{"id":871,"date":"2022-10-26T23:22:22","date_gmt":"2022-10-26T21:22:22","guid":{"rendered":"http:\/\/robertmarteau.fr\/?page_id=871"},"modified":"2022-11-09T20:40:38","modified_gmt":"2022-11-09T19:40:38","slug":"revues","status":"publish","type":"page","link":"https:\/\/robertmarteau.fr\/index.php\/bibliographie\/revues\/","title":{"rendered":"revues"},"content":{"rendered":"\t\t
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Bibliographie<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Robert Marteau publie prose et po\u00e9sie publi\u00e9es dans des revues litt\u00e9raires : les Cahiers du Sud, PO&SIE...<\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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revues litt\u00e9raires<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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2016<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0<\/strong>Laure\u00a0\u00bb<\/em>,<\/strong>\u00a0po\u00e8me in\u00e9dit,\u00a0La Revue Litt\u00e9raire N\u00b064\u00a0<\/em>, ao\u00fbt-septembre-octobre 2016, Editions L\u00e9o Scheer , Paris,\u00a0p. 49-69.<\/p>

\u00a0\u00ab\u00a0Onze sonnets<\/em>\u00a0\u00bb de l’ann\u00e9e 2006, \u00a0 Paris, rehauts<\/em>, n\u00b0 38, octobre 2016.\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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2015<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Robert Marteau, Arpenteur en vers et en proses\u00a0\u00bb<\/em>\u00a0revue\u00a0La Licorne 117 ,<\/em>\u00a0Etudes r\u00e9unies et\u00a0pr\u00e9sent\u00e9es Sandrine B\u00e9douret-Labbaburu et Jean-Yves Casanova, contient\u00a0Huit sonnets<\/em>\u00a0in\u00e9dits, de l’ann\u00e9e 2008 ;\u00a0Dans l’herbe III<\/em>\u00a0, in\u00e9dit, extrait, Presses Universitaires de Rennes.\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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2014<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Huit sonnets<\/em>\u00bb des ann\u00e9es 2005-2006\u00a0[sonnet], Paris,\u00a0PO&SIE<\/em>, n\u00b0 147.<\/p>

\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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2013<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Un sonnet\u00a0<\/i>\u00bb, Marseille,\u00a0Ph\u0153nix<\/i>, n\u00b0 3, mars.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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2012<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Un po\u00e8me in\u00e9dit\u00a0<\/em>\u00bb, Mont\u00e9limar,\u00a0Voix d\u2019encre<\/em>, mars, n\u00b0 46.<\/p>

\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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2011<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Deux extraits de\u00a0Dans l\u2019herbe<\/em>,\u00a0Secousse<\/em>, 3,\u00a0p. 64-67.<\/p>

\u00ab\u00a0Abri des muses\u2026<\/em>\u00a0\u00bb\u00a0[sonnet], Paris,\u00a0PO&SIE<\/em>, n\u00b0 136\u00a0[num\u00e9ro d\u2019hommage \u00e0 Robert Marteau],\u00a0p. 3.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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2009<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Six sonnets floraux<\/em>\u00a0\u00bb extraits de\u00a0Le temps ordinaire<\/em>\u00a0\u00e0 para\u00eetre aux \u00e9d.\u00a0Champ Vallon<\/em>\u00a0\u00bb, Marcq-en-Bar\u0153ul,\u00a0Lieux d\u2019\u00eatre.<\/em><\/p>

\u00ab\u00a0Entretretien avec Pierre-Jean Jouve<\/em>\u00a0\u00bb,\u00a0L\u2019Autre<\/em>, \u00e9d.\u00a0Arfuyen<\/em>.<\/p>

\u00a0<\/strong>\u00ab\u00a07 sonnets de printemps<\/em>\u00a0\u00bb\u00a0[\u00a0\u00ab\u00a0Fauvettes en buissons\u2026<\/em>\u00a0\u00bb\u00a0<\/em>; \u00ab\u00a0Le jardin s\u2019est ouvert sous le ciel\u00a0<\/em>\u00a0\u00bb\u00a0<\/em>; \u00ab\u00a0La m\u00e9sange s\u2019est mise \u00e0 le fen\u00eatre\u2026\u00a0<\/em>\u00bb\u00a0<\/em>; \u00ab\u00a0Les batraciens b\u00e9ants sonnent\u2026<\/em>\u00bb\u00a0<\/em>; \u00ab\u00a0Lilas, lilas, lilas\u2026<\/em>\u00bb\u00a0; \u00ab\u00a0Ils gloussent chantent les batraciens\u2026<\/em>\u00a0\u00bb\u00a0<\/em>; \u00ab\u00a0Grenouilles vertes, vous chantez\u2026\u00a0<\/em>\u00bb, po\u00e8mes d\u2019avril 2009], Paris, rehauts<\/em>, n\u00b0 24, automne.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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2008<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Contemplations<\/em>\u00a0\u00bb\u00a0: (Helene Schjerfbeck\u00a0; Sorolla\u00a0; Courbet\u00a0; Fragonard\u00a0; Alain Cl\u00e9ment<\/em>), Paris,\u00a0Rehauts<\/em>, n\u00b0 21, Printemps-\u00e9t\u00e9.<\/p>

\u00ab\u00a0Source et fortune du sonnet<\/em>, suivi de\u00a0Neuf sonnets de saison\u00a0<\/em>\u00bb\u00a0[\u00a0\u00ab\u00a0Les rainettes de Bela Bartok<\/em>\u00a0\u00bb\u00a0,\u00a0\u00c9critures<\/em>, Seyssel,\u00a0Champ Vallon<\/em>, p. 86\u00a0; \u00ab\u00a0Ce fracas que font dans l\u2019air\u2026\u00a0<\/em>\u00bb, id., p. 87\u00a0; \u00ab\u00a0La for\u00eat ogivale\u00a0<\/em>\u00bb, id., p. 87\u00a0; \u00ab\u00a0Monts et ch\u00e2teaux\u2026<\/em>\u00a0\u00bb, id. p. 88\u00a0; \u00ab\u00a0Toutes les for\u00eats<\/em>\u2026\u00a0\u00bb, id., p. 88\u00a0; \u00ab\u00a0Pourquoi la bruy\u00e8re\u2026\u00a0<\/em>\u00bb, id., p. 89\u00a0; \u00ab\u00a0On scie en bas\u2026\u00a0<\/em>\u00bb, id., p. 89\u00a0; \u00ab\u00a0Chaque toile d\u2019araign\u00e9e<\/em>\u2026\u00a0\u00bb, id., p. 90\u00a0; \u00ab\u00a0Yves est mort.\u00a0<\/em>\u00bb, id., p. 90\u00a0],\u00a0Contre-jour\u00a0: cahier litt\u00e9raire<\/em>\u00a0, n\u00b0 12,\u00a0p. 25-36.<\/p>

\u00ab\u00a0Source du sonnet<\/em>\u00a0 suivi de\u00a0Six sonnets de saison<\/em>\u00a0\u00bb\u00a0[\u00ab\u00a0Paix au pays\u00a0!\u2026<\/em>,\u00a020 ao\u00fbt 2001\u00a0<\/em>;\u00a0Faire face\u2026<\/em>,\u00a020 ao\u00fbt 2001\u00a0<\/em>;\u00a0Le chardonneret\u2026<\/em>,\u00a021 ao\u00fbt 2001\u00a0<\/em>;\u00a0Tissu ind\u00e9tissable\u2026<\/em>, 21 ao\u00fbt 2001\u00a0;\u00a0La flaque dans la nuit\u2026<\/em>,\u00a021 ao\u00fbt 2001\u00a0<\/em>;\u00a0La lutte pour la vie<\/em>,\u00a023 ao\u00fbt 2001<\/em>.\u00a0\u00c9critures<\/em>, p. 96-98], Poitiers,\u00a0Formules<\/em>, mai,\u00a0p. 249-253.<\/p>

\u00ab\u00a0Fran\u00e7ois Righi, parcours\u00a0<\/em>\u00bb, textes de Robert Marteau, Marie-Jeanne Boistard,\u00a0Art absolument<\/em>, n\u00b0 25, juin.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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2007<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0M\u00e8tres & mesures\u00a0<\/em>\u00bb\u00a0<\/em>; \u00ab\u00a0Sous la vo\u00fbte verte o\u00f9 tu pries\u2026<\/em>\u00a0\u00bb, Deerfield, USA,\u00a0Osiris<\/em>, n\u00b0 64,\u00a0p. 36-37, 38. \u00a0\u00a0\u00a0<\/p>

\u00ab\u00a0Goya, alchimiste et voyant<\/em>\u00a0\u00bb, Orl\u00e9ans,\u00a0Th\u00e9odore Balmoral<\/em>, n\u00b0 55.<\/p>

