In Là-bas, Huysmans identifies one painting (Grünewald's Crucifixion), while leaving another unattributed. Critical readings have paid little attention to the former painting, although its unidentified status challenges the reader.
I argue that the poet's reading of the works of others reflects on the way he perceives the reader of his own work, that the activity of reading does not hold a high value, and suggest that the poet is as interested in ventures in language as he i
It is difficult to comprehend how France could have reacted so negatively to the much anticipated arrival of Darwin's theories. France had been a pioneer. Lamarck had staked a claim early in the century.
I examine the changing referents and meanings associated with the "sketch" ("esquisse," "croquis"), as found in the journals of Michelet, Delacroix and the Goncourt Brothers, in order to help identify the place the sketch occupied in the cultural