Literature as aesthetic reflection: Charles Baudelaire's La Fanfarlo (1847)

In Charles Baudelaire's nouvelle La Fanfarlo (1847) —contemporary to the writing of Les Fleurs du mal (1857) and, at the same time, prior to Le Peintre de la vie moderne (1863)— the author's aesthetic theory is configured and made explicit. In particular, it is in the actress character, La...

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Autor principal: Ibañez, Santiago Andrés
Formato: Artículo revista
Lenguaje:Español
Publicado: Universidad Nacional de Córdoba. Facultad de Filosofía y Humanidades. Escuela de Letras 2023
Materias:
estética literaria
elemento eterno
elemento circunstancial
línea
atractivo
literary aesthetics
eternal element
circumstantial element
line
attractiveness
Acceso en línea:https://revistas.unc.edu.ar/index.php/notalmargen/article/view/42328
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Nota al margen de Universidad Nacional de Córdoba
id I10-R278-article-42328
record_format ojs
spelling I10-R278-article-423282024-03-13T17:06:11Z Literature as aesthetic reflection: Charles Baudelaire's La Fanfarlo (1847) La literatura como reflexión estética: La Fanfarlo (1847) de Charles Baudelaire Ibañez, Santiago Andrés estética literaria elemento eterno elemento circunstancial línea atractivo literary aesthetics eternal element circumstantial element line attractiveness In Charles Baudelaire's nouvelle La Fanfarlo (1847) —contemporary to the writing of Les Fleurs du mal (1857) and, at the same time, prior to Le Peintre de la vie moderne (1863)— the author's aesthetic theory is configured and made explicit. In particular, it is in the actress character, La Fanfarlo, that Baudelaire's conception of beauty is captured. To substantiate this, we will analyze different poems in Les Fleurs du mal, the critical pieces Le Peintre de la vie moderne, the Salons of 1846 and 1859, and Conseils aux jeunes littérateurs (1846), because “between Baudelaire, the critic, and Baudelaire, the poet, there is a relationship of complementarity” (Del Águila Gómez, 2005, p. 2). The theory expounded in La Fanfarlo establishes correspondences with the theory explained in Le Peintre de la vie moderne, so the methodology to be employed will be comparative and hermeneutic. This paper argues that line and attractiveness —in any of the terminological variations used by Baudelaire— make the circumstantial element of beauty, that is, they make up the material coating that seeks to reveal and satisfy the need for infinity (Boe Hyslop, 1979; Black, 1988; Serrano, 2014). En la nouvelle de Charles Baudelaire La Fanfarlo (1847) —contemporánea a la escritura de Las flores del mal (1857) y, a la vez, anterior a El pintor de la vida moderna (1863)— se configura y explicita la teoría estética del autor. En particular, es en el personaje de la actriz, la Fanfarlo, en el se plasma la concepción de lo bello para Baudelaire. Para fundamentar esto, se analizarán diferentes poemas de Les Fleurs du mal, los escritos Le Peintre de la vie moderne, los Salons de 1846 y 1859 y Conseils aux jeunes littérateurs (1846), porque “entre el Baudelaire crítico y el Baudelaire poeta existe una relación de complementariedad” (Del Águila Gómez, 2005, p. 2). La teoría expuesta en La Fanfarlo traza correspondencias con la teoría que se encuentra en El pintor de la vida moderna, de modo que la metodología que se empleará será comparada y hermenéutica. Este trabajo sostiene que la línea y el atractivo —en cualquiera de las variantes terminológicas empleadas por Baudelaire— conforman el elemento circunstancial de lo bello, es decir, hacen al recubrimiento material que busca revelar y satisfacer la necesidad de infinito (Boe Hyslop, 1979; Black, 1988; Serrano, 2014). Universidad Nacional de Córdoba. Facultad de Filosofía y Humanidades. Escuela de Letras 2023-12-15 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículo evaluado a ciegas por pares application/pdf text/html application/pdf https://revistas.unc.edu.ar/index.php/notalmargen/article/view/42328 Nota al margen; Vol. 1 No. 2 (2023); 21-35 Nota al margen; Vol. 1 Núm. 2 (2023); 21-35 3008-7015 spa https://revistas.unc.edu.ar/index.php/notalmargen/article/view/42328/43791 https://revistas.unc.edu.ar/index.php/notalmargen/article/view/42328/43793 https://revistas.unc.edu.ar/index.php/notalmargen/article/view/42328/43794 Derechos de autor 2023 Santiago Andrés Ibañez https://creativecommons.org/licenses/by-nc/4.0
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-278
container_title_str Nota al margen
language Español
format Artículo revista
topic estética literaria
elemento eterno
elemento circunstancial
línea
atractivo
literary aesthetics
eternal element
circumstantial element
line
attractiveness
spellingShingle estética literaria
elemento eterno
elemento circunstancial
línea
atractivo
literary aesthetics
eternal element
circumstantial element
line
attractiveness
Ibañez, Santiago Andrés
Literature as aesthetic reflection: Charles Baudelaire's La Fanfarlo (1847)
topic_facet estética literaria
elemento eterno
elemento circunstancial
línea
atractivo
literary aesthetics
eternal element
circumstantial element
line
attractiveness
author Ibañez, Santiago Andrés
author_facet Ibañez, Santiago Andrés
author_sort Ibañez, Santiago Andrés
title Literature as aesthetic reflection: Charles Baudelaire's La Fanfarlo (1847)
title_short Literature as aesthetic reflection: Charles Baudelaire's La Fanfarlo (1847)
title_full Literature as aesthetic reflection: Charles Baudelaire's La Fanfarlo (1847)
title_fullStr Literature as aesthetic reflection: Charles Baudelaire's La Fanfarlo (1847)
title_full_unstemmed Literature as aesthetic reflection: Charles Baudelaire's La Fanfarlo (1847)
title_sort literature as aesthetic reflection: charles baudelaire's la fanfarlo (1847)
description In Charles Baudelaire's nouvelle La Fanfarlo (1847) —contemporary to the writing of Les Fleurs du mal (1857) and, at the same time, prior to Le Peintre de la vie moderne (1863)— the author's aesthetic theory is configured and made explicit. In particular, it is in the actress character, La Fanfarlo, that Baudelaire's conception of beauty is captured. To substantiate this, we will analyze different poems in Les Fleurs du mal, the critical pieces Le Peintre de la vie moderne, the Salons of 1846 and 1859, and Conseils aux jeunes littérateurs (1846), because “between Baudelaire, the critic, and Baudelaire, the poet, there is a relationship of complementarity” (Del Águila Gómez, 2005, p. 2). The theory expounded in La Fanfarlo establishes correspondences with the theory explained in Le Peintre de la vie moderne, so the methodology to be employed will be comparative and hermeneutic. This paper argues that line and attractiveness —in any of the terminological variations used by Baudelaire— make the circumstantial element of beauty, that is, they make up the material coating that seeks to reveal and satisfy the need for infinity (Boe Hyslop, 1979; Black, 1988; Serrano, 2014).
publisher Universidad Nacional de Córdoba. Facultad de Filosofía y Humanidades. Escuela de Letras
publishDate 2023
url https://revistas.unc.edu.ar/index.php/notalmargen/article/view/42328
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AT ibanezsantiagoandres laliteraturacomoreflexionesteticalafanfarlo1847decharlesbaudelaire
first_indexed 2024-09-03T22:37:52Z
last_indexed 2024-09-03T22:37:52Z
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