\u00a0\u00ab\u00a0Contemplations\u00a0\u00bb\u00a0(\u00a0Georges Valmier, musicien des couleurs<\/em>\u00a0), Paris,\u00a0Rehauts<\/em>, n\u00b0 20, automne.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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2006<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Contemplations\u00a0<\/i>\u00bb\u00a0<\/i>: \u00ab\u00a0Bonnard<\/i>\u00a0\u00bb, Paris,\u00a0Rehauts<\/i>, automne-hiver.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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2005<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Chardin\u00a0; Jacques Bellange et plusieurs autres peintres\u00a0; Wanda Davanzo<\/em>\u00a0\u00bb, Paris,\u00a0Rehauts<\/em>, n\u00b0 16, automne-hiver.<\/p>

\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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2004<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Monet\u00a0; Trois \u0153uvres de Chass\u00e9rieau\u00a0: Oc\u00e9anide, T\u00eate d\u2019ange, T\u00eate de Christ\u00a0; Le long chemin de Piet Mondrian\u00a0; Garrouste s\u2019illustre par don Quijo\u00a0; Picasso partout et toujours<\/em>\u00a0\u00bb, Paris,\u00a0Rehauts<\/em>, n\u00b0 14, octobre.<\/p>

\u00ab\u00a0Marie<\/em>\u00a0\u00bb\u00a0[\u00a0Marseille,\u00a0Autre Sud<\/em>, n\u00b0 14, 2001, p. 19], Deerfield, USA,\u00a0Osiris<\/em>, n\u00b0 58,\u00a0p. 34.<\/p>

\u00ab\u00a0PAYS\u00a0\u00bb\u00a0[\u00a0\u00ab\u00a0Qu\u2019est-le temps\u00a0?\u2026\u00a0<\/em>\u00bb,\u00a0Le Temps ordinaire<\/em>, p. 95\u00a0; \u00ab\u00a0D\u00e8s mil neuf cent dix\u2026\u00a0<\/em>\u00bb], Deerfield, USA,\u00a0Osiris<\/em>, n\u00b0 59,\u00a0p. 6-7;<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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2003<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Petite suite\u00a0<\/em>\u00bb, Paris, Arpa, n\u00b0 79, f\u00e9vrier.<\/p>

\u00ab\u00a0Comment je vois l\u2019ouvrage de Michel Madore<\/em>\u00a0\u00bb, Paris,\u00a0Rehauts<\/em>, n\u00b0 12, octobre.<\/p>

\u00ab\u00a0Le deuil des rouges-gorges<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 45, n\u00b0 1,\u00a0p. 55-59.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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2002<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Sonnets<\/em>\u00a0\u00bb\u00a0[repris l\u00e9g\u00e8rement modifi\u00e9s dans\u00a0Le temps ordinaire<\/em>, Seyssel, Champ Vallon, 2009]\u00a0Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 44, n\u00b0 4,\u00a0p. 62-69.<\/p>

\u00ab\u00a0Peintres\u00a0<\/em>\u00bb\u00a0: \u00ab\u00a0Il faut se d\u00e9cider\u2026 (\u00a0vendredi 11 janvier 2002\u00a0)<\/em>\u00a0\u00bb\u00a0[\u00a0repris dans\u00a0\u00c9critures<\/em>, p. 174\u00a0]\u00a0; \u00ab\u00a0Une fois de plus, encore\u2026 (\u00a0mercredi 19 d\u00e9cembre 2001\u00a0)<\/em>\u00a0[\u00a0repris dans\u00a0\u00c9critures<\/em>, p. 169\u00a0]\u00a0; \u00ab\u00a0Paul est mort. Sans rien dire\u2026 (\u00a0samedi 6 octobre 2001\u00a0)<\/em>\u00a0\u00bb\u00a0[\u00a0repris dans\u00a0\u00c9critures<\/em>, p. 137\u00a0],\u00a0Paris,\u00a0Rehauts<\/em>, n\u00b0 9, avril,.<\/p>

\u00ab\u00a0Sugitani Tomiyo<\/em>\u00a0\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 100.<\/p>

[Trois sonnets]\u00a0[\u00a0\u00ab\u00a0Pin,<\/em>\u00a0pinus\u2026\u00a0\u00bb,\u00a0Le temps ordinaire<\/em>, Seyssel,\u00a0Champ Vallon<\/em>, p. 73\u00a0; \u00ab\u00a0Sous sa belle peau cendr\u00e9e\u2026<\/em>\u00a0\u00bb, id., p. 73\u00a0; \u00ab\u00a0Dans chaque arbre\u2026\u00a0<\/em>\u00bb, id. p. 85\u00a0], Deerfield, USA,\u00a0Osiris<\/em>, n\u00b0 54,\u00a0p. 29, 30, 31.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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2001<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Volubilis, acrobate du bon Dieu<\/em>\u00a0\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 97,\u00a0p. 27-29.<\/p>

\u00ab\u00a0Trois tableaux\u00a0<\/em>\u00bb\u00a0: \u00ab\u00a0Alexej von Jawlensky\u2026 (\u00a0mus\u00e9e du Luxembourg, jeudi 22 d\u00e9cembre 2000\u00a0)<\/em>\u00a0; \u00ab\u00a0\u00c0 l\u2019int\u00e9rieur du violon<\/em>\u2026\u00a0(\u00a0Grand Palais, mercredi 29 d\u00e9cembre 2000\u00a0)<\/em>\u00a0\u00bb\u00a0;\u00a0\u00ab\u00a0Dieu le P\u00e8re il \u00e9tait, et les fleurs\u2026 (Mus\u00e9e Marmottan, samedi 30 d\u00e9cembre 2000)<\/em>\u00a0[\u00a0repris dans\u00a0Le temps<\/em>\u00a0ordinaire, p. 293\u00a0], Paris,\u00a0Rehauts<\/em>, n\u00b0 7, printemps 2001.\u00a0<\/p>

\u00ab\u00a0Trois tableaux\u00a0<\/em>\u00bb\u00a0:\u00ab\u00a0Comme on disait\u00a0: Par Aphrodite il entre en transes\u2026 (\u00a0Picasso au Jeu de Paume, vendredi 23 f\u00e9vrier 2001.\u00a0)<\/em>\u00a0\u00bb,\u00a0[\u00a0repris dans\u00a0\u00c9critures<\/em>, p. 13\u00a0]\u00a0;\u00a0\u00ab\u00a0L\u2019air et l\u2019eau, le feu, peu de terre\u00a0: c\u2019est Signac<\/em>\u2026\u00a0(\u00a0Signac au Grand Palais, mercredi 8 mars 2001<\/em>.\u00a0)\u00a0<\/em>\u00bb\u00a0; \u00ab\u00a0Rodin le Goth, on voit comment il extrait\u2026 (\u00a0Mus\u00e9e du Palais du Luxembourg, vendredi 16 mars 2001<\/em>.\u00a0)\u00a0<\/em>\u00bb\u00a0[\u00a0repris dans\u00a0\u00c9critures<\/em>, p. 18], Paris,Rehauts<\/em>, n\u00b0 8, automne 2001.<\/p>

\u00ab\u00a0Pays 1, 2, 3<\/em>\u00a0[\u00a0sonnets des 27, 29, 31 juillet, 18, 19 20, 21 et 22 ao\u00fbt 1999\u00a0],\u00a0Jeu d\u2019enfant<\/em>,\u00a0Musique<\/em>,\u00a0Toreo<\/em>\u00a0[\u00a0sonnets des 22 ao\u00fbt et 6 octobre 1999\u00a0],\u00a0M\u00e8tres et mesures<\/em>,\u00a0Marie<\/em>,\u00a0Manet<\/em>\u00a0[\u00a0prose\u00a0].\u00a0Robert Marteau\u00a0: de la vision \u00e0 la visitation<\/em>, entretien avec Isabelle Lebrat\u00a0\u00bb, Marseille,\u00a0Sud autre<\/em>, n\u00b0 14, septembre.<\/p>

\u00ab\u00a0Fran\u00e7ois F\u00e9dier messager des muses\u00a0<\/em>\u00bb, dans\u00a0La f\u00eate de la pens\u00e9e, hommage \u00e0 Fran\u00e7ois F\u00e9dier<\/em>, Paris,\u00a0Lettrage<\/em>,\u00a0p. 461-464.<\/p>

\u00ab\u00a0Le b\u00e2ton p\u00e9r\u00e9grin<\/em>\u00a0\u00bb de Peter Nim traduit par R. M. avec la collaboration de l\u2019auteur, dans\u00a0La f\u00eate de la pens\u00e9e, hommage \u00e0 Fran\u00e7ois F\u00e9dier<\/em>, Paris,\u00a0Lettrage<\/em>,\u00a0p. 114-119.<\/p>

