TY  - CHAP
A1  - Zanetta, Julien
A2  - Rohner, Melanie
A2  - Winkler, Markus
T1  - Les barbares de Baudelaire : peinture, poésie et cosmopolitisme
T2  - Poetik und Rhetorik des Barbarischen = Poétique et rhétorique du barbare, Colloquium Helveticum ; 45
N2  - For Baudelaire, the barbarian is a figure of predilection. At first, it is a literary character that he got acquainted with through the works of Chateaubriand and E. A. Poe. The barbarian is linked to poetry as well; he brings to mind the condition of the exiled, the solitary figure far away from his homeland (such as in Delacroix's Ovid among the Scythians). But, most of all, the barbarian gives the opportunity to Baudelaire to refine his idea of Beauty: at the 1855 Universal Exhibition, he confronts himself for the first time to Chinese art – labelled "barbarian art" back then. Far from agreeing with this description, Baudelaire refutes it and forces himself to shift his critical perspective: his challenge will be to adapt himself, accommodate his taste and become "as barbarian" as the works he beholds in order to appreciate one of these "specimen of universal beauty". This reflexion shall continue in his essay, 'The Painter of Modern Life' (1863), in which he describes Constantin Guys' way of drawing as being moved by an "inevitable barbarousness". In this article, our aim will be to trace the evolution of Baudelaire's conception and different uses of the term "barbarian" through his aesthetical, poetical and literary writings.
KW  - Baudelaire, Charles
KW  - Barbar <Motiv>
KW  - Le Peintre de la vie moderne
KW  - Schönheit
Y1  - 2016
UR  - http://publikationen.ub.uni-frankfurt.de/frontdoor/index/index/docId/47377
UR  - https://nbn-resolving.org/urn:nbn:de:hebis:30:3-473773
SN  - 978-3-8498-1119-8
SN  - 0179-3780
VL  - 2016
IS  - 1
SP  - 63
EP  - 75
PB  - Aisthesis Verlag
CY  - Bielefeld
ER  -