from The American Heritage® Dictionary of the English Language, 4th Edition
- Baudelaire, Charles Pierre 1821-1867. French writer, translator, and critic. His only volume of poetry, Les Fleurs du Mal (1857, expanded 1861), was publicly condemned as obscene but exerted an enormous influence over later symbolist and modernist poets.
from The Century Dictionary and Cyclopedia
- n. See badelaire.
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
- n. a French poet noted for macabre imagery and evocative language (1821-1867)
Sorry, no etymologies found.
This is an odd view, but Eliot was, by 1930, tired of what he called Baudelaire's machinery ( 'prostitutes, mulattoes, Jewesses, serpents, cats, corpses') and anxious to register signs of spiritual struggle wherever he could find them.
You might think that Baudelaire's century-and-a-half remove from the current media landscape might invalidate his priorities, but consider that film, which is even more despotic than painting in Baudelaire's terms, ended up trumping both music and painting in terms of cultural market share.
But that's not to say that Romantic music has to be experienced in Baudelaire's terms; each generation reinvents the past for its own purposes.
Balzac, who in Baudelaire's accounting only in their latter days began to enjoy commercial success
To understand what happens to the identification of wine with excess in Baudelaire's essay we will need to reflect further on this figuration, which, in recognizing wine as man's equal by conferring on it the power of speech, transgresses a rhetorical limit which shapes both
Secondly, the association of Balzac with "modern stimulants" would have been reinforced by his presence at a hashish soirée in Baudelaire's lodgings in
And the mysticism of Baudelaire is summarised in his famous manifesto: Il faut vous enivrer sans treve.
More precisely, Baudelaire is the first consciously nihilist writer who, to escape from his own nothingness, took on a different persona, in his case a dandy.
Second Empire in Baudelaire their debate over competing versions and approaches to lyric aurais actually a debate over the possibility of continuing to expand conceptuality beyond determinist parameters.
Motifs in Baudelaire ; Adorno for his part spent a good portion of the next three decades trying to unpack and trace the meanings of those difficulties forand inthe modern art that succeeded romanticism and postromanticism.
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