\u00ab\u00a0Sonnet d\u2019\u00e9t\u00e9<\/em>\u00a0\u00bb\u00a0[\u00a0\u00ab\u00a0La bruine brode\u2026<\/em>\u00bb\u00a0Le temps ordinaire<\/em>, Seyssel,\u00a0Champ Vallon<\/em>, p. 195\u00a0; \u00ab\u00a0Ce haut sommet\u2026<\/em>\u00bb id., p. 217\u00a0;\u00a0, \u00ab\u00a0Jusqu\u2019o\u00f9 le ciel\u2026<\/em>\u00bb, id., p. 214\u00a0], Deerfield, USA,\u00a0Osiris<\/em>, n\u00b0 52,\u00a0p. 23, 24, 25.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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2000<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00a0<\/strong>\u00ab\u00a0Six taureaux sur l\u2019aire<\/em>\u00a0\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 93,\u00a0[\u00a0Sur le sable<\/em>, Paris,\u00a0M\u00e9moire Vivante<\/em>, 2007\u00a0].<\/p>

\u00ab\u00a0Un ange passe<\/em>\u00a0\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 94, Belin,\u00a0[Sur le sable<\/em>, Paris,\u00a0M\u00e9moire Vivante<\/em>, 2007].<\/p>

\u00a0<\/strong>\u00ab\u00a0Pays<\/em>\u00a0\u00bb, cinq po\u00e8mes\u00a0:\u00a0\u00ab\u00a0Grand nu rose assis\u2026(Matisse, Visages d\u00e9couverts, Fondation Bismark, lundi 8 juillet 1996.)<\/em>\u00a0\u00bb\u00a0[repris dans\u00a0Rites et offrandes<\/em>, p. 16]\u00a0;\u00a0\u00ab\u00a0Le pays s\u2019est pass\u00e9 au pastel\u2026(samedi 7 ao\u00fbt 1999)<\/em>\u00a0\u00bb\u00a0[repris dans\u00a0Le temps ordinaire<\/em>, p. 81]\u00a0; \u00ab\u00a0Le pays s\u2019\u00e9tend sous le soleil\u2026(dimanche 8 ao\u00fbt 1999)<\/em>\u00a0[repris dans\u00a0Le temps ordinaire<\/em>, p. 82]\u00a0; \u00ab\u00a0Le pays, c\u2019est la part de Dieu\u2026(mardi 10 ao\u00fbt 1999)\u00a0<\/em>\u00bb\u00a0[repris dans\u00a0Le temps ordinaire<\/em>, p. 83]\u00a0; \u00ab\u00a0Vert et bleu, bleu ou vert\u2026(Cap des Hours, vendredi 5 novembre 1999)<\/em>\u00a0\u00bb, Paris, rehauts, n\u00b0 6, automne-hiver 2000.<\/p>

\u00ab\u00a0Jeu d\u2019enfant<\/em>\u00a0\u00bb\u00a0[Marseille,\u00a0Autre Sud<\/em>\u00a0n\u00b0 14, 2001, p. 12-13], Deerfield, USA,\u00a0Osiris<\/em>, n\u00b0 50,\u00a0p. 16-17.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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1999<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Permeke, Rothko Hockney, Garouste<\/em>\u00a0\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 89.<\/p>

\u00ab\u00a0Le roumieux marche arm\u00e9<\/em>\u00a0\u00bb, Deerfield, USA,\u00a0Osiris<\/em>, n\u00b0 48,\u00a0p. 26-27.<\/p>

\u00a0<\/strong>\u00ab\u00a0Miroirs<\/em>\u00a0\u00bb, Deerfield, USA,\u00a0Osiris<\/em>, n\u00b0 49,\u00a0p. 2-3.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1998<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Po\u00e8me<\/em>\u00a0\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 85.<\/p>

\u00ab\u00a0<\/strong>Le chant du rossignol\u00a0<\/em>\u00bb , prose, dans\u00a0L\u2019Enseignement par excellence, hommage \u00e0 Fran\u00e7ois Vezin<\/em>, Paris,\u00a0L\u2019Harmattan<\/em>,\u00a0p. 7-8<\/p>

\u00ab\u00a0La religion de Victor Segalen<\/em>\u00a0\u00bb dans\u00a0Victor Segalen<\/em>, Paris, Cahier de l\u2019Herne.<\/p>

\u00ab\u00a0Notes en marge des travaux de Raymonde Gaudin\u00a0<\/em>\u00bb, Paris,\u00a0Rehauts<\/em>, n\u00b0 2, automne 1998.<\/p>

\u00ab\u00a0Musique<\/em>\u00a0\u00bb\u00a0\u00bb\u00a0[Marseille,\u00a0Autre Sud<\/em>, n\u00b0 14, 2001, p. 14-15], Deerfield, USA,\u00a0Osiris<\/em>, n\u00b0 46,\u00a0p. 32-33.<\/p>

\u00ab\u00a0Rina Lasnier est-elle aussi un po\u00e8te qui regarde la croix<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 40, n\u00b0 3,\u00a0p. 24-33.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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1997<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Grand nu rose assis\u00a0<\/em>\u00bb (sonnet), Paris,\u00a0L\u2019Art du bref<\/em>, janvier, n\u00b0 19,\u00a0p. 8\u00a0[Rites et offrandes<\/em>, Seyssel, Champ Vallon, 2002, p. 16].<\/p>

\u00ab\u00a0Po\u00e8mes pour une cloche<\/em>\u00a0de Peter Nim\u00a0\u00bb, traduit de l\u2019allemand par R. M. en collaboration avec l\u2019auteur, Montr\u00e9al,\u00a0Libert\u00e9<\/em>\u00a0, vol. 39, n\u00b0 1,\u00a0p. 70-77.<\/p>

\u00ab\u00a0A Saint-Sulpice\u00a0<\/em>\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 39, n\u00b05,\u00a0p. 5.<\/p>

\u00ab\u00a0Peter Nim\u00a0:\u00a0Po\u00e8mes<\/em>\u00a0\u00bb, traduits de l\u2019allemand par R. M. en collaboration avec l\u2019auteur, Paris,\u00a0PO&SIE<\/em>, n\u00b0 79, Belin.<\/p>

\u00ab\u00a0Morandi \u2013 Bertholle\u00a0<\/em>\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 80.<\/p>

\u00ab\u00a0Miron est mort<\/em>\u00a0\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 81.<\/p>

\u00ab\u00a0Robert Marteau & Fran\u00e7ois F\u00e9dier \u2013 Fran\u00e7ois F\u00e9dier et Robert Marteau<\/em>\u00a0\u00bb,\u00a0Ecritures<\/em>, n\u00b0 9.<\/p>

\u00a0\u00ab\u00a0Jean Bertholle\u00a0<\/em>\u00bb, pr\u00e9face de R. M., La Ciotat,\u00a0Les cahiers des P\u00e9nitents.<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1996<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Claudel au Th\u00e9\u00e2tre Marigny\u00a0<\/em>\u00bb, Paris,\u00a0L\u2019Art du bref<\/em>, janvier, n\u00b0 9,\u00a0p. 3.<\/p>

\u00ab\u00a0Propitiation<\/em>\u00a0\u00bb, po\u00e8mes de Malucha Pinto traduits par R. M., Paris,\u00a0L\u2019Art du bref<\/em>, n\u00b0 9,\u00a0p. 6-7.<\/p>

\u00ab\u00a0L\u2019\u0152uvre de Limoges\u00a0<\/em>\u00bb, Paris,\u00a0L\u2019Art du bref<\/em>, f\u00e9vrier, n\u00b0 10,\u00a0p. 5.<\/p>

\u00ab\u00a0Miquel Barcel\u00f3\u00a0\u00bb, Paris,\u00a0L\u2019Art du bref<\/em>, avril, n\u00b0 12,\u00a0p. 7.<\/p>

\u00ab\u00a0Arnold Schoenberg\u00a0: regards. Le suspens du dessin.\u00a0<\/em>\u00bb,<\/em>\u00a0Paris,\u00a0PO&SIE<\/em>, n\u00b0 75,\u00a0p. 135-136.<\/p>

\u00ab\u00a0Francis Bacon au Centre Georges Pompidou\u00a0<\/em>\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 77.<\/p>

\u00ab\u00a0Corot encore<\/em>\u00a0\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 78.<\/p>

\u00a0\u00ab\u00a0Les dessins de Miquel Barcel\u00f3\u00a0\u00bb, Paris,\u00a0L\u2019Art du bref<\/em>, juin, n\u00b0 14,\u00a0p. 9.<\/p>

\u00ab\u00a0Bartabas,\u00a0Chamane<\/em>\u00a0\u00bb, Paris,\u00a0L\u2019Art du bref<\/em>, juin, n\u00b0 14,\u00a0p. 10-11.<\/p>

