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Copyright of Revista Alea: Estudos Neolatinos is the property of Programa da Pos-Graduacao em Letras Neolatinas Fac de Letras - UFRJ and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cioran is said to have been influenced by Pascal, Kierkegaard and Nietzsche, the author of La Chute dans le temps thus enrolling in the line of existential philosophy. Much less - or not at all - is mentioned in this context Lev Shestov, who exerted a considerable influence on the intellectual environments in France, but also in Romania, in the period immediately following the First World War. Cioran considered Shestov as one of his spiritual masters, the influence of the Russian thinker being present both in his youthful writings and in those written later in France. We will try to highlight some of Shestov's ideas which have been creatively taken over by Cioran and that can be found constantly throughout his work. [ABSTRACT FROM AUTHOR]

The main aims of this paper are: 1) to analyse the philosophical texts of the Romanian-French poet and thinker Benjamin Fondane in order to highlight the tragic and paradoxical manner in which the personal identity is formed under the auspices of the crisis of the self; 2) to connect his philosophy of the crisis with the Avant-Garde movement; 3) to identify Fondane's place within the movement of Existential philosophy from the first half of the 20th century, but also his criticism on the Rationalism and the Husserlian phenomenology. [ABSTRACT FROM AUTHOR]

This essay examines a polemic between two Baudelaire critics of the 1930s, Jean Cassou and Benjamin Fondane, which centered on the relationship of poetry to progressive politics and metaphysics. I argue that a return to Baudelaire's poetry can yield insight into what seems like an impasse in Cassou and Fondane. Baudelaire provides the possibility of realigning metaphysics and politics so that poetry has the potential to become the space in which we can begin to think the two of them together, as opposed to seeing them in unresolvable tension. Or rather, the tension that Baudelaire animates between the two allows us a new way of thinking about the role of esthetics in moments of political crisis. We can in some ways see Baudelaire as responding, avant la lettre, to two of his early twentieth-century readers who correctly perceived his work as the space that breathes a new urgency into the questions of how modern poetry relates to the world from which it springs and in which it intervenes. [ABSTRACT FROM AUTHOR]

Copyright of Alkemie is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The focus of this article is the influence of Lev Shestov’s ideas on European intellectuals, especially French philosophers and poets. The author shows that the Russian thinker had a significant impact on shaping the intellectual atmosphere in France at the first half of the twentieth century, contributing to the rise of existentialist philosophy. Among Shestov’s direct philosophical followers are literary critic, writer, and musicologist Boris de Schloezer; essayist and philosopher Georges Bataille; and poet Benjamin Fondane. [ABSTRACT FROM PUBLISHER]

Copyright of Studia Universitatis Babes-Bolyai, Europaea is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper aims at comparing two different approaches of cinema inspired by the artistic experiences of Dadaism. Benjamin Fondane, besides promoting internationally the films of European avant-garde movements (Man Ray, René Clair, Henri Gad, Germaine Dulac), wrote some critical texts and some poems (Trois scenarii. Ciné-poèmes, 1928) shaped on Dadaist patterns. Fondane also directed Tararira (1936) -- a lost movie, which is considered here the last great project of Dadaist cinema. As for Walter Benjamin, in his seminal essay, The Work of Art in the Age of Mechanical Reproduction (1936), he states that "Dadaism attempted to create by pictorial -- and literary -- means the effects which the public today seeks in the film.", and he investigates the link between Dada and cinema under the sign of shock. In Walter Benjamin's essay, there are many ideas anticipated by Fondane: all of these are analyzed here. [ABSTRACT FROM AUTHOR]

This article focuses on Ovidiu Baron's book, Paysage et image poetique chez Ilarie Voronca, Benjamin Fondane et Henri Michaux (Landscape and poetical image at Ilarie Vor onca, Benjamin Fondane and Henri Michaux). The study is a comparative analysis of the three authors from the perspective of the poetical image and trying to highlight the ar tistic features of the two Romanian poets, Ilarie Voronca and Benjamin Fundoianu, and to provide new openings to the exegesis of Henri Michaux. [ABSTRACT FROM AUTHOR]