La Mort posthume: Maurice Heine and the poetics of decay
Identifieur interne : 001653 ( Istex/Corpus ); précédent : 001652; suivant : 001654La Mort posthume: Maurice Heine and the poetics of decay
Auteurs : Neil CoxSource :
- Art History [ 0141-6790 ] ; 2000-09.
English descriptors
- Teeft :
- 2eme partie, 3eme partie, Aestheticized death, Albert gayet, Anatole france, Ancien bouquet, Annales, Antinoe, Antinoe excavations, Antinous, Antiquites egyptiennes, Archaeological establishment, Athanael, Bataille, Bibliotheque, Bibliotheque nationale, British library, Bruno sibona, Burial accoutrements, Burial grounds, Burial objects, Cliche bibliotheque, Cliche bibliotheque nationale, Comme, Coptic mummy, Definitive form, Dismal west, Doctoral thesis, Earthly love, Extraordinary novel, Fantomes paris, Flaubert, Fonds maurice heine, Fouilles, Fouilles executees, Fouilles paris, Fourth century, Francois villon, Funebre ironie, Gautier, Gayet, Georges bataille, Georges braque, Golden legend, Guide illustre, Guimet, Havre, Heine, Ibid, Jacques doucet, Julia kristeva, Kristeva, Leucione, Louvre, Maurice, Maurice heine, Momie, Mort, Mort posthume, Mummy, Musee, Musee guimet, Myrithis, Nationale, Osorio, Other hand, Other poems, Paphnuce, Partie, Photo christian larrieu, Pierre battifol, Poetics, Posthume, Posthumous death, Prayer counter, Premiere fois, Ptolemaic mummy, Roman philosophique, Sade, Saint antoine, Same time, Section copte, Serapion, Societe francaise, Sonnet, Sou, Specific reference, Stephane mallarme, Surrealism, Texte etabli, Theophile gautier, Tombes pharaoniques, Tome, Undated photograph, Vanitas, Vanitas works, Victor segalen, Ville.
Abstract
Centred around an early suite of poems by the little‐known Sade scholar and fellow traveller of Surrealism, Maurice Heine (1884–1940), this paper reveals the impact on artists (including Georges Braque) and poets of a series of spectacular exhibitions of Coptic ‘mummies’ in Paris. An account of Albert Gayet’s Antinoë excavations and exhibitions at the Musée Guimet is constructed, and this is used to explore the cultural meanings of the archaeological museum around 1900. The paper is a contribution to the study of a particular form of Orientalism, as well as an exploration of late Symbolism, one cultural territory out of which the Surrealist movement emerged. It argues that fascination with eroticised death and decay led, in Heine’s case, to an exploration of the powers and limitations of poetic language. Heine’s work is contrasted with more redemptive aesthetic representations of death in Nerval and Holbein, as interpreted by Julia Kristeva. It is suggested that Heine’s exhaustion of language in the evocation of death, and his almost political interrogation of the museum, make sense of his later contributions to Surrealism through his study of Sade.
Url:
DOI: 10.1111/1467-8365.00219
Links to Exploration step
ISTEX:DA40C6D9C6F9FA5B488E36DCB6E959570007D605Le document en format XML
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An account of Albert Gayet’s Antinoë excavations and exhibitions at the Musée Guimet is constructed, and this is used to explore the cultural meanings of the archaeological museum around 1900. The paper is a contribution to the study of a particular form of Orientalism, as well as an exploration of late Symbolism, one cultural territory out of which the Surrealist movement emerged. It argues that fascination with eroticised death and decay led, in Heine’s case, to an exploration of the powers and limitations of poetic language. Heine’s work is contrasted with more redemptive aesthetic representations of death in Nerval and Holbein, as interpreted by Julia Kristeva. 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