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Introduction | 1 | |
The Poet as Transgressor: "Le Bateau ivre" | 9 | |
The Poet as Inventor: "Voyelles" | 43 | |
The Poet as Memorialist: "Memoire" | 54 | |
The Poet as Ingenu: "Michel et Christine" | 67 | |
The Poet as Self-Creator: "Enfance" | 79 | |
The Poet as Self-Critic: "Jeunesse" | 95 | |
The Poet as Self-Ironist: "Vies" | 111 | |
The Poet as Floodmaker: "Apres le Deluge" | 127 | |
The Poet as Oriental Storyteller: "Conte" | 141 | |
The Poet as Dreamer: "Veillees" | 157 | |
The Poet as Agonist: "Angoisse" | 173 | |
The Poet as Lover: "Being Beauteous", "Devotion" | 184 | |
Conclusion | 201 | |
Notes | 221 | |
Index | 243 |
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Add Rimbaud's Theatre of the Self, In a new interpretation of a poet who has swayed the course of modern poetry—in France and elsewhere—James Lawler focuses on what he demonstrates is the crux of Rimbaud's imagination: the masks and adopted personas with which he regularly tested his ident, Rimbaud's Theatre of the Self to the inventory that you are selling on WonderClubX
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Add Rimbaud's Theatre of the Self, In a new interpretation of a poet who has swayed the course of modern poetry—in France and elsewhere—James Lawler focuses on what he demonstrates is the crux of Rimbaud's imagination: the masks and adopted personas with which he regularly tested his ident, Rimbaud's Theatre of the Self to your collection on WonderClub |