Un coup de dés jamais n'abolira le hasard

Un coup de d s jamais n abolira le hasard Texte enregistr Ce quoi nous devons viser surtout est que dans le po me les mots qui sont d j assez eux pour ne plus recevoir d impression du dehors se refl tent les uns sur les autres jusqu para tr

  • Title: Un coup de dés jamais n'abolira le hasard
  • Author: Stéphane Mallarmé
  • ISBN: 9782070736492
  • Page: 144
  • Format: Paperback
  • Texte enregistr Ce quoi nous devons viser surtout est que, dans le po me, les mots qui sont d j assez eux pour ne plus recevoir d impression du dehors se refl tent les uns sur les autres jusqu para tre ne plus avoir leur couleur propre, mais n tre que les transitions d une gamme.

    One thought on “Un coup de dés jamais n'abolira le hasard”

    1. (This is a page from the book "Domain of Images" about the pictorial sense of the pages.)me pages can be read as a viewer might interpret naturalistic pictures: the passage in which Mallarmé invokes a shipwreck is set in a falling motif, and isolated lines are vignettes of the scenes they describe. The line describing man as “bitter prince of the reef” is itself an atoll, and there are plumes, sails, and other shapes in Mallarmé's images and in his typesetting. Those are, in a way, introdu [...]

    2. I've read several previous translations of Stéphane Mallarmé's Un coup de dés jamais n’abolira le hazard (A throw of the dice will never abolish chance before picking up Robert Bononno's most recent attempt to translate this nearly untranslatable masterwork. My previous readings included Brian Coffey's 1982 New Directions version and the 1956 translation by Daisy Aldan, but the preeminent interpretation was that by the artist/poet Marcel Broodthaers, whose 1969 interpretation restated Malla [...]

    3. J'ai lu le poème de Mallarmé, «Un coup de dés jamais n'abolira le hasard». Je n'aime pas du tout. Quelle satisfaction cet éminent poète a-t-il pu éprouver à pondre ce galimatias? Etait-il souffrant, tombé sur la tête? Cela restera pour moi un mystère, et je ne vais pas passer mon temps à essayer de le percer. Cette oeuvre a au moins une importance historique, on sent en elle pointer les tombereaux d'âneries sans queue ni tête que la poésie d'avant-garde va désormais se sentir te [...]

    4. Mallarmé wrote a piece named A Roll Of The Dice (referring to his skepticism on the success of its creation), which harnesses the way letters are put on a page for poetic effect. Instead of printing the text line by line, he places pieces of text here and there, scattered in order to catch the eye. He was inspired a lot by Wagner, and by listening to orchestra, so like the differing placement of instruments in a performance, position can change the recipients experience.Mallarmé is notably dif [...]

    5. The title is far better than it is, it's very complex, layered and a bit confusing when it comes to the layout. I'm a big fan of contemporary poetry and realize it's very hard to find. So I'll read anything presented to me. this could have been better I feel, more uniform, but it was still good and the presentation was interesting.UPDATE: holy shit I read this in 2016 thinking it was written in 2016 but it was literally written in the late 1800s! what the fuck this is the single most avant guard [...]

    6. "SI C'ÉTAIT LE NOMBRE CE SERAIT LE HASARD RIEN N'AURA EU LIEU QUE LE LIEU EXCEPTÉ PEUT-ÊTRE UNE CONSTELLATION""Toute pensée émet un Coup de Dés" comme si dans cette toute-puissante contingence, nous étions livrés aux flots, aux tourbillons et aux gouffres. Combien de pensées? Combien de coups de dés? Quel Nombre? HASARD. Infini. L'art et la plume. L'Art.707

    7. My favorite encounter of the past year & beyond Robert Bononno and Jeff Clark's scrupulous, gorgeous translation & (just as important) arrangement/presentation of this key but forbidding Modernist text is a revelation.

    8. Very interesting book design, and interesting idea for the poetry, but the actual writing was too random (being, you know, the point).

    9. The granddaddy of concrete poetry. Real good edition - contains both the translated version and the original French, which is essential. Read the words in English if you have to (I had to), but it's nice appreciate them aesthetically in the original French, because the shape and placement of the words is pretty obviously important to an aesthetic appreciation of the text.

    Leave a Reply

    Your email address will not be published. Required fields are marked *