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Colorsteps in Modern and Contemporary French Poetry
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Journal Article
Colorsteps in Modern and Contemporary French Poetry
2012
Overview
Unlike our co-workers in film, history of art, textile studies or musicology, literary researchers are remote from those perceptual and pleasurable pressure points that may be acoustic, tactile or visual, and which, in this instance, are prismatic.2 Color practice is a blind spot in contemporary critical readings of French poetry and poetic writing, a paradoxical situation given critics' attentiveness to the interact and intermedial significance - manifest and latent - of French modern poetic practice.3 The obscuring of color is anomalous, too, given our concern to bring into dialogue concepts and tropes drawn from cognate research disciplines as part of a wider arts and humanities project.4 Our \"color blindness\" as critics is ironic when counterpoised with the sustained reflection of modern and contemporary poets on the color-practice of painters, and the alertness of poets to their own verbal engagement with color.5 Yves Bonnefoy 's Le Nuage rouge: Dessin, couleur et lumière (1977) and Francis Ponge's U Atelier contemporain (1977) are signal contributions to the reading of Renaissance and modern painting, while René Char's work with Miró on Flux de l'aimant (1964) exemplifies the livre d'artiste, and Bonnefoy's collaboration with Geneviève Asse for Début et fin de la neige (1991) illuminates the interart impetus of twentieth-century poetic innovation.6 And then there are the myriad instances where poetry, with or without a direct pictorial referent, moves beyond the evocation of the enduring tropes of art, such as landscape, and begins to reflect on the visual quality of poetry and its potential to stir acts of chromatic imagining in its narrators and its readers.
Publisher
French Forum, Inc,University of Pennsylvania Press
