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The Symbiosis and the Interaction of the Arts: Cesário Verde, Poet/Painter

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Part of the Analecta Husserliana book series (ANHU, volume 63)

Abstract

As the language that is by nature universally artistic, Poetry would be the ideal “locus” for the illustration of the symbiosis and the interaction of the arts, without however reaching the radicalism of Gaston Bachelard, who stated: “Par le biais de l’imagination littéraire, tous les arts sont nôtres” (La Terre et les rêveries de la volonté, p. 95). Such a specific aesthetic role would be left essentially to Poetry. Bachelard considers the poet that one most able to open the doors of artistic fulfillment to the reader — he can be a painter, he can be a sculptor, through letters: “il n’y a qu’à écrire l’oeuvre peinte; il n’y a qu’à écrire la statue” (ibidem).

Keywords

Verbal Code Church Bell Poetic Text Vitreous Floor Paint Picture 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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References

  1. Bachelard, Gaston. La Terre et les rêveries de la volonté. 8ème. réimp. Paris: J. Corti, 1948. Grant, Damian. Realism. London: Methuen, 1970.Google Scholar
  2. Jakobson, Roman, “Du réalisme artistique.” In: Théorie de la littérature. Paris: Seuil, 1965. Levi-Strauss, Claude. Le Cru et le cuit. Paris: Plon, 1964.Google Scholar
  3. Sarduy, Severo. Entrevista. Supplemento Literkrio do Minas Gerais, Belo Horizonte, 18 abr. 1970.Google Scholar
  4. Verde, Cesârio. Obra completa de Cesc rio Verde. Lisboa: Portugâlia, 1964.Google Scholar
  5. Wellek, René. Concepts of Criticism. New Haven: 1963.Google Scholar

Copyright information

© Springer Science+Business Media Dordrecht 2000

Authors and Affiliations

  1. 1.Universidade Federal de Juiz de ForaBrasil

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