\u00ab\u00a0Quand l\u2019\u0153il \u00e9coute sonner l\u2019ang\u00e9lus\u00a0<\/em>\u00bb, Paris,\u00a0L\u2019\u0152il de b\u0153uf<\/em>, n\u00b0 11,\u00a0p. 41-43-.<\/p>

\u00ab\u00a0Extraits de\u00a0Le Louvre entrouvert<\/em>\u00a0\u00bb\u00a0[\u00a0Le Louvre entrouvert<\/em>, Seyssel,\u00a0Champ Vallon<\/em>, p. 12-15], Deerfield, USA, n\u00b0 42,\u00a0p. 20-22.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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1995<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Promenade d\u2019automne<\/em>\u00a0\u00bb, Paris,\u00a0Recueil<\/em>, n\u00b0 33.<\/p>

\u00ab\u00a0H. W. Longfellow Evang\u00e9line. Un conte de l\u2019Acadie (suite) (traduit de l’anglais par R. Marteau)<\/em>\u00a0\u00bb, Paris,\u00a0Recueil<\/em>, n\u00b0 33.<\/p>

\u00ab\u00a0Confusions des senteurs<\/em>\u00a0de Sarantis Antiochos\u00a0\u00bb, traduit du grec par Xavier Bordes et R. M., Paris,\u00a0PO&SIE<\/em>, n\u00b0 73,\u00a0p. 62-67.<\/p>

\u00ab\u00a0Liturgie (1990-1992)<\/em>\u00a0\u00bb, Paris ,La Nouvelle Revue Fran\u00e7aise<\/em>, n\u00b0 510-511, juillet-ao\u00fbt.<\/p>

\u00a0\u00ab\u00a0Phase au noir\u00a0<\/em>\u00bb, \u00ab\u00a0Olivier Debr\u00e9 au Jeu de Paume\u00a0\u00bb, Paris,\u00a0L\u2019Art du bref<\/em>, octobre, n\u00b0 6,\u00a0p. 9.<\/p>

\u00ab\u00a0Le message de Paul C\u00e9zanne\u00a0<\/em>\u00bb, Paris,\u00a0L\u2019Art du bref<\/em>, novembre, n\u00b07,\u00a0p. 10.<\/p>

\u00ab\u00a0F\u00fcr Tilman\u00a0<\/em>\u00bb (\u00a0po\u00e8me de Peter Nim traduit par Robert Marteau et lui-m\u00eame\u00a0), Paris,\u00a0L\u2019Art du bref<\/em>, d\u00e9cembre, n\u00b0 8,\u00a0p. 2.<\/p>

\u00ab\u00a0Balzac<\/em>\u00a0\u00bb, Paris,\u00a0L\u2019Art du bref<\/em>, n\u00b0 8,\u00a0p. 8.<\/p>

\u00a0\u00a0\u00a0\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1994<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Artaud entre r\u00e9pulsion et r\u00e9v\u00e9lation<\/em>\u00a0\u00bb, Paris,\u00a0Recueil<\/em>, n\u00b0 29.<\/p>

\u00ab\u00a0Trois petits formats<\/em>\u00a0\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 68.<\/p>

\u00ab\u00a0H\u00f6lderlin chez Holterling et autres po\u00e8mes<\/em>\u00a0de Peter Nim\u00a0\u00bb, traduit de l\u2019allemand par R. M. en collaboration avec l\u2019auteur, Paris,\u00a0PO&SIE<\/em>, n\u00b0 69.<\/p>

\u00ab\u00a0<\/strong>Miodrag Pavlovi\u00e9 De Cosmologia profanata (traduit du serbe par R. Marteau)<\/em>\u00a0\u00bb, Paris,\u00a0Recueil<\/em>, n\u00b0 30.<\/p>

\u00ab\u00a0Miquel BARCELO, entrevista<\/em>\u00a0\u00bb, Palma de Mallorca,\u00a0Bitzoc Literatura<\/em>, n\u00b0 22, d\u00e9cembre.<\/p>

\u00ab\u00a0Cire et Miel<\/em>\u00a0de Julia Castillo\u00a0\u00bb, traduit par R. M., Paris,\u00a0PO&SIE<\/em>, n\u00b0 70,\u00a0p. 95-98.<\/p>

\u00ab\u00a0H. W. Longfellow<\/em>\u00a0Evang\u00e9line. Un conte de l\u2019Acadie\u00a0(traduit de l\u2019anglais par R. Marteau)<\/em>\u00a0\u00bb, Paris,\u00a0Recueil<\/em>, n\u00b0 32.\u00a0<\/p>

\u00ab\u00a0Un po\u00e8me<\/em>\u00a0\u00bb\u00a0[\u00a0\u00ab\u00a0Peignez l\u2019ombre en couleur\u00a0<\/em>\u00bb,\u00a0Registre<\/em>, Seyssel ,Champ Vallon<\/em>, 1999, p. 50], Deerfield, USA,\u00a0Osiris<\/em>, n\u00b0 38,\u00a0p. 2.<\/p>

\u00ab\u00a0Extraits de\u00a0Etude pour une muse<\/em>\u00a0\u00bb\u00a0\u00bb [\u00a0\u00ab\u00a0Entre notre sang nous immerger \u00bb\u2026] o\u00f9 se formait l\u2019algue bleue<\/em>\u00a0\u00bb\u00a0\u00c9tudes pour une muse<\/em>, p. 13-17]\u00a0<\/em>\u00a0\u00bb, Deerfield, USA,\u00a0Osiris<\/em>, n\u00b0 39,\u00a0p. 28-31.<\/p>

\u00ab\u00a0Retable<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 36, n\u00b0 6,\u00a0p. 18-20.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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1993<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Sextine<\/em>\u00a0Edison Simons\u00a0\u00bb, traduction de l\u2019espagnol par R. M., Paris,\u00a0PO&SIE<\/em>, n\u00b0 63,\u00a0p.37-57.<\/p>

\u00ab\u00a0Tiziano Vecellio<\/em>\u00a0\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 66.<\/p>

\u00ab\u00a0Liturgie (2)<\/em>\u00a0\u00bb, Paris,\u00a0La Nouvelle Revue Fran\u00e7aise<\/em>, n\u00b0 490, novembre,.<\/p>

\u00ab\u00a0<\/strong>Entretien avec Tristan Hord\u00e9<\/em>\u00a0\u00bb, Paris,\u00a0Recueil<\/em>, n\u00b0 28.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

\n\t\t\t
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1992<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0G\u00e9ricault, Grand Palais, d\u00e9cembre 1991<\/em>\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 59,\u00a0p. 123.<\/p>

\u00ab\u00a0Richard Parkes Bonington au Petit Palais<\/em>\u00a0\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 60.<\/p>

\u00ab\u00a0Contemplation<\/em>\u00a0\u00bb, Paris,\u00a0Recueil<\/em>, n\u00b0 21.<\/p>

\u00a0\u00ab\u00a0Pr\u00e8s des nymph\u00e9as\u2026<\/em>\u00a0\u00bb\u00a0[\u00a0Louange<\/em>, Seyssel,\u00a0Champ Vallon<\/em>, p. 246\u00a0]\u00a0; \u00ab\u00a0Ainsi que tu ob\u00e9is au feu\u2026<\/em>\u00a0\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 61,\u00a0p. 126.<\/p>

\u00ab\u00a0Les muses de la mer<\/em>\u00a0\u00bb\u00a0[\u00a0\u00c9tudes pour une muse<\/em>, Seyssel,\u00a0Champ Vallon<\/em>\u00a0p. 48-49\u00a0], Deerfield, USA,\u00a0Osiris<\/em>, n\u00b0 35,\u00a0p. 20-21.<\/p>

\u00ab\u00a0Nada Serban Po\u00e8mes (traduit du serbe par Robert Marteau)\u00a0<\/em>\u00bb, Paris,\u00a0Recueil<\/em>, n\u00b0 25.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
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1991<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0C\u00e9l\u00e9bration<\/em>\u00a0\u00bb, N.R.F., juillet-ao\u00fbt 1991, n\u00b0 462-463.<\/p>

\u00ab\u00a0Cinq po\u00e8mes<\/em>\u00a0\u00bb\u00a0[\u00a0\u00ab\u00a0Le geai s\u2019\u00e9bouriffe\u2026\u00a0<\/em>\u00bb,\u00a0Liturgie<\/em>, Seyssel,\u00a0Champ Vallon<\/em>\u00a0p. 17\u00a0; \u00ab\u00a0Le forsythia fleurit\u2026<\/em>\u00bb, id., p. 18\u00a0; \u00ab\u00a0Lisse comme un coquillage\u2026<\/em>\u00bb, id., p. 16\u00a0; \u00ab\u00a0Il avance invisible\u2026<\/em>\u00a0\u00bb, id., p. 17\u00a0; \u00ab\u00a0Les arbres nous purifient<\/em>\u2026\u00a0\u00bb, d. p. 18]\u00a0, Deerfield, USA,\u00a0Osiris<\/em>, n\u00b032,\u00a0p. 10, 11, 18, 19, 21.<\/p>

