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Performance in the Texts of Mallarmé : The Passage from Art to Ritual / Mary Lewis Shaw.

By: Material type: TextTextPublisher: University Park, PA : Penn State University Press, [2021]Copyright date: ©1992Description: 1 online resource (288 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780271075556
Subject(s): DDC classification:
  • 841/.8 20
LOC classification:
  • PQ2344.Z5 S53 1993
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgments -- Introduction -- 1. Performance as Ritual -- 2. Music: "Le dernier et plénier culte humain" -- 3. Dance: "Rite . . . énoncé de l'Idée" -- 4. Theater: "Le vrai culte moderne" -- 5. Opera: "Le Monstre-Qui-ne-peut-Être" -- 6. "La fausse entrée des sorcières dans Macbeth" -- 7. Hérodiade -- 8. L'après-midi d'un faune -- 9. lgitur -- 10. Un coup de dés -- 11. Le Livre -- 12. Avant-Garde Performance -- Bibliography -- Index
Summary: Performance in the Texts of Mallarmé offers a new theory of performance in the poetic and critical texts of Stephane Mallarmé, a theory challenging the prevailing interpretation of his work as epitomizing literary purism and art for art's sake.Following an analytical presentation of the concepts of ritual and performance generally applied, Mary Shaw shows that Mallarmé perceived music, dance, and theater as ideal languages of the body and therefore as ideal forms of ritual through which to supplement and celebrate poetic texts. She focuses on previously unexplored references to supplementary, extratextual performances in four of Mallarmé's major poetic texts-Herodiade, L'après-midi d'un faune, Igitur, and Un coup de des-revealing the consistent formal expression of his original conception of literature's relationship to the performing arts.Shaw then discusses Mallarmé's monumental project, Le Livre, a metaphysical book designed to be performed in a series of ritual celebrations. She analyzes and describes the intrinsic structure and contents of this unfinished work as the fullest realization of the text-performance relationship elaborated throughout Mallarmé's corpus. Shaw offers Le Livre as a prototype of avant-garde performance, drawing important parallels between Mallarmé's literary experimentation and crucial developments in twentieth-century arts.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780271075556

Frontmatter -- Contents -- Acknowledgments -- Introduction -- 1. Performance as Ritual -- 2. Music: "Le dernier et plénier culte humain" -- 3. Dance: "Rite . . . énoncé de l'Idée" -- 4. Theater: "Le vrai culte moderne" -- 5. Opera: "Le Monstre-Qui-ne-peut-Être" -- 6. "La fausse entrée des sorcières dans Macbeth" -- 7. Hérodiade -- 8. L'après-midi d'un faune -- 9. lgitur -- 10. Un coup de dés -- 11. Le Livre -- 12. Avant-Garde Performance -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Performance in the Texts of Mallarmé offers a new theory of performance in the poetic and critical texts of Stephane Mallarmé, a theory challenging the prevailing interpretation of his work as epitomizing literary purism and art for art's sake.Following an analytical presentation of the concepts of ritual and performance generally applied, Mary Shaw shows that Mallarmé perceived music, dance, and theater as ideal languages of the body and therefore as ideal forms of ritual through which to supplement and celebrate poetic texts. She focuses on previously unexplored references to supplementary, extratextual performances in four of Mallarmé's major poetic texts-Herodiade, L'après-midi d'un faune, Igitur, and Un coup de des-revealing the consistent formal expression of his original conception of literature's relationship to the performing arts.Shaw then discusses Mallarmé's monumental project, Le Livre, a metaphysical book designed to be performed in a series of ritual celebrations. She analyzes and describes the intrinsic structure and contents of this unfinished work as the fullest realization of the text-performance relationship elaborated throughout Mallarmé's corpus. Shaw offers Le Livre as a prototype of avant-garde performance, drawing important parallels between Mallarmé's literary experimentation and crucial developments in twentieth-century arts.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 21. Jun 2021)