Baudelairian Music
Keywords:
Baudelaire, Music, Poetry, Philosophy, Philosophy of musicAbstract
This paper is based on an interdisciplinary and critical reading of the different actors and perspectives involved in Baudelaire’s research, emphasizing the relationship
between music and poetry. Charles Baudelaire’s musical knowledge and passion
for music are present in his work, in which both direct quotations and allusions are essential for the unveiling and understanding of his poetic self. However, it is in the
field of philosophy that music and poetry will find themselves reconciled, since both arts are not only naturally drawn to philosophical reflection, but just as poetry generates «ideas», music, by itself, composes «ideas-melodies».
References
Aranda Espinosa, F. (2021). La afirmación de lo real en la música (tesis doctoral).
Baudelaire, Ch. (1906). Lettres (1841-1866). Paris: Société du Mercure de France.
Baudelaire, Ch. (1908). OEuvres complètes, Tm. I. Paris: Calmann-Lévy.
Baudelaire, Ch. (1993). Diarios íntimos, Cohetes, Mi corazón al desnudo (Rafael Alberti, trad.). Buenos Aires: El Bajel.
Baudelaire, Ch. (1993). El spleen de París (Pedro Gandía Buleo, trad.). Altea: Aitana.
Baudelaire, Ch. (1999). Salones y otros escritos sobre arte (Carmen Santos, trad.). Madrid: Visor.
Baudelaire, Ch. (2001). Las flores del mal (Luis Martínez de Merlo, trad.). Madrid: Cátedra.
Baudelaire, Ch. (2008). Los paraísos artificiales (Mauro Armiño, trad.). Madrid: Akal.
Baudelaire, Ch. (2013). Richard Wagner (Carlos Wert, trad.). Madrid: Casimiro.
Baudelaire, Ch. (2014). Variétés. Paris: Arvensa.
Baudelaire, Ch. (2017). Las flores del mal (Enrique López Castellón, trad.). Madrid: Akal.
Berton, L. (2018). Une présence de la littérature antique dans l’oeuvre de Franz Liszt. Les «Rhapsodies hongroises»: un écho aux rhapsodies d’Homère? Congrès Doctoral International de Musique et Musicologie «Au rythme de la recherche». Paris: Maison de la Recherche.
Bohac, B. (2011). Baudelaire et Liszt: le génie de la rhapsodie. Romantisme, (151) 87-99. DOI https://doi.org/10.4000/studifrancesi.5087
Brunel, P. (2005-2006). Baudelaire et Schumann. L’Année Baudelaire, 9/10, 79-92. Recuperado de: https://www.jstor.org/stable/45073602
Brunel, P. (2014-2015). Baudelaire et la musique: moderne ou antimoderne. L’Année Baudelaire, 18/19, 69-88. Recuperado de: https://www.jstor.org/stable/45073924
Castellani, L. (1955). Psicología humana. Buenos Aires: Jauja.
Cataldo Sanguinetti, G. (1992). Nihilismo y aburrimiento. Revista de Filosofía, 39-40 (1) 39-50. Recuperado de: https://revistafilosofia.uchile.cl/index.php/RDF/article/view/44236/46244
Cioran, E. M. (1989). La tentación de existir. Madrid: Taurus.
Cioran, E. M. (1995). El ocaso del pensamiento. Barcelona: Tusquets.
Cioran, E. M. (1997). Conversaciones. Barcelona: Tusquets.
Cioran, E. M. (2021). Ventana a la nada. Barcelona: Tusquets.
Clément, M. L. (2005). Baudelaire et la musique. Tunis: Sahar. Correspondance inédite de Hector Berlioz 1819-1868 (1879). París: Calmann Lévy.
De Musset, A. (2002). Confesión de un hijo del siglo. M. Giné (trad.). Madrid: Cátedra.
De Quincey, T. (1989). Confesiones de un opiómano inglés. F. Cursó (Trad.). México: Fontamara.
Gallico, C. (1955). Baudelaire e la musica. Convivium, 23(1), 68-81.
García Revilla, E. (2012). La estética musical de Héctor Berlioz a través de sus textos (tesis doctoral).
