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Structuri poetice în lirica lui Nietzsche şi Mallarmé

Publication: Language and Literature – European Landmarks of Identity, 2 (1), p. 306
Publisher:Universitatea din Pitești
Abstract:In this article it is presented the Nietzche and Mallarmes poetic discours. Nietzche Nietzsche considered reality as an endless Becoming (Werden). Apollinian power is associated with the creation of illusion - the plastic arts deny the actuality of becoming with the illusion of timeless beauty. Dionysian frenzy threatens to destroy all forms and codes. Only the Apollinian power of the Greeks was able to control the Dionysian flood. But all illusions are temporary, and in his “experimentalist phase” (1878-1882) Nietzsche saw that the loss of Apollinian spell will make the return to Dionysian actuality even more painful. But it must be noted, that the Dionysus whom Nietzsche celebrated in his later writings, was the synthesis of the two forces and represented passion controlled.
This study has two principal aims: to propose new meanings in Mallarmé's poetry and to present the development of his poetic art as a successful search for linguistic and textual mastery.
Poetry for Mallarmé was first and foremost an art of language, and Derrida's brilliant essay in La Dissémination takes us to the centre of the Mallarméan experience of language. As the Derridean analyses of the 'antre/entre' and the 'hymen' demonstrate, meanings spill out of words like peas from a dehiscent pod: language is forever contradicting itself, repeatedly gainsaying the message which it is complacently intended or understood to convey. Meaning is 'indécidable'. For Derrida, to speak of 'polysemy' in this context would imply semantic richness and the multiple 'presence' of meaning: he prefers to speak of 'dissémination' 1 and to characterize Mallarmé as a writer who displays language, with increasing knowingness, as a place of proliferating non-meaning. Whereas Derrida envisages Mallarmé's loss (or abdication of authorial control over language principally at a semantic level, Julia Kristeva sees it more at the phonological and morphological levels (in her readings of “'Prose (pour des Esseintes)'” and “'Un coup de Dés'” respectively). 3 But, like Maurice Blanchot before them, both champion Mallarmé for his 'revolutionary' displays of linguistic powerless.
Key words:poetic discourse, poetic art, meaning
Language: Romanian

Citations to this publication: 0

References in this publication: 1

10Maria CarpovIntroducere la semiologia literaturiiUnivers1978

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