Alcools: Poèmes 1898-1913 by Guillaume Apollinaire

By Guillaume Apollinaire

Variation enrichie (Introduction, notes, file et chronologie)

Placés sous le signe du temps qui passe, les poèmes d’Alcools récréent tout un monde : celui des lieux où son lifestyles a conduit leur auteur et dont ils entrecroisent les souvenirs, comme celui de ces grandes figures féminines qui ont traversé sa vie. Mais ils sont en même temps imprégnés d’une tradition à los angeles fois populaire et savante qui permet au poète de recueillir l’héritage du passé tout en s’ouvrant à l. a. modernité de los angeles vie ordinaire – les affiches ou bien les avions. On aurait ainsi tort de croire que ce recueil où s’inaugure l. a. poésie du XXe siècle soit, à sa parution en 1913, un livre de rupture. Nourri de poèmes anciens aussi bien que récents, le chant que font entendre ceux d’Apollinaire, à l’oralité si puissante, tire ses ressources du vers régulier comme du vers libre, et il ne s’agit pas pour le poète de céder au basic plaisir du nouveau : seule compte ici sa liberté et ce que lui dicte l. a. voix inimitable d’un lyrisme qui n’a pas cessé de nous toucher.

Édition présentée, annotée et commentée par Didier Alexandre. Chronologie de Laurence Campa.

Show description

By Guillaume Apollinaire

Variation enrichie (Introduction, notes, file et chronologie)

Placés sous le signe du temps qui passe, les poèmes d’Alcools récréent tout un monde : celui des lieux où son lifestyles a conduit leur auteur et dont ils entrecroisent les souvenirs, comme celui de ces grandes figures féminines qui ont traversé sa vie. Mais ils sont en même temps imprégnés d’une tradition à los angeles fois populaire et savante qui permet au poète de recueillir l’héritage du passé tout en s’ouvrant à l. a. modernité de los angeles vie ordinaire – les affiches ou bien les avions. On aurait ainsi tort de croire que ce recueil où s’inaugure l. a. poésie du XXe siècle soit, à sa parution en 1913, un livre de rupture. Nourri de poèmes anciens aussi bien que récents, le chant que font entendre ceux d’Apollinaire, à l’oralité si puissante, tire ses ressources du vers régulier comme du vers libre, et il ne s’agit pas pour le poète de céder au basic plaisir du nouveau : seule compte ici sa liberté et ce que lui dicte l. a. voix inimitable d’un lyrisme qui n’a pas cessé de nous toucher.

Édition présentée, annotée et commentée par Didier Alexandre. Chronologie de Laurence Campa.

Show description

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Although now informed by the principles of Newtonian physics, Nietzsche’s cosmological version of the Eternal Return does share some simi- The Unthinkable 9 larities with the ancient Greek versions, where despite their differences there is a privileging of the Self same. With Nietzsche’s formulation, the basic assumption is that, because time is infinite, space finite, and because there is a finite quantum of force in the universe, all events will eventually be exhausted and will thus be obliged to repeat themselves ad infinitum.

Although they might not initially seem to be so different, the distinction between the furniture maker and the painter is as great as that between a man and a God. While the end product of his work is only a simple mock-up of the object’s “truth,” the cabinet maker is required to have some knowledge about its “idea” (its function) in order to reproduce it in physical form. The painter, however, is obliged to only seize of the couch what his senses can perceive. Instead of imitating the couch “as it is,” the painter only reproduces the couch “as it appears” (598A).

26 Deleuze conceives of repetition with difference as having a dual character situated somewhere between the affirmative and the negative. Elaborating and expanding upon Nietzsche’s second conceptualization of the Eternal Return, Deleuze describes repetition as a “differential centrifuge,” selectively eliminating the “reactive and the weak”—those who deny difference—and permitting only the “active and the strong”—or those who “affirm their difference” (71– 72)—to return. Thus, there is within repetition simultaneously an “autodestruction” of the negative (79) and a production of difference.

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