Gavilán, E. (2013). Entre la historia y el mito. El tiempo en Wagner. Madrid: Akal.
Hegel, G. W. F. (2007). Lecciones sobre la Estética. A. Brotons Muñoz (Trad.). Madrid: Akal.
Heidegger, M. (1932). ¿Qué es Metafísica? Sur, (II) 128-150. Recuperado de: https://www.cervantesvirtual.com/nd/ark:/59851/bmcxm0b1.
Hoffmann, E.T.A. (1986). Fantasías a la manera de Callot. R. y C. Lupiani (Trads.). Madrid: Anaya.
Hulin, M. (2007). La mística salvaje. M. Tabuyo, A. López (Trads.). Madrid: Siruela.
Lacoue-Labarthe, P. (1981). Baudelaire contra Wagner. Études françaises, 17 (3-4) 23-52. Recuperado de: https ://id.erudit.org/iderudit/036740ar. https://doi.org/10.7202/036740ar
Lafon, J. B. (1865). Histoire d’Espagne, Paris: Furne.
Lechevalier, B. (2010). Le cerveau mélomane de Baudelaire. Musique et neuropsychologie. Paris: Odile Jacob.
Lettres à Charles Baudelaire. (1973). Études baudelairiennes IX, 4/5, 228-239.
Lisciani-Petrini, E. (1996). Baudelaire invitación a la música “tras la muerte del gran Pan”. Sileno: Variaciones sobre arte y pensamiento, (1), 18-27.
Liszt, F. (1946). Chopin. Buenos Aires: Espasa-Calpe. Recuperado de: http://www.cervantesvirtual.com.
Liszt, F. (2014). De los bohemios y su música en Hungría. Buenos Aires: Sieghels.
Lockspeiser, E. (1970). Baudelaire and Music. The Yale Review, LIX (4) 498-506.
Loncke, J. (1975). Baudelaire et la musique. Saint-Genouph: A.-G. Nizet.
Nietzsche, F. (2002). El Caso Wagner (José Luis Arántegui, trad.). Madrid: Siruela.
Paczynski Stanislas, G. (1973). Baudelaire et la musique (tesis doctoral).
Péchenart, J. (1958-1959). La musique de Baudelaire. La Grive, (97 y 101).
Vela, M. (2019). Correspondencias entre música y palabra. Un estudio sinestésico sobre Harmonie du soir, Baudelaire / Debussy, y Le Gibet, Bertrand / Ravel. Vigo: Academia del Hispanismo. Recuperado de: https://revistamusicalchilena.uchile.cl/index.php/RMCH/article/view/55835
Verlaine, P. (1884). Les poètes maudis. Paris: Léon Vanier.
Downloads
Published
Issue
Section
License
Copyright (c) 2024 Eidos
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Authors who publish with this journal agree to the following terms:1. The Author retains copyright in the Work, where the term "Work" shall include all digital objects that may result in subsequent electronic publication or distribution.
2. Upon acceptance of the Work, the author shall grant to the Publisher the right of first publication of the Work.
The Author shall grant to the Publisher a nonexclusive perpetual right and license to publish, archive, and make accessible the Work in whole or in part in all forms of media now or hereafter known under a Creative Commons 3.0 License Attribution-NonCommercial 3.0 Unported CC BY-NC 3.0, or its equivalent, which, for the avoidance of doubt, allows others to copy, distribute, and transmit the Work under the following conditions: (a) Attribution: Other users must attribute the Work in the manner specified by the author as indicated on the journal Web site;(b) Noncommercial: Other users (including Publisher) may not use this Work for commercial purposes;
4. The Author is able to enter into separate, additional contractual arrangements for the nonexclusive distribution of the journal's published version of the Work (e.g., post it to an institutional repository or publish it in a book), as long as there is provided in the document an acknowledgement of its initial publication in this journal.
5. Authors are permitted, and Eidos promotes, to post online the preprint manuscript of the Work in institutional repositories or on their Websites prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (see The Effect of Open Access). Any such posting made before acceptance and publication of the Work is expected be updated upon publication to include a reference to the Eidos's assigned URL to the Article and its final published version in Eidos.
