A propos des chefs-d'oeuvre by Charles Dantzig

By Charles Dantzig

« Chef-d'œuvre. » Quand ce très vieux mot du Moyen Âge utilisé pour l'artisanat a-t-il commencé à être appliqué à los angeles littérature ? Y a-t-il un critère du chef-d'œuvre littéraire ? Mieux, une recette ? remark être sûr qu'un livre est un chef-d'œuvre ? Un chef-d'œuvre est-il éternel ? los angeles postérité est-elle le bon juge ? Crée-t-on encore des chefs-d'œuvre aujourd'hui ? remark définir le chef-d'œuvre ?

C'est à toutes ces questions que tente de répondre ce livre. Parcourant les grands livres, de Homère à Heine et de Boccace à Beckett, il suggest une examine inattendue de l'œuvre de James Joyce aussi bien que des considérations sur ce que l'on peut penser des Aristochats de Walt Disney. Charles Dantzig montre encore une fois que l'on peut associer le brillant et l. a. réflexion, los angeles virtuosité et los angeles profondeur, l'érudition et l'esprit.

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78) 50 Beckett, Johnson, Wordsworth and the Language of Epitaphs Where discrimination would seem to be necessary above all, a ‘want of discrimination’ is found. In verse that aims to make an individual life universal and intelligible to the many, however, it is perhaps inevitable that the terms it uses risk seeming over-familiar and undiscriminating. 82). 53). He is deeply critical of the more jaded view of Samuel Johnson, who ascribes the common epitaph’s lack of discrimination, in his 1756 “A Dissertation on the Epitaphs written by Pope,” to two causes.

In his Essays upon Epitaphs, Wordsworth proposes a different kind of language to his predecessors, and he, unlike Beckett and Johnson, appears to put the dramatic at the heart of his creative response to death. 60). Looking more closely at this process, however, he is again forced to concede the proximity between death and detachment. The creative exercise offered to the writer of the epitaph is a similar one to the one Beckett undertakes: that of putting him or herself beyond the grave. Wordsworth writes: The departed Mortal is introduced telling you himself that his pains are gone; that a state of rest is come; and he conjures you to weep for him no longer.

S. Eliot is worth revisiting. “[W]hat happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it,” asserted Eliot in “Tradition and the Individual Talent” (1919). “The existing order [of monuments],” he continues, is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new.

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