This is a preview of subscription content, log in via an institution to check access.
Literatur
The best recent book on French romanticism, John Porter Houston'sThe Demonic Imagination (Baton Rouge: Louisiana State University Press, 1969), incorporates Baudelaire in very pertinent ways.
Hugo Friedrich,Die Struktur der modernen Lyrik (Hamburg: Rowohlt, 1956), p. 140.
Paul Verlaine, “Charles Baudelaire,” in (Euvres en prose complètes, ed. Jacques Borel (Paris: Gallimard, 1972), pp. 599–600.
Erich Auerbach, “The Aesthetic Dignity ofLes Fleurs du Mal,” inBaudelaire, ed. Henri Peyre (Englewood Cliffs: Prentice Hall, 1962), p. 154.
Charles Baudelaire, “Au Lecteur,”Les Fleurs du Mal, ed. Antoine Adam (Paris: Garnier, 1961), p. 6.
Auerbach, p. 168.
Walter Benjamin,Charles Baudelaire: A Lyric Poet in the Age of High Capitalism (London: New Left Books, 197), p. 170.
Friedrich,Struktur,, p. 37.
Ibid., pp. 36–7.
Ibid., p. 43.
Ibid., p. 49.
Ibid., pp. 165–6.
Hans Robert Jauss, “Sketch of a Theory and History of Aesthetic Experience,” inAesthetic Experience and Literary Hermeneutics, trans. Michael Shaw (Minneapolis: University of Minnesota Press, 1982), p. 84. In this passage he is extrapolating from remarks on Baudelaire's “Le Cygne.”
Friedrich, p. 58.
Paul Hernadi,Beyond Genre: New Directions in Literary Classification (Ithaca: Cornell University Press, 1972), p. 79.
René Wellek,Discriminations: Further Concepts of Criticism (New Haven: Yale University Press, 1970), pp. 251–2.
Robert Langbaum,The Poetry of Experience: The Dramatic Monologue in Modern Literary Tradition (Harmondsworth: Penguin, 1974), pp. 23 & 28.
Cleanth Brooks, “Yeats's Great Rooted Blossomer”,The Well Wrought Urn (New York: Harcourt Brace, 1947), p. 190.
Langbaum,The Poetry of Experience——, p. 69.
Laurence Perrine,Sound and Sense (New York: 1963), p. 21.
Ralph Rader, “The Dramatic Monologue and Related Lyric Forms”,Critical Inquiry 3: 1 (1976), p. 131.
Herbert Tucker, “Dramatic Monologue and the Overhearing of ‘Lyric’”, inLyric Poetry: Beyond New Criticism, ed. C. Hosek and P. Parker (Ithaca: Cornell University Press, 1985), p. 239.
W. K. Wimsatt & Cleanth Brooks,Literary Criticism: A Short History (New York: Knopf, 1957), p. 675.
Northrop Frye,Anatomy of Criticism (New York: Atheneum, 1965), p. 246.
Barbara Hardy,The Advantage of Lyric (Bloomington: Indiana University Press, 1977), p. 2.
Barbara Herrnstein Smith,On the Margins of Discourse (Chicago: University of Chicago Press, 1978), p. 33.
Friedrich,Stuktur, p. 140.
Tucker, “Dramatic Monologue,”, p. 240.
Ibid., p. 242.
Paul de Man, “Lyrical Voice in Contemporary Theory”, inLyric Poetry: Beyond New Criticism, ed. C. Hosek & P. Parker (Ithaca: Cornell University Press, 1985), p. 55.
Rights and permissions
About this article
Cite this article
Culler, J. Lyric continuities: Speaker and consciousness. Neohelicon 13, 105–123 (1986). https://doi.org/10.1007/BF02118116
Published:
Issue Date:
DOI: https://doi.org/10.1007/BF02118116