Jules Supervielle

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Supervielle, Jules


Born Jan. 16, 1884, in Montevideo, Uruguay; died May 17,1960, in Paris. French writer.

After spending his childhood in South America, Supervielle went abroad and was educated at the Sorbonne. He began publishing in 1900. His collections Poems of Sorrowful Love (1919) and Landing Stages (1922) were followed by Gravitations (1925), which was praised by R. M. Rilke. Subsequent poetry collections by Supervielle were Oloron-Sainte-Marie (1927), The Innocent Convict (1930), The Unknown Friends (1934), and Fable of the World (1938).

Supervielle’s works dating from the period of World War II (1939–45), Poems About Unfortunate France (1941, 1942) and the collection 1939–1945: Poems (1946) were in the final analysis optimistic, in spite of the bitterness and pain they expressed. After the war, Supervielle published the collections Forgetful Memory (1949), Births (1951), The Staircase (1956), and The Tragic Body (1959).

Predominant in Supervielle’s early collections were the theme of nature, a sense of the romance of travel, and imagery drawn from the ancient cultures of South America. Supervielle’s mature works were marked by melancholy, anxiety, a concern with death, and the influence of myths and of Roman Catholicism. Supervielle published the novels The Man From the Pampas (1923), The Kidnappers (1926) and its sequel The Survivor (1928), and Young Man on Sunday (1955), as well as the short-story collections The Child of the High Seas (1931, 1946) and Noah’s Ark (1938), which expanded on the themes of his poetry. He also wrote the comedies The Beauty of the Wood (1932), Bolivar (1936), Robinson (1949), and Scheherezade (1949).


In Russian translation:
In la pishu tvoe imia, Svoboda. [Moscow, 1968.]


Istoriia frantsuzskoi literatury, vol. 4. Moscow, 1963.
Roy, C. J. Supervielle. [Paris, 1967.] (Contains bibliography.)
Blair, D. S. Jules Supervielle: A Modern Fabulist. Oxford, 1960.
Etiemble, R. Supervielle. Paris, 1960.
Vivier, R. Lire Supervielle. Paris [1972].


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
To this end, and by way of comparison, two of the wall labels (for Mouleuse de cafe [Woman Grinding Coffee], 1945, and Portrait de Jules Supervielle, 1947) contain reproductions of the larger paintings.
Por eso esta por ejemplo Raymond Queneau y no estara Jules Supervielle. Me reconozco, canto a capella, canta el poeta, escucho, siento, entiendo, comprendo, !y resulta que estoy cantando yo!
JULES SUPERVIELLE'S (1884-1960) many works include the novels
The title is inspired by Jules Supervielle's poem 'La chambre voisine' (1935), Freud's Das Unheimliche (1919), and Julia Kristeva's Etrangers a nous-memes (1988).
Felisberto had come under the wing of Jules Supervielle and Roger Caillois.
In his "Aft and Binding" words at the end of the collection, he lets the reader in on the "invisible" title of this accumulated cornucopia of translations, a line borrowed from a Jules Supervielle poem: "sentences that left unknown lips and, like stray bullets, found their target in you from afar." The dust cover, in turn, tells us that the collection's "mysterious party" consists of masters of modernism in Europe, the Americas, and Africa.
In Jules Supervielle, Grand Banner Portrait, 1947, Dubuffet created a large-scale painting of the Uruguayan poet Jules Supervielle (1884-1960).