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Mallarmé et l'écriture du corps

Mallarmé et l'écriture du corps This article is an analysis of the representation of the female body in Stéphane Mallarmé's first published poem, "Placet" (1862). The author argues that Mallarmé's use of an anachronistic sonnet form and its depiction of a gallant seduction obfuscate a series of underlying textual operations which serve to subjugate and expose its female recipient. Here the surreptitious blurring of the various "degrees of visibility" contained in the poem call into question the commonly held notion of Mallarmé's "discreet eroticism." This discussion serves as a springboard to a more general reconsideration of Mallarméan poetics and the critical matrices which are frequently used to analyze it. Looking specifically at psychoanalytic theory (often employed to explain both the poet's eroticism and his approach to language), the author contends that this model cannot fully account for Mallarmé's representational project. The author posits instead a phenomenological reading of his "corporal writing." (In French) (ds) http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Nineteenth Century French Studies University of Nebraska Press

Mallarmé et l'écriture du corps

Sipe, Daniel.
Nineteenth Century French Studies , Volume 35 (2) – Apr 16, 2007
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Publisher
University of Nebraska Press
Copyright
Copyright © 2007 The University of Nebraska Press. All rights reserved.
ISSN
1536-0172
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Abstract

This article is an analysis of the representation of the female body in Stéphane Mallarmé's first published poem, "Placet" (1862). The author argues that Mallarmé's use of an anachronistic sonnet form and its depiction of a gallant seduction obfuscate a series of underlying textual operations which serve to subjugate and expose its female recipient. Here the surreptitious blurring of the various "degrees of visibility" contained in the poem call into question the commonly held notion of Mallarmé's "discreet eroticism." This discussion serves as a springboard to a more general reconsideration of Mallarméan poetics and the critical matrices which are frequently used to analyze it. Looking specifically at psychoanalytic theory (often employed to explain both the poet's eroticism and his approach to language), the author contends that this model cannot fully account for Mallarmé's representational project. The author posits instead a phenomenological reading of his "corporal writing." (In French) (ds)

Journal

Nineteenth Century French Studies – University of Nebraska Press

Published: Apr 16, 2007

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