How To Use Baudelaire In A Sentence
-
Charles Baudelaire, definer of the modern for the nineteenth and twentieth centuries, was himself careful to recognize that ‘every old master has had his own modernity.’
-
‘The frenzied addiction to art,’ wrote Baudelaire, is a canker that devours.
-
I am maintaining Baudelaire's view that dandyism is incompatible with being a woman
-
Physiologie du goût and Baudelaire's 1850 essay "Du Vin et du haschisch compares comme moyens de multpilier l'individualité" comprise a counter-discourse of gastronomy that tips moderation into excess and sobriety into sublimity.
Alexis Soyer and the Rise of the Celebrity Chef
-
And even Sunny Baudelaire, who had recently passed out of babyhood, is a phenomenon all to herself, not only for her very sharp teeth, which had helped the Baudelaires in a number of unpleasant circumstances, but also for her newfound skills as a cook, which had fed the Baudelaires in a number of unpleasant circumstances.
Excerpt: The Grim Grotto by Lemony Snicket
-
The cat is for Charles Baudelaire, the poet of Les Fleurs du mal, both a sign and a symbol.
-
Baudelaire's inventing -- and 'un feutre ras dans le gout de la coiffure de
Views and Reviews Essays in appreciation
-
At its best, landscape painting is not, in Henry Fuseli's words, ‘the tame delineation of a given spot’; not what Baudelaire decried as ‘Nature unpurified and unexplained by the imagination’.
-
Baudelaire's mystical vision, especially in the analogy to the cat as sign and symbol of the daimon, leads to a sense that ecstasy is possible when the self is aware of its own limitations and seeks to go beyond them.
-
For example, when Baudelaire first used the word agate in an original and evocative metaphor for cat's eyes (Et laisse-moi plonger dans tes beaux yeux,/
VERBATIM: The Language Quarterly Vol XIII No 3
-
As ever, Roth has the ability to suggest a vast historical catastrophe through the tiny apocalypses of ordinary life, which he renders with all of Baudelaire's poetic acuity.
-
Suffice to say here that the Passagen-Werk section about Shelley, Baudelaire, and allegory is one of the key instances where Benjamin articulates his formal theory (of allegory's proto-critical and constructionist nature) together with an historical instance of a lyric poet whom Benjamin and his circle definitely regard as progressive and committed: whom they regard, indeed, as den grossen revolutionären Dichter. 20
Intervention & Commitment Forever!: Shelley in 1819, Shelley in Brecht, Shelley in Adorno, Shelley in Benjamin
-
That is, Brecht's late enterprise entails the non-parodic revivification of an ostensibly passé, auratic, "lyric-aesthetic" poetics, a revivification Brecht in part accomplishes by returning to the Shelleyan-Baudelairean imperative that lyric critically reimagine itself.
Intervention & Commitment Forever!: Shelley in 1819, Shelley in Brecht, Shelley in Adorno, Shelley in Benjamin
-
If the artist makes of his art the end of his life, his end becomes idolatry - as the quotation above from Baudelaire indicates.
-
Meanwhile, the ‘moral’ issues at stake have to do with Baudelaire's revision of the sacred as being a daimonic capacity for understanding the self and its relationship to others.
-
The prose of Flaubert, the imagery of Baudelaire, the harmonies of Wagner, Scruton points out, have all been accused of immorality, by those who believe that they paint wickedness in alluring colors.
Roger Scruton on Beauty
-
Kipling's fuzzy-wuzzies"; "the couturier Madeleine Vionnet" put in an unexpected appearance in the same paragraph as Herodotus, Baudelaire and St Francis of Assisi.
Top stories from Times Online
-
But these are the idle dreams of a momentary pedestrian; there is work to be done, believe it or not, and I can't stay to botanise on asphalt, in the flaneuristic manner approved by Baudelaire and Walter Benjamin.
-
His self-analysis in paint draws us in as analysts who are also, as Baudelaire would have put it, his semblables, his spiritual kin.
-
Benjamin's answer is that Baudelaire feels himself too distant from auratic distance itself; the auratic distance linked to lyric poetry and aesthetic autonomy is, to put it differently, what generates the allegoresis that Shelley can still undertake.
Intervention & Commitment Forever!: Shelley in 1819, Shelley in Brecht, Shelley in Adorno, Shelley in Benjamin
-
The title of one of Baudelaire's poems, ‘De profondis clamavi,’ refers to the requiem Mass so that this ceremony is certainly within his ken.
