Estética impressionista na obra de Anna de Noailles
The correspondence between literature and painting always has been treated by the history of art, but the relationship of these two artistic expressions evolves with the creation of the Royal Academy of Painting and Sculpture in the seventeenth century, when painting begins its period of autonomy...
Na minha lista:
| Autor principal: | |
|---|---|
| Outros Autores: | |
| Formato: | doctoralThesis |
| Idioma: | por |
| Publicado em: |
Brasil
|
| Assuntos: | |
| Endereço do item: | https://repositorio.ufrn.br/jspui/handle/123456789/26496 |
| Tags: |
Adicionar Tag
Sem tags, seja o primeiro a adicionar uma tag!
|
| Resumo: | The correspondence between literature and painting always has been treated by the
history of art, but the relationship of these two artistic expressions evolves with the
creation of the Royal Academy of Painting and Sculpture in the seventeenth century,
when painting begins its period of autonomy of literature. But it is in the nineteenth
century that the closeness between artists and writers strengthen the links between
the arts. The admiration of writers for painting, motivates them to seek innovation for
poetry. However, it is the modern poets of the twentieth century who, like the
painting, revolutionize the form of poetry. The present study, entitled impressionist
aesthetics in the work of Anna de Noailles, is circumscribed during this period of
transition between the nineteenth and early twentieth centuries, and has as its object
the poetic work Les Éblouissements (1907), by Anna de Noailles (1876-1933). The
objective of the research is to analyze the traces of pictorial Impressionism in the
poetry of Noailles. For this, we performed a comparative study between poetry and
painting, in order to identify pictorial aspects of the Impressionist movement in the
poetics of this author. Concerning the evolution of literature and painting as well as
the aesthetics of Impressionism, Jacques Busse's works Littérature et Peinture
(2011) by Daniel Bergez and La dialectique du regard (2000) served as theoretical
support. In order to make a comparison between the Noaillian work and its pictorial
writing, we support on Júlia Van Gusteren‟s study: Katherine Mansfield and literary
Impressionism (1990). Regarding the poetics of Anna de Noailles, our theory is
based on the critical study of Angela Bargenda, La poésie d'Anna de Noailles (1995);
by Catherine Perry, Persephone Unbound. Dionysian Aesthetics in the works of
Anna de Noailles (2003) and Marie-Lise Allard, Anna de Noailles entre prose et
poésie (2013). |
|---|