![]() Ogden (London: Kegan Paul, Trench, Trubner & Co., 1932), p. Miller (Toronto: University of Toronto Press, 1985), p. Wolfgang Iser, "Feigning in Fiction," in Identity of the Literary Text, ed. Wolfgang Iser, The Act of Reading: A Theory of Aesthetic Response (Baltimore: Johns Hopkins University Press, 1978), p. Francis Goffman (New York: Anchor Books, 1956), p. Friedrich Nietzsche, The Birth of Tragedy, trans. Brody provides an account of "Nietzsche's Fictionalism," Dialogue 17 (1975): 57-64.ģ. Of course, Nietzsche never questions the propriety of positing a will to anything perhaps it, too, is one of his "untruths." If so, his story could never start. We often overlook that fact that Nietzsche is not here speaking of truth simpliciter, but of the will to truth. Hollingdale (New York: Penguin Books, 1973), p. Friedrich Nietzsche, Beyond Good and Evil, trans. In summary, one might conclude that this brief volume does indeed offer some useful insights into Rimbaud’s work but one’s overall impression is of a study that is too understated and too much in hock to its overarching theory to achieve anything other than a minor place in Rimbaud’s critical bibliography. Seeing ‘Génie’ as a culmination of a rationalist tradition involving Michelet, Quinet, Proudhon and Marx, Oxenhandler views the poem as ‘a celebration of reverence for human possibilities’ (p. 98) as central to this poem which is usually seen as the final text in the Illuminations. There are useful readings of ‘Nocturne vulgaire’ and ‘Conte’ before we come to ‘Génie’ where the author draws the various threads of his psychoanalytical approach together in a study of the text that posits the notion of the ego-ideal (p. Although ‘H’ has often been construed as a masturbation fantasy, Oxenhandler takes this interpretation further and offers a more detailed explanation of how the text can be seen as a journey towards jouissance. One finds some interesting analysis as where ‘Honte’, ‘Angoisse’ and ‘Aube’ are all discussed as poems of ‘abreaction’ or ‘the impulsive movement away from a negative condition or feeling’ (p. The tortured relationship between the poet and his mother Vitalie Cuif lies at the heart of Oxenhandler’s approach as he explores ‘the unresolved oedipal triad of the child and his parents’ (p. Oxenhandler predictably cites Freud on many occasions, relying heavily on the notions of chiasmus and sublimation but, interestingly, also argues throughout his study that Rimbaud anticipates Martin Heidegger. For example, many of the poems seem to be reduced to certain parameters in order to fit them into the author’s overview of what was going on in Rimbaud’s mind when he wrote them. Leaving aside the obvious issue of whether one feels able to subscribe to this psychoanalytical treatment of Rimbaud, there is a very uneven quality to the book in that in its discussion of individual texts it often seems to make a few observations about a given poem only to leave much of salient importance unsaid. Oxenhandler’s book is subdivided into a series of sections which look successively at the early poetry, some of the Illuminations and, at greater length, Une saison en enfer. What emerges are readings of the poems that sporadically offer interesting ideas but which for the most part remain terse, underdeveloped and at times contentious. psychoanalysts like Leo Bersani and a small number of Rimbaldian critics such as James Lawler, André Guyaux and Yves Bonnefoy to supplement his argument. His method is quite a simple one in that he takes a number of texts from all areas of the canon and subjects them to readings that are heavily informed by psychoanalytical ideas about the child, the family, the oedipal complex, the absent father and so on. In his short book, Neal Oxenhandler approaches the writings of Arthur Rimbaud from a psychoanalytical point of view. Freud parle, lui, du fantasme fondamental et de son cadre, qui habille d’une histoire notre désir, notre choix d’un être qui accompagne notre vie et façonne notre destinée. ![]() Bonnard sublime leurs couleurs par un rendu nacré qui rend sensible en quoi ils éclairent sa vie de peintre. Ces objets élus par Marthe, sa femme, deviennent des choses précieuses. Il est capturé par ces cadres qui l’orientent vers l’histoire de ces objets. Ce cadre reste omniprésent, répercuté dans la touche de peinture ou dans la structuration de la scène. Cet aller et retour de notre regard, induit par ce chatoiement des couleurs auquel se juxtaposent des objets du quotidien élevés à la dignité d’objets précieux, nous fait prendre conscience du cadre architectural de ses tableaux. Les couleurs chatoyantes en contrepoint avec ce blanc d’opale ramènent notre regard vers le premier plan à partir duquel s’épanouit l’histoire peinte. Bonnard raconte dans ses peintures l’histoire de son regard sur les êtres et les choses qu’il a investis de son désir. ![]()
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