ISBN: Ostalo
Godina izdanja: 2002
Jezik: Engleski
Autor: Strani

Odlicna. Samo na rikni malo prasine, moze se obrisati.

Tvrdi povez sa omotom. Roberto Kalaso. 352 str

In La Folie Baudelaire, Roberto Calasso―one of the most original and acclaimed writers on literature, art, culture, and mythology―turns his attention to the poets and writers of Paris in the nineteenth century who created what was later called `the Modern.`

His protagonist is Charles Baudelaire: poet of `nerves,` art love, pioneering critic, man about Paris. Calasso ranges through Baudelaire`s life and work, focusing on two painters―Ingres and Delacroix―about whom Baudelaire wrote acutely, and then turns to Degas and Manet, who followed in the tracks Baudelaire laid down in his great essay The Painter of Modern Life. In Calasso`s lavishly illustrated mosaic of stories, insights, close readings of poems, and commentaries on paintings, Baudelaire`s Paris comes brilliantly to life.

In the eighteenth century, a Folie was a garden pavilion set aside for people of leisure, a place of delight and fantasy. Following Baudelaire, Calasso has created a brilliant and dramatic `Folie Baudelaire`―a place where the reader can encounter the poet himself, his peers, his city, and his extraordinary likes and dislikes, finally discovering that that places is situated in the middle of the land of `absolute literature.`

What Calasso, a wizard of cultural erudition and scintillating interpretation, did for Kafka in K. (2005), he does for Baudelaire here. As in all his propulsive yet intricately figured books, Calasso dives right in, pulling biographical and historical facts into the slipstream of his richly anecdotal critique, along with glinting quotations and startling observations. The French poet and critic takes shape in all his resistance to society as Calasso considers Baudelaire’s transforming sensibility, “a Baudelaire wave that rolls across all things,” particularly as manifest in his art essays. He also parses Baudelaire’s habits of being, including inebriation, and his thorny relationships with his mother and his muse and lover, the Haitian-born Jeanne Duval. In vital and witty close readings of both published and private works, Calasso traces the coalescence of Baudelaire’s seminal and controversial definitions of modernity and osmotic influence. This ignites Calasso’s own freshly discerning responses to Ingres, Delacroix, Manet, and Degas, in which he offers evocative and moving insights into the artistic audacity and moral ferment of Baudelaire’s Paris, that oft-revisited revolutionary crucible. --Donna Seaman