-
Baudelaire, in his essay on laughter, refers to the humorless as “spiteful pundits of solemnity” and “charlatans of gravity.”
The Best American Poetry 2010
-
As Charles Baudelaire once said, we descend into hell by tiny steps.
-
Baudelaire is the flâneur: the idler, stroller, urban explorer and perambulator.
-
Or Eliot, who wrote on the Metaphysicals, Marvell, Dryden, Blake, Wordsworth, Baudelaire and, of course, Dante, as well as many other writers.
-
(For Baudelaire's still less novelish following of _Gaspard_, see below.
A History of the French Novel, Vol. 2 To the Close of the 19th Century
-
Lemony Snicket: These tales of the Baudelaire orphans outwitting multiple death threats and a gaggle of guileful guardians, with meta-commentary by an unnamed author are ... well they're definitely not intended as an ingenious snare for the use of pedophiles, I'll tell you that.
Jilly Gagnon: The Moral of the Story Is...
-
Great Regulars: To be sure, the verset is not the form of Baudelaire's poetry, and while Baudelaire was among the first to pen a modern prose-poem, none was included in Les Fleurs du Mal.
Great Regulars: To be sure, the verset is not the form
-
Ever since Charles Baudelaire, abnegators have initiated a Bohemian-mannered vagrom tradition in the literary realm.
-
The much-vaunted Frankfurt preference for modernist artworks of great complexity is the preference for a Baudelairean art still intent on risking experimental enactments of romantic aura together with mimetic reflections on postromantic modernity’s most anti-auratic, advanced technical-productive developments.
Sociopolitical (i.e., _Romantic_) Difficulty in Modern Poetry and Aesthetics
-
From Baudelaire's Journaux Intimes 2:ii: 'Le Dandy doit aspirer à être sublime sans interruption; il doit vivre et dormir devant un miroir.'
Archive 2007-11-01
-
She does confess to like Sade, Gautier, Balzac, Baudelaire, Huysmans, Sartre whom I find difficult to stomach, de Beauvoir, Genet and Bachelard.
American academics down on their knees kissing French bums « Jahsonic
-
“Yes,” said Baudelaire, raising his malacca cane like a sword, “we will map the city in the name of nudity.”
The Mercury Visions of Louis Daguerre
-
Yet this homage to the heroic model of Baudelairean modernity is, of course, a semiparodic one.
-
Baudelaire said of him that he was the only artist who ‘in our faithless generation conceived religious pictures’.
-
And as far as Benjamin and Adorno are concerned, a crucial chapter in this modern aesthetic-social history involves Charles Baudelaire’s barely postromantic lyric poetry, where romantic lyric’s presumed condition of possibilitythe availability of an auratic, reflective experience that in its turn makes possible a noninstrumental, potentially emancipatory capacity for constructing new conceptual-objective knowledgeseems to have disappeared.
Sociopolitical (i.e., _Romantic_) Difficulty in Modern Poetry and Aesthetics
-
Baudelaire the poet has a special daimonic vision insofar as the poet has insight into the daimon described by Hesiod as unseen by the one being influenced.
-
While Pascal speaks of the infinities of minuteness and expansion, Baudelaire's infinities are personal and communal.
-
By the 1850s the tradition had declined, so that Baudelaire was seeking to give new life to a decayed literary genre.
-
The first time I encountered the term synaesthesia was when I studied the French Symbolist poets -- Baudelaire, Verlaine, Rimbaud and company -- back in college.
AlterNet.org Main RSS Feed
-
Varda begins to retell the story of Baudelaire's later life, and then reads his poems, using the images of neo-classical Paris, in the guise of the caryatids, to evoke the melancholy feelings created by the poetry.
-
It made me remember Baudelaire's words that modernity is transition, short, incident; this is an half of art. Another is forever and fixedness.
-
Baudelaire identified the modern with the Now and, if not quite co-extensively then relatedly, with the New.
-
Baudelaire was a flâneur himself, and drifted through the streets of Paris in between writing poems and spending his trust fund on dandy outfits and opium.
-
It is exactly what Baudelaire hymned: "the fugitive, fleeting beauty of present-day life".
Camille Silvy: Photographer of Modern Life; Fiona Banner: Duveens Commission 2010