\u00ab\u00a0Francesco Maria Santinelli Sonnets sur la Pierre philosophale (pr\u00e9sentation par Edison Simons ; traduction par Edison Simons et Robert Marteau)\u00a0<\/em>\u00bb, Paris,\u00a0Recueil<\/em>, n\u00b0 18.<\/p>

\u00ab\u00a0MIQUEL BARCEL\u00d3<\/em>\u00a0\u00bb et 3 sonnets, Paris,\u00a0PO&SIE<\/em>, n\u00b0 57,\u00a0p. 125-127.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1990<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
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\u00ab\u00a0Strophes<\/em>\u00a0\u00bb, Godofredo Iommi, traduit de l\u2019espagnol par Robert Marteau, Paris,\u00a0PO&SIE<\/em>,\u00a0Belin<\/em>, n\u00b0 53,\u00a0p. 45-46.<\/p>

\u00ab\u00a0Deux pi\u00e8ces<\/em>\u00a0\u00bb, Paris,\u00a0PO&SIE<\/em>,\u00a0Belin<\/em>, n\u00b0 53,\u00a0p. 115.<\/p>

\u00ab\u00a0Qu Yuan\u00a0: Li Sao, Jiu Ge et Tian Wen<\/em>\u00a0traduit du chinois et pr\u00e9sent\u00e9 par Jean-Fran\u00e7ois Rollin. \u00ab\u00a0Orph\u00e9e\u00a0\u00bb\u00a0La Diff\u00e9rence<\/em>\u00a0\u00bb, Paris,\u00a0PO&SIE<\/em>,\u00a0Belin<\/em>, n\u00b0 53,\u00a0p. 116-117.<\/p>

[note de lecture], Paris,\u00a0PO&SIE<\/em>, n\u00b0 54, Belin.\u00a0 \u00a0 \u00a0<\/p>

\u00ab\u00a0G.M. Hopkins Henry Purcell (traduit de l’anglais par R. Marteau), Paris,\u00a0Recueil<\/em>, n\u00b015.<\/p>

\u00ab\u00a0Extraits de\u00a0Fragments de la France<\/em>\u00a0\u00bb\u00a0[\u00a0Fragments de la France<\/em>, Seyssel,Champ Vallon<\/em>, 1990, p.\u00a029, 37, 100, 72], Deerfield, USA,\u00a0Osiris<\/em>, n\u00b0 30,\u00a0p.\u00a0 12-15.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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1989<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
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[note de lecture], Paris,\u00a0PO&SIE<\/em>, n\u00b048, Belin.<\/p>

\u00ab\u00a0Sonnets\u00a0<\/em>\u00bb, Paris,\u00a0Recueil<\/em>, n\u00b0 11, mai, Seyssel,\u00a0Champ Vallon<\/em>,\u00a0[Brindilles au ciel\u2026<\/em>\u00a0f\u00e9vrier 1987<\/em>,\u00a0Liturgie<\/em>, p. 14\u00a0;\u00a0Comment rendre les n\u0153uds\u2026<\/em>,\u00a0f\u00e9vrier 1987<\/em>,\u00a0Fragments de la France<\/em>, p. 158\u00a0;\u00a0Les arbres nous purifient\u2026<\/em>,22 mars,<\/em>\u00a0Liturgie<\/em>, p. 18\u00a0;\u00a0Propice aux fleurs\u2026<\/em>,\u00a019 avril<\/em>,\u00a0Liturgie<\/em>, p. 22\u00a0; les trois autres ne sont repris en aucun recueil].<\/p>

\u00a0<\/strong>[note de lecture], Paris,\u00a0PO&SIE<\/em>, n\u00b0 51,\u00a0Belin.<\/p>

\u00ab\u00a0Ingres investi par les muses.<\/em>\u00a0\u00bb, Paris,\u00a0Recueil<\/em>, n\u00b0 12\u00a0[Huit peintres<\/em>].<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1988<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0De la couleur du temps\u00a0\u00bb \u00bb\u00a0[12 sonnets de 1997, qui le dernier dat\u00e9 du 20 d\u00e9cembre mis \u00e0 part, sont repris dans le recueil\u00a0Rites et offrandes<\/em>, Seyssel,\u00a0Champ Vallon<\/em>, 2002, p. 62, 64, 65, 71, 77, 84, 94, 134, 140, 147, 143], Paris,\u00a0Po\u00e9sie 98<\/em>, n\u00b0 72, avril,\u00a0p. 18-23.<\/p>

\u00ab\u00a0Goya\u00a0: \u2014 yo lo vi<\/em>\u00a0\u00bb,\u00a0Recueil<\/em>, n\u00b0 9, mai, Seyssel,\u00a0Champ Vallon<\/em>,\u00a0p. 179-189 [Huit peintres<\/em>].<\/p>

\u00ab\u00a0Julia Castillo\u00a0:\u00a0de Sept Mouvements<\/em>\u00a0\u00bb, traduction de R. M., Paris,\u00a0PO&SIE<\/em>, n\u00b0 45,\u00a0Belin<\/em>.<\/p>

[note de lecture], Paris,\u00a0PO&SIE<\/em>, n\u00b0 45,\u00a0Belin<\/em>.<\/p>

\u00ab\u00a0Fragments de la France<\/em>\u00a0(extrait)\u00a0\u00bb, Paris,\u00a0La N.R.F.<\/em>, n\u00b0 48, novembre.<\/p>

\u00ab\u00a0Barry Callaghan Po\u00e8mes\u00a0\u00bb traduction de R. M., Paris,\u00a0Recueil<\/em>, n\u00b0 8.<\/p>

\u00ab\u00a0Edison Simons\u00a0Douzi\u00e8me mosa\u00efque<\/em>\u00a0(traduction de R. M.)\u00a0\u00bb, Paris,\u00a0Recueil<\/em>, n\u00b0 10.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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1987<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Philosophales<\/em>\u00a0\u00bb, Montr\u00e9al,Libert\u00e9<\/em>, vol. 29, n\u00b0 2,\u00a0p. 71-82.<\/p>

\u00ab\u00a0Entretiens au bord de la Boutonne<\/em>\u00a0\u00bb, Paris,\u00a0Recueil<\/em>, n\u00b0 6,\u00a0p. 83-89.<\/p>

\u00ab\u00a0Onzi\u00e8me mosa\u00efque<\/em>\u00a0\u00bb d\u2019Edison Simons, traduit de l\u2019espagnol par R. M., Paris,\u00a0PO&SIE<\/em>, n\u00b0 42,\u00a0Belin<\/em>.<\/p>

\u00ab\u00a0Morandi\u00a0<\/em>\u00bb,\u00a0PO&SIE<\/em>, n\u00b0 42, Paris,\u00a0Belin<\/em>.<\/p>

\u00ab\u00a0Entretiens au bord de la Boutonne<\/em>\u00a0(Sixi\u00e8me journ\u00e9e)\u00a0\u00bb,\u00a0Recueil<\/em>, n\u00b0 7, mai, Seyssel,\u00a0Champ Vallon<\/em>,\u00a0p. 103-112.<\/p>

\u00ab\u00a0Fernand Ouellette\u00a0:\u00a0Les Heures<\/em>\u00a0(Champ Vallon\/l\u2019Hexagone)\u00a0\u00bb,\u00a0Recueil<\/em>, n\u00b0 7, mai\u00a0, Seyssel,\u00a0Champ Vallon<\/em>,\u00a0p. 165-168.<\/p>

\u00ab\u00a0Campagne Musique\u00a0<\/em>\u00bb,\u00a0[\u00ab\u00a0Qui en l\u2019homme a sem\u00e9 le mythe\u00a0?<\/em>\u00a0\u00bb (\u00a0\u00c9tudes pour une muse<\/em>, Seyssel,\u00a0Champ Vallon<\/em>,1995, p. 48-49\u00a0; \u00ab\u00a0Ne te retourne pas Orph\u00e9e\u2026\u00a0<\/em>\u00bb (\u00a0Fragments de la France<\/em>, Seyssel,\u00a0Champ Vallon<\/em>, 1990\u00a0)\u00a0; \u00ab\u00a0Nous sommes en transit<\/em>\u2026\u00a0\u00bb\u00a0; \u00ab\u00a0L\u2019\u00e9glantine et la cornouill\u00e8re<\/em>\u2026\u00a0\u00bb\u00a0; \u00ab\u00a0Le bois sec en chevaux de frise<\/em>\u2026\u00a0\u00bb\u00a0; \u00ab\u00a0Les grands orages d\u2019ardoise<\/em>\u2026\u00a0\u00bb (\u00a0Fragments de la France<\/em>, p. 29)\u00a0; \u00ab\u00a0Le bourdon lourd\u2026\u00a0<\/em>\u00bb, Paris,\u00a0L\u2019Alph\u00e9e<\/em>, n\u00b016-17,\u00a0p. 46-52.<\/p>

