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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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Universidad Nacional de Córdoba. Facultad de Filosofía y Humanidades. Escuela de Letras
2023
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/notalmargen/article/view/42328 |
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| Sumario: | 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). |
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