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Untimely Segalen
Christopher Bush

ostensibly formalist uses of China draw texts back into history, specifically the history of the West’s relationship to China. 13 Here I want to expand on the ways in which the cultural particularity of examples, even in their negated or formalist uses, have consequences for the periodization and the mapping of Segalen’s work, but also ‘French modernism’ more generally. There are three obvious ways in which Segalen’s untimeliness might be historicized. The first is to think of Segalen as a kind of late symbolist, a contemporary of Paul Claudel and Paul Valéry, rather

in 1913: The year of French modernism
W. J. McCormack

clearly demonstrate the vulnerability of an agriculturist, regionalist or visionary politics to peremptory appropriation by emerging fascism. Yet ‘From Democracy to Authority’, Yeats’s Irish Times statement of 16 February 1924, parading the names of Paul Claudel and Benito Mussolini for approval, cannot be explained away in terms of external appropriation

in Dissolute characters
The strange location(s) of Le Grand Meaulnes
David R. Ellison

( NRF ) during its initial heyday, a person who, along with André Gide, could be called, with reason, le contemporain capital . That he knew and sponsored the important writers of his day can be surmised by a quick look at the sixty-ninth volume of the review (1 June 1919), which contained excerpts from the following: André Gide, Paul Claudel, Marcel Proust, Paul Valéry, Léon-Paul Fargue, Georges Duhamel, Henri Ghéon, Albert Thibaudet and André Lhote. In his valuable but gossipy overview of Rivière’s work and contributions to the NRF , Jean Lacouture does not

in 1913: The year of French modernism
Abstract only
Staging the wound
Carl Lavery

encourage more imaginative and poetic ways of being in the world. The subject is to make herself into a work of art. So while revolutionary poetry and written poetry are separate entities in Genet’s thought, they both ought to work, in their different ways, for the same goal: equality and freedom – the end of reification. Genet made a similar point in a letter he wrote to the political militant Patrick Prado in 1970. In that text, he argues that artists are at their most radical when they refuse to compromise the autonomy of their vision. For him, the Catholic poet Paul

in The politics of Jean Genet’s late theatre