\u00ab\u00a0Arpentage de la po\u00e9sie contemporaine<\/em>\u00a0\u00bb, 14 portraits-entretiens parmi lesquels celui de R\u00a0. M., Amiens, \u00e9d.\u00a0Trois Cailloux<\/em>.<\/p>

\u00ab\u00a0Six po\u00e8mes<\/em>\u00a0\u00bb\u00a0[\u00a0\u00ab\u00a0Le monde fut fabuleux<\/em>\u2026\u00a0\u00bb\u00a0; \u00ab\u00a0Au bord de l\u2019\u00e9tang<\/em>.\u00a0\u00bb,\u00a0Liturgie<\/em>, Seyssel,\u00a0Champ Vallon<\/em>, 1992, p. 40\u00a0; \u00ab\u00a0Paris scintille\u2026\u00a0<\/em>\u00bb, id., p. 44\u00a0; \u00ab\u00a0Corot s\u2019\u00e9claire<\/em>\u2026\u00a0\u00bb, id., p. 43\u00a0; \u00ab\u00a0Le lavis movant<\/em>\u2026\u00a0\u00bb, p. 44\u00a0; \u00ab\u00a0Ao\u00fbt sur les chaumes<\/em>\u00a0\u00bb, id. p. 41\u00a0], Deerfiel USA,\u00a0Osiris<\/em>, n\u00b0 25,\u00a0p. 14, 15, 16, 27, 28, 29.<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1986<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00a01986<\/strong><\/p>

\u00ab\u00a0Etude pour une muse<\/em>\u00a0\u00bb (extrait),\u00a0Recueil<\/em>, n\u00b0 3, janvier, Seyssel,\u00a0Champ Vallon<\/em>,\u00a0[Champ Vallon<\/em>, 1995, p. 45-47, 50, 57-60], p. 127-131.<\/p>

\u00ab\u00a0Pour un portrait de Jorge Perez Rom\u00e1n<\/em>\u00a0\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 37,\u00a0Belin<\/em>,\u00a0p. 4-5.<\/p>

\u00ab\u00a0Robert Graves\u00a0:\u00a0Poeta 1895-1985<\/em>\u00a0\u00bb, pr\u00e9sentation Jonathan Boulting, traduction R. M., Paris,\u00a0PO&SIE<\/em>, n\u00b0 37,\u00a0Belin<\/em>,\u00a0p. 17-37.<\/p>

\u00ab\u00a0Po\u00e8mes\u00a0<\/em>\u00bb de John Montague, traduit de l\u2019anglais par R. M., Paris,\u00a0PO&SIE<\/em>, n\u00b0 39,\u00a0Belin<\/em>.<\/p>

\u00ab\u00a0Petite suite \u00e9crite sur le Mont Royal\u00a0<\/em>\u00bb, Troyes,\u00a0Cahiers bleus<\/em>, n\u00b0 38,\u00a0p. 104-105.<\/p>

\u00ab\u00a0En nous se sont cach\u00e9s les dieux<\/em>\u00a0\u00bb, Deerfield, USA, n\u00b0 22,\u00a0p. 16.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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1985<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Paul Kallos\u00a0\u00bb,\u00a0Cimaise<\/em>, n\u00b0 174, janvier-f\u00e9vrier.<\/p>

\u00ab\u00a0Journal du Saint-Laurent<\/em>\u00a0\u00bb (20 pages), Paris,\u00a0Le Nouveau Commerce<\/em>, cahier 61.<\/p>

\u00ab\u00a0Cinq sonnets<\/em>\u00a0\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 33, Belin.<\/p>

\u00ab\u00a0J\u2019ai lu des silences\u00a0:<\/em>\u00a0\u00bb de Jonathan Boulting traduit par Robert Marteau, Paris,\u00a0Le discours psychanalytique<\/em>, n\u00b0 14, mars,\u00a0p. 31-35.<\/p>

\u00ab\u00a0Que signifierait, par exemple\u00a0: Le vers, ce sont les pas compt\u00e9s de la Muse\u00a0?\u00a0<\/em>\u00bb, Paris,\u00a0Le discours psychanalytique<\/em>, n\u00b0 14,\u00a0p. 45.<\/p>

\u00ab\u00a0Le Miracle divin<\/em>, Miodrag Pavlovic, traduit par Robert Marteau avec l\u2019auteur, Paris,\u00a0Recueil<\/em>, n\u00b0 2.<\/p>

\u00ab\u00a0Foresti\u00e8res<\/em>\u00a0(extrait)\u00a0\u00bb, Paris,\u00a0Recueil<\/em>, n\u00b0 2.<\/p>

\u00ab\u00a0Le pied, la marche, le rythme, la mesure\u2026<\/em>\u00a0\u00bb Paris,\u00a0Le discours psychanalytique<\/em>, n\u00b0 15, juin,\u00a0p. 46-47.<\/p>

\u00ab\u00a0Un po\u00e8me\u00a0<\/em>\u00bb, Deerfield, USA,\u00a0Osiris<\/em>, n\u00b020,\u00a0p. 2.<\/p>

\u00ab\u00a0Watteau\u00a0<\/em>\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 27, n\u00b0 5,\u00a0p. 170-174.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

\n\t\t\t
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1984<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u00ab\u00a0Bonnard\u00a0<\/em>\u00bb, Paris,\u00a0PO&SIE<\/em>, n\u00b0 29, Belin.<\/p>

\u00ab\u00a0Chant sur le tourbillon<\/em>\u00a0\u00bb de Miodrag Pavlovic, traduction du serbe de R. M. en collaboration avec l\u2019auteur, Paris,\u00a0PO&SIE<\/em>, n\u00b0 30.<\/p>

\u00ab\u00a0Foresti\u00e8res<\/em>\u00a0\u00bb\u00a0[\u00a0Foresti\u00e8res<\/em>, Paris,\u00a0M\u00e9taili\u00e9<\/em>\u00a01990, p. 27-32], Deerfield, USA,\u00a0Osiris<\/em>, n\u00b0 18,\u00a0p. 31-39.<\/p>

\u00a0\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
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1983<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u00ab\u00a0Jean Cocteau, \u201c Le sang d\u2019un po\u00e8te \u201d<\/em>\u00a0\u00bb, Paris,\u00a0L\u2019Avant-sc\u00e8ne<\/em>, n\u00b0 307-308.<\/p>

\u00a0<\/strong>\u00ab\u00a0The Ph\u0153nix and the Turtle\u00a0\u00bb de W. Shakespeare, traduction et commentaire, Paris,\u00a0Atltantis<\/em>, n\u00b0 328, septembre-octobre,\u00a0p. 55-60.<\/p>

\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

\n\t\t\t
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1982<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u00ab\u00a0Marcelle Ferron\u00a0: Ce chant muet et palpitant<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 24, n\u00b0 1,\u00a0p. 20-25.<\/p>

\u00ab\u00a0Nicolas de Largillierre<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 24, n\u00b0 1,\u00a0p. 113-115.<\/p>

\u00ab\u00a0Po\u00e8mes<\/em>\u00a0\u00bb de Miodrag Pavlovic, traduit du serbo-croate par R. M. en collaboration avec l\u2019auteur, Paris,\u00a0PO&SIE<\/em>, n\u00b0 21,\u00a0Belin<\/em>.<\/p>

\u00ab\u00a0Fragments de la France<\/em>\u00a0\u00bb, Deerfield, USA,\u00a0Osiris<\/em>, n\u00b0 15,\u00a0p. 16-19.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
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1981<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u00ab\u00a0Sept mots encore<\/em>\u00a0\u00bb de Barry Callaghan, traduit de l\u2019anglais par R. M., Paris,\u00a0PO&SIE<\/em>, n\u00b0 16,\u00a0Belin<\/em>.<\/p>

\u00ab\u00a0\u0152dipe op\u00e9ra<\/em>\u00a0\u00bb, Paris,PO&SIE<\/em>, n\u00b0 17, Belin,\u00a0p. 60-64.<\/p>

\u00ab\u00a0Ph\u00e9nix et Tourtereau<\/em>\u00a0\u00bb de Shakespeare, traduction de R. M. en collaboration avec Jonathan Boulting et Alain G. Huraut\u00a0, Paris,\u00a0PO&SIE<\/em>, n\u00b0 19, Belin.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1980<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u00ab\u00a0Cort\u00e8ge pour le corbeau\u00a0<\/em>\u00bb (extrait), Paris,\u00a0PO&SIE<\/em>, n\u00b0 12, Belin,\u00a0[Quimper, \u00e9d.\u00a0Calligrammes<\/em>, 1991].\u00a0<\/p>

