reading of the poem. The contrast between the disorientating fragmentations, juxtapositions and displacements and the seemingly accurate explanations remains unquestioned or is simply attached to the disrupted aesthetics of « modernity ». Yet footnotes in literature are not specifically modern. V. Hugo, J.-J. Rousseau and E. Poe wrote notes for dramas, novels and tales. In the historical field, the purpose of footnotes is to assert the veracity of a fact or document. The task is fulfilled when the newly alleged fact is linked to the sum of human knowledge, and the authority of the historian is established in the process. In literature, and above all in poetry, such a use might seem paradoxical since a poet’s work expresses an individual’s opinion and is based on an original thought. But this perception of literature is itself a Romantic idea from which the major problem of Romanticism arises : the achievement of authority through the dramatization of the self. Rousseau, Hugo and Poe use footnotes to perform this dramatization. The endnotes of Eliot’s poem might obey a similar logic, presenting Perceval as the reader and the Fisher King as the author in a new version of the romantic drama of authority.
La recherche en littérature générale et comparée, Oct 2007
L'article concerne ( dans le cadre d'un livre consacré à la recherche en littératures comparées e... more L'article concerne ( dans le cadre d'un livre consacré à la recherche en littératures comparées en France) les entendus et malentendus des relations entre les deux disciplines.
"La conversion sur le temps long" Cahiers d'études du religieux/ recherches interdisciplinaires. Revues.org, Oct 2012
The article focuses on the paradoxical relationship that existed between religion, authority and ... more The article focuses on the paradoxical relationship that existed between religion, authority and authorship throughout the nineteenth century, to show how, either explicitly or implicitly, the paradigm of conversion provided an aesthetic principle that profoundly molded new forms of authorship as well as a new “philosophy of composition”.
Revue de Littérature Comparée n° 308 / Poétique comparatiste, 2003
Notes : for a poetics of T. S. Eliot
Many of the controversies surrounding T. S. Eliot’s poem, T... more Notes : for a poetics of T. S. Eliot
Many of the controversies surrounding T. S. Eliot’s poem, The Waste Land, when it was published in 1922, persist today. Contradictory interpretations still argue over whether the poem is radically modern (and drastically meaningless) or rather conservative and with a metaphorical or metaphysical meaning. Eliot’s allusive practice encourages source hunting, and critical attention has been focused ever since on the academic exegesis of sources and references. The endnotes attached to the poem for the book version add significantly to the confusion. With scholars tracking down every key thus apparently offered, erudite interpretations have taken over the reading of the poem. The contrast between the disorientating fragmentations, juxtapositions and displacements and the seemingly accurate explanations remains unquestioned or is simply attached to the disrupted aesthetics of « modernity ». Yet footnotes in literature are not specifically modern. V. Hugo, J.-J. Rousseau and E. Poe wrote notes for dramas, novels and tales. In the historical field, the purpose of footnotes is to assert the veracity of a fact or document. The task is fulfilled when the newly alleged fact is linked to the sum of human knowledge, and the authority of the historian is established in the process. In literature, and above all in poetry, such a use might seem paradoxical since a poet’s work expresses an individual’s opinion and is based on an original thought. But this perception of literature is itself a Romantic idea from which the major problem of Romanticism arises : the achievement of authority through the dramatization of the self. Rousseau, Hugo and Poe use footnotes to perform this dramatization. The endnotes of Eliot’s poem might obey a similar logic, presenting Perceval as the reader and the Fisher King as the author in a new version of the romantic drama of authority.
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Papers by Marie Blaise
Many of the controversies surrounding T. S. Eliot’s poem, The Waste Land, when it was published in 1922, persist today. Contradictory interpretations still argue over whether the poem is radically modern (and drastically meaningless) or rather conservative and with a metaphorical or metaphysical meaning. Eliot’s allusive practice encourages source hunting, and critical attention has been focused ever since on the academic exegesis of sources and references. The endnotes attached to the poem for the book version add significantly to the confusion. With scholars tracking down every key thus apparently offered, erudite interpretations have taken over the reading of the poem. The contrast between the disorientating fragmentations, juxtapositions and displacements and the seemingly accurate explanations remains unquestioned or is simply attached to the disrupted aesthetics of « modernity ». Yet footnotes in literature are not specifically modern. V. Hugo, J.-J. Rousseau and E. Poe wrote notes for dramas, novels and tales. In the historical field, the purpose of footnotes is to assert the veracity of a fact or document. The task is fulfilled when the newly alleged fact is linked to the sum of human knowledge, and the authority of the historian is established in the process. In literature, and above all in poetry, such a use might seem paradoxical since a poet’s work expresses an individual’s opinion and is based on an original thought. But this perception of literature is itself a Romantic idea from which the major problem of Romanticism arises : the achievement of authority through the dramatization of the self. Rousseau, Hugo and Poe use footnotes to perform this dramatization. The endnotes of Eliot’s poem might obey a similar logic, presenting Perceval as the reader and the Fisher King as the author in a new version of the romantic drama of authority.
Books by Marie Blaise
Many of the controversies surrounding T. S. Eliot’s poem, The Waste Land, when it was published in 1922, persist today. Contradictory interpretations still argue over whether the poem is radically modern (and drastically meaningless) or rather conservative and with a metaphorical or metaphysical meaning. Eliot’s allusive practice encourages source hunting, and critical attention has been focused ever since on the academic exegesis of sources and references. The endnotes attached to the poem for the book version add significantly to the confusion. With scholars tracking down every key thus apparently offered, erudite interpretations have taken over the reading of the poem. The contrast between the disorientating fragmentations, juxtapositions and displacements and the seemingly accurate explanations remains unquestioned or is simply attached to the disrupted aesthetics of « modernity ». Yet footnotes in literature are not specifically modern. V. Hugo, J.-J. Rousseau and E. Poe wrote notes for dramas, novels and tales. In the historical field, the purpose of footnotes is to assert the veracity of a fact or document. The task is fulfilled when the newly alleged fact is linked to the sum of human knowledge, and the authority of the historian is established in the process. In literature, and above all in poetry, such a use might seem paradoxical since a poet’s work expresses an individual’s opinion and is based on an original thought. But this perception of literature is itself a Romantic idea from which the major problem of Romanticism arises : the achievement of authority through the dramatization of the self. Rousseau, Hugo and Poe use footnotes to perform this dramatization. The endnotes of Eliot’s poem might obey a similar logic, presenting Perceval as the reader and the Fisher King as the author in a new version of the romantic drama of authority.