Abstract

Marie Krysinska, Polish-born French woman poet, musician, femme chansonnier, and novelist of the decadent and symbolist period, innovated with free verse and was an active member of turn-of-the-century Parisian literary cabarets. In this article, I am analyzing Krysinska's transposition of impressionistic visions into poetry. In numerous poems gathered in Rythmes pittoresques (1890), Joies errantes (1894), and Intermèdes (1903), Krysinska attempts to capture movement, fleeting moments, mystery, the effects of different lights on a scene, ambiguous realities, reflections, the fusion of elements, and evanescent feminine subjects. Often, the subject falls asleep, as if drugged by scents, sounds, and rhythms, while visions come to life. The unity of all arts and an impressionistic vision of the world reflect a search for the unity of body, emotions, and intellect, which necessitates the disappearance of the subject into a world of dreams. I am raising the question whether or not this instability, this errance between arts, between poetical forms, and between Idéal and reality was a form of emancipation for Marie Krysinska, a bicultural woman poet, whose ambiguity of forms was a claim to renew art and poetry. (In French) (FG)

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Additional Information

ISSN
1536-0172
Print ISSN
0146-7891
Pages
pp. 318-333
Launched on MUSE
2001-04-01
Open Access
No
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