\u00ab\u00a0Sept paysages de Rebeyrolle<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 22, n\u00b0 2,\u00a0p. 95-96.<\/p>

\u00ab\u00a0Mont-royal<\/em>\u00a0\u00bb (extrait), Montr\u00e9al,\u00a0Libert\u00e9<\/em>, n\u00b0 129,\u00a0[Paris, Gallimard, 1981].<\/p>

[\u00a0?\u00a0]\u00a0Altaforte<\/em>, n\u00b0 2 (\u00e9t\u00e9).<\/p>

\u00ab\u00a0Peinture\u00a0<\/em>\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 22, n\u00b0 5,\u00a0p. 96-99.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
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1979<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
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\u00ab\u00a0Monet, miroir des mondes<\/em>\u00a0\u00bb, Deerfield, USA,\u00a0Osiris<\/em>, n\u00b0 9,\u00a0p. 25-31 [texte d\u2019une \u00e9mission diffus\u00e9e \u00e0 Radio Canada le 22 mai 1979, qui sera enti\u00e8rement publi\u00e9 dans\u00a0Huit peintres<\/em>, Paris, La Table Ronde, 1994].<\/p>

\u00ab\u00a0L\u2019humus de l\u2019Am\u00e9rique<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 21, n\u00b0 1,\u00a0p. 69-75.<\/p>

\u00ab\u00a0Frank Stella\u00a0: \u0153uvres de 1970 \u00e0 1978<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>\u00a0vol. 21, n\u00b0 1,\u00a0p. 135-137.<\/p>

\u00ab\u00a0Invisibilit\u00e9 de Vermeer<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 21, n\u00b0 2,\u00a0p. 75-81 [Huit peintres<\/em>].<\/p>

\u00ab\u00a0Deux po\u00e8mes de Michel-Ange<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 21, n\u00b0 2,\u00a0p. 82.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

\n\t\t\t
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1978<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u00ab\u00a0Trait\u00e9 du blanc et des teintures<\/em>\u00a0\u00bb,\u00a0[extrait], Paris,\u00a0PO&SIE<\/em>, n\u00b0 7\u00a0[l’int\u00e9grale\u00a0para\u00eet la m\u00eame ann\u00e9e \u00e0 Montr\u00e9al aux \u00e9ditions\u00a0ERTA<\/em>].<\/p>

\u00a0\u00ab\u00a0Vigie<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 20, n\u00b0 6,\u00a0p. 81.<\/p>

\u00ab\u00a0Charles Gagnon<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 20, n\u00b0 6,\u00a0p. 120-122.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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1977<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Jean-Paul J\u00e9r\u00f4me, peintures, 1976<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 19, n\u00b0 1,\u00a0p. 56-57,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0Sic transit tinctura mundi<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 19, n\u00b0 1,\u00a0p. 50-56.<\/p>

\u00a0<\/strong>\u00ab\u00a0La po\u00e9sie qu\u00e9b\u00e9coise au Mus\u00e9e d\u2019Art moderne contemporain, le Solstice de la po\u00e9sie qu\u00e9b\u00e9coise<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0La Presse<\/em>, 31 mars.<\/p>

\u00ab\u00a0Totems<\/em>\u00a0\u00bb, Deerfield, USA,\u00a0Osiris<\/em>, n\u00b0 5,\u00a0p. 25-30.<\/p>

\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1976<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
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\u00ab\u00a0Trait\u00e9 du blanc et des teintures\u00a0<\/em>\u00bb, [extrait], Paris,\u00a0Esprit<\/em>, avril, [para\u00eetra enti\u00e8rement en 1978 \u00e0 Montr\u00e9al, aux \u00e9ditions ERTA].<\/p>

\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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1975<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
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\u00ab\u00a0De l\u2019immobilit\u00e9 vivante de Jean-Paul Lemieux<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Le Jour<\/em>, 1er<\/sup>\u00a0f\u00e9vrier,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0Deux po\u00e8mes<\/em>\u00a0de Miodrag Pavlovic\u00a0\u00bb, traduit du serbo-croate par R. M. en collaboration avec l\u2019auteur,\u00a0Cahiers de l\u2019est.<\/em><\/p>

\u00a0<\/strong>\u00ab\u00a0Sur trente gouaches de<\/em>\u00a0L\u00e9on Bellefleur\u00a0\u00bb, Montr\u00e9al,\u00a0Le Jour<\/em>, 3 mai,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0Robert Nadon\u00a0: la danse du monde<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 17, n\u00b0 6,\u00a0p. 111-112,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1974<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
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\u00ab\u00a0La suite d\u2019automne<\/em>\u00a0de Fernand Toupin\u00a0\u00bb, Montr\u00e9al,\u00a0Vie des Arts<\/em>, printemps,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0D\u2019abord la tourn\u00e9e des galeries<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Le Jour<\/em>, 9 mars,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0D\u2019un cavalier ha\u00eftien \u00e0 la femme volante<\/em>\u00a0d\u2019Harold Town\u00a0\u00bb, Montr\u00e9al,\u00a0Le Jour<\/em>, 16 mars,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0De la banalit\u00e9 quotidienne \u00e0 l\u2019environnement sublunaire<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Le Jour<\/em>, 23 mars,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0David Sorensen ou la n\u00e9cessit\u00e9 int\u00e9rieure<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Le Jour<\/em>, 30 mars,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0Marion Kantaroff \u00e0 l\u2019\u00e9coute de la mati\u00e8re<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Le Jour<\/em>, 6 avril,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0Charles Daudelin conquiert sa libert\u00e9\u00a0<\/em>\u00bb, Montr\u00e9al,\u00a0Le Jour<\/em>, 13 avril,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0Une berg\u00e8re, du plexiglas et un temple<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Le Jour<\/em>, 20 avril,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00a0<\/strong>\u00ab\u00a0Gendron six ans apr\u00e8s\u00a0<\/em>\u00bb, Montr\u00e9al,\u00a0Le Jour<\/em>, 27 avril,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0Rolf Harder, Claire Munier<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Le Jour<\/em>, 4 mai,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0G\u00e9rard Tremblay ou les signes parmi nous<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Le Jour<\/em>, 4 mai,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0Toupin\u00a0: autoportrait du navigateur<\/em>\u00a0\u00bb, 11 mai, Montr\u00e9al,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00a0<\/strong>\u00ab\u00a0Toute couleur devient fluide comme dans un bain matriciel<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Le Jour<\/em>, 18 mai,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00a0<\/strong>\u00ab\u00a0Impression d\u2019une rencontre avec Riopelle<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Le Jour<\/em>, 25 mai,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0De Gagnon \u00e0 Bellerive en passant par la Chine<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Le Jour<\/em>, 1er<\/sup>\u00a0juin,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0L\u2019humour de Nadeau et le chant de Kittie<\/em>\u00a0\u00bb, Montr\u00e9al\u00a0Le Jour<\/em>, 8 juin,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0Du surr\u00e9alisme avant son heure aux peintres de l\u2019ouest canadien<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Le Jour<\/em>, 29 juin,\u00a0[L\u2019\u0152il ouvert<\/em>].\u00a0<\/p>

\u00ab\u00a0L\u2019Atelier de Roland Gigu\u00e8re<\/em>\u00a0\u00bb, Montr\u00e9al\u00a0,\u00a0Vie des Arts<\/em>, \u00e9t\u00e9,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0Conduire l\u2019acte dans la mati\u00e8re<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Le Jour<\/em>, 28 septembre,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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1973<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Robert Nadon, peintre du perp\u00e9tuel<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Vie des Arts<\/em>, n\u00b0 71, \u00e9t\u00e9,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0Simone Aubery-Beaulieu\u00a0: du jaillissement \u00e0 la pr\u00e9cision<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Vie des Arts<\/em>, n\u00b0 72, automne,\u00a0[L\u2019\u0152il ouvert<\/em>].<\/p>

\u00ab\u00a0A la Sant\u00e9 du Serpent<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 15, n\u00b0 3-4,\u00a0p. 97-103.<\/p>

\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1972<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Portrait avec les donateurs<\/em>\u00a0\u00bb\u00a0[po\u00e8me], Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 14, n\u00b0 1-2,\u00a0p. 74-78.<\/p>

\u00ab\u00a0Les peintres belges de l\u2019imaginaire<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 14, n\u00b0 1-2,\u00a0p. 184.<\/p>

\u00ab\u00a0Georges de La Tour \u00e0 l\u2019Orangerie<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, n\u00b0 vol. 14, n\u00b0 3,\u00a0p. 105-108.<\/p>

\u00a0<\/strong>\u00ab\u00a0Deux peintres qu\u00e9b\u00e9cois \u00e0 Paris\u00a0<\/em>\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 14, n\u00b0 3,\u00a0p. 128-130.<\/p>

