De quelques hypothèses sur la joie de "L'Oiseau d'or": Brancusi, Mina Loy et Rilke

Abstract : This paper probes the ways poetry considers the « imaginary halo » (Bachelard) emanating from works of art, that is to say, not shapes in themselves, but the suggestions, affects and experiences that those shapes elicit for their beholders. According to Brancusi, his sculpture’s vocation is to arouse joy. We try to examine this emotion of joy by connecting two poems with remarks and aphorisms by Brancusi: a poem by American Modernist Mina Loy, “Brancusi’s Golden Bird” (1921), that was published with a photograph taken by the sculptor, and lines written in French by Rilke (1920), that have been read as an evocation of Brancusi’s sculpture and thus have become a poem about Brancusi. In Loy’s poem, the experience of joy takes the guise of “rapture”, as it is defined by philosopher Marianne Massin: a feeling of intense pleasure, intermixed with a violent abduction to the sacred, notably triggered by Grecian “agalmata” which might survive in Brancusi’s sculpture. Rapture is a movement, opening a future in constant evolution. The experience of joy, if we believe philosopher Jean-Louis Chrétien, springs from a movement of amplification and projection in the future. It is this very movement that animates Brancusi’s sculpture. Poems invent figures for this imperfective movement of enlargement, and they spread its momentum, thus participating to the constant evolution of Brancusi’s works, making them inexhaustible, and refusing to let them come to a completion that would be and their end.
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Submitted on : Wednesday, September 20, 2017 - 12:03:17 PM
Last modification on : Thursday, June 27, 2019 - 4:28:58 PM

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Claire Gheerardyn. De quelques hypothèses sur la joie de "L'Oiseau d'or": Brancusi, Mina Loy et Rilke. ReCHERches, Presses universitaires de Strasbourg, 2016, De la joie pure: Brancusi et les poètes, pp.47-62. ⟨hal-01590803⟩

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