Lautréamont, Subject to Interpretation (Faux Titre)

Lautréamont, Subject to Interpretation (Faux Titre)

Language: English

Pages: 252

ISBN: 9042039256

Format: PDF / Kindle (mobi) / ePub

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Printer, E. Wittmann. This last part is false, no printer by the name of Wittmann ever existed in Brussels. Brown cover].30 Since every book was legally required to specify the printer’s name, Genonceaux’s claim started the myth that Lautréamont’s first posthumous publication was clandestine. In 1939, Curt Muller speculated in his “Documents inédits sur le comte de Lautréamont,” that the “real” printer of the poem, a Belgian Vanderauwara, hid behind the name Wittmann in order to avoid fines.31 De

1890 edition of Maldoror, for example, Léon Genonceaux suggests that the work was not sold because of “violences de style qui en rendaient la publication périlleuse” [stylistic abuses that made publishing it risky].15 A third possibility is that Ducasse’s father was so outraged by the content of his son’s poem that he not only withdrew funds to finance the book, but also insisted that it not be published. For many historians, this hypothesis also explains the thematic contrast of the Poésies with

of the poem. As stated earlier, like many of his contemporaries, such as Rimbaud or Mallarmé, Lautréamont favored obscurity over transparency in his writing. Although genetic and textual critics deal with such obscurity within the writing system of Lautréamont’s cultural period, less often considered are the specific challenges to an editor of Lautréamont’s works in light of their unusual history. For the prestigious and scholarly édition de la Pléiade, there is a further concern: which approach

structuralist discourse, the Telqueliens embody Lautréamont in his own terms. In this way, Tel Quel’s “textual” approach can be considered the definition of post-structuralism, as defined by Barthes in 1967: Le prolongement logique du structuralisme ne peut être que de rejoindre la littérature non plus comme ‘objet’ d’analyse, mais 5 Sollers, Logiques, 258. The translation is from Philip Barnard with David Hayman, Writing and the Experience of Limits (New York: Columbia University Press, 1983),

Vallotton’s, pure fantasy (Fig. I.3). Figure I.3 Adolfo Pastor, Lautréamont Lautréamont’s beardless face and intense expression resemble the two previous portraits, perpetuating the pensive motif, but the distinguishing feature here is obviously Lautréamont’s receding hairline and deep facial lines, making him appear more serious and significantly older than the other portraits. Pastor’s age-progressed image seems to make Lautréamont outlive the real Isidore Ducasse, who actually died at

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