\u00ab\u00a0Le chiffre et le cheval<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 14, n\u00b0 6,\u00a0p. 24-28.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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1970<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Portrait avec les donateurs\u00a0\u00bb, Paris,\u00a0M\u00e9tamorphoses<\/em>, n\u00b0 13 & 14, \u00e9t\u00e9-automne,\u00a0p. 45-51.<\/p>

\u00ab\u00a0G\u00e9rard de Nerval et l\u2019imagination\u00a0: La dame et le Disdeschado\u00a0<\/em>\u00bb, \u00ab\u00a0Entretien du samedi 10<\/em>\u00a0octobre<\/em>\u00a0\u00bb, \u00ab\u00a0Entretien du lundi 12 octobre<\/em>\u00a0[sic<\/em>]\u00a0\u00bb,\u00a0L\u2019imagination cr\u00e9atrice<\/em>, actes du colloque mis en forme par Roselyne Chenu, Neuch\u00e2tel, \u00e9d.\u00a0La Baconni\u00e8re<\/em>,\u00a0p. 70-75, 138-141 & 178-180.<\/p>

\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1969<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00a0<\/b>[\u00a0?\u00a0]Paris,\u00a0Le Temps des Loups\u00a0: La Lune<\/i>, n\u00b0 4-5, juillet-octobre.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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1968<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Chillida<\/em>\u00a0\u00bb, Paris,\u00a0La galerie des arts<\/em>, n\u00b0 61.<\/p>

\u00ab\u00a0Le retour des dieux<\/em>\u00a0\u00bb, Montr\u00e9al,\u00a0Libert\u00e9<\/em>, vol. 10, n\u00b0 4,\u00a0p. 36-41.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1967<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0La qu\u00eate du po\u00e8me<\/i>\u00a0\u00bb, Paris,\u00a0Preuves<\/i>, n\u00b0 197,\u00a0p. 41-43.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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1966<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Dante<\/em>\u00a0\u00bb, Paris,\u00a0La revue de po&sie<\/em>, n\u00b0 70.<\/p>

\u00ab\u00a0Les Cahiers de l\u2019Herne\u00a0: Ezra Pound 1. Ezra Pound\u00a0:\u00a0Cantos pisans<\/em>\u00a0\u00bb, Paris,\u00a0Esprit<\/em>, mars,\u00a0p. 505-508.<\/p>

\u00ab\u00a0G\u00f3ngora<\/em>\u00a0\u00bb,\u00a0Paris,\u00a0La revue de po\u00e9sie<\/em>, n\u00b0 60.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1965<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Ode \u00e0 Kappa<\/i>\u00a0\u00bb, Paris,\u00a0La revue de po\u00e9sie<\/i>, n\u00b0 80.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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1964<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Travaux pour un b\u00fbcher\u00a0<\/i>\u00bb, Paris,\u00a0Mercure de France<\/i>, 4e<\/sup>\u00a0trim,\u00a0p. [repris dans\u00a0Travaux sur la terre<\/i>].<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1960<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Espagne<\/em>\u00a0\u00bb\u00a0<\/em>[\u00ab\u00a0Br\u00fble d\u2019un m\u00eame feu\u2026\u00a0\u00bb, \u00ab\u00a0De la sagrada familia de Gaudi\u00a0\u00bb, \u00ab\u00a0Faena de capa\u00a0\u00bb, \u00ab\u00a0V\u00e9ronique\u00a0\u00bb, \u00ab\u00a0Dans le cercle parfait\u00a0\u00bb, \u00ab\u00a0Pour le douzi\u00e8me anniversaire de la mort de Manolete\u00a0\u00bb\u00a0; (po\u00e8mes repris dans\u00a0Travaux sur la terre<\/em>\u00a0\u00e0 l\u2019exception de \u00ab\u00a0Dans le cercle parfait\u2026\u00a0\u00bb)], Paris,\u00a0Les Lettres nouvelles<\/em>, octobre, n\u00b0 7,\u00a0p. 36-41.<\/p>

\u00a0 \u00a0 \u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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1959<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Charente<\/em>\u00a0\u00bb\u00a0<\/em>:\u00a0[\u00ab\u00a0Charente\u00a0\u00bb, \u00ab\u00a0De M\u00e9lusine\u00a0\u00bb, \u00ab\u00a0Charente, encore\u00a0\u00bb [Royaumes<\/em>]], Marseille,\u00a0Cahiers du Sud<\/em>, n\u00b0 350, avril,\u00a0p. 74-78.<\/p>

\u00a0\u00ab\u00a0<\/strong>Transmutations<\/em>\u00a0\u00bb\u00a0<\/em>:\u00a0[\u00ab\u00a0Amazones\u00a0\u00bb, \u00ab\u00a0Neige en vos fers serr\u00e9\u00a0\u00bb, \u00ab\u00a0Le chaufournier\u00a0\u00bb, \u00ab\u00a0Soleil nocturne\u00a0\u00bb, \u00ab\u00a0Les fastes du Charbonnier\u00a0\u00bb, (\u00ab\u00a0Neige en vos fers serr\u00e9\u00a0\u00bb & \u00ab\u00a0Les fastes du Charbonnier\u00a0\u00bb sont repris dans\u00a0Travaux sur la terre<\/em>)],\u00a0Paris,\u00a0Les lettres nouvelles<\/em>, n\u00b0 10, mai,\u00a0p. 7-9.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1957<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Po\u00e8mes \u00bb,\u00a0[\u00ab\u00a0Les pies qui sont des anges\u2026\u00a0\u00bb [Royaumes<\/em>]\u00a0; \u00ab\u00a0Alouettes ou berg\u00e8res\u00a0\u00bb [Royaumes<\/em>]\u00a0; \u00ab\u00a0Mari\u00e9e\u00a0\u00bb\u00a0; \u00ab\u00a0M\u00e9moire alchimique\u00a0\u00bb\u00a0; \u00ab\u00a0M\u00e9tamorphose des amants\u00a0\u00bb [Royaumes<\/em>]\u00a0; \u00ab\u00a0Grenade\u00a0\u00bb [Travaux sur la terre<\/em>]\u00a0; \u00ab\u00a0Hommage \u00e0 G\u00f3ngora\u00a0\u00bb [Royaumes<\/em>]], Paris,\u00a0Les Lettres Nouvelles<\/em>, n\u00b0 47, mars,\u00a0p. 379-383.<\/p>

\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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1955<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Une berg\u00e8re fait le printemps\u00a0<\/i>\u00bb, Marseille,Cahiers du Sud<\/i>, n\u00b0 333,\u00a0p. 265-270 [po\u00e8me repris dans\u00a0Royaume<\/i>,\u00a0Seuil<\/i>, 1962\u00a0;\u00a0La Diff\u00e9rence<\/i>, 1997].<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1953<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0Entre toutes les femmes\u00a0<\/em>\u00bb, Marseille,\u00a0Cahiers du Sud<\/em>, n\u00b0 318,\u00a0p. 215-228\u00a0[po\u00e8me repris dans\u00a0Travaux sur la terre<\/em>, Paris,\u00a0Seuil<\/em>, 1966\u00a0; Paris,\u00a0La Diff\u00e9rence<\/em>, 1997].\u00a0<\/strong><\/p>

\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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non dat\u00e9<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Seuil de l\u2019aubier<\/em>, Les Cahiers de la Revue Neuve, n\u00b0 6, Paris, Ren\u00e9 Debresse.<\/p>

\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Bibliographie Robert Marteau publie prose et po\u00e9sie publi\u00e9es dans des revues litt\u00e9raires : les Cahiers du Sud, PO&SIE… revues litt\u00e9raires 2016 \u00ab\u00a0Laure\u00a0\u00bb,\u00a0po\u00e8me in\u00e9dit,\u00a0La Revue Litt\u00e9raire N\u00b064\u00a0, ao\u00fbt-septembre-octobre 2016, Editions L\u00e9o Scheer , Paris,\u00a0p. 49-69. \u00a0\u00ab\u00a0Onze sonnets\u00a0\u00bb de l’ann\u00e9e 2006, \u00a0 Paris, rehauts, n\u00b0 38, octobre 2016.\u00a0 2015 \u00ab\u00a0Robert Marteau, Arpenteur en vers et en proses\u00a0\u00bb\u00a0revue\u00a0La …<\/p>\n

revues<\/span> Lire la suite\u00a0\u00bb<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":816,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"disabled","ast-featured-img":"disabled","footer-sml-layout":"","theme-transparent-header-meta":"enabled","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","footnotes":""},"class_list":["post-871","page","type-page","status-publish","hentry"],"yoast_head":"\nrevues - Robert Marteau<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/robertmarteau.fr\/index.php\/bibliographie\/revues\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"revues - 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