17–31. by Krueger, pp. Kevin Newmark, ‘When the Time Comes: Poetry, Prose, Mourning’, in Time for Baudelaire (Poetry, Theory, History), ed. But drunkenness of what? On Baudelaire in translation, see also the articles by Tobia Zanon, Yulia Syssoeva, Glyn Hambrook, and others, in Baudelaire dans le monde, ed. Diderot – Baudelaire (Leiden: Brill Rodopi, 2018). Es besteht eine weitgehende äußere Übereinstimmung mit dem griechischen Gott  Pan. In der gegenwärtigen theologischen Reflexion wird die Figur des Satans so gut wie nicht mehr thematisiert. Debarati Sanyal, ‘Peindre, non la chose, mais l’effet qui l’a produite: défigurations du féminin dans La Femme sauvage et la petite-maîtresse’, in Lectures du ‘Spleen de Paris’, ed. Robert Kopp, ‘Le Spleen de Paris: une reconnaissance tardive’, in Lectures du ‘Spleen de Paris’, ed. by Compagnon and Vernet, pp. Ein teuflischer Heimatroman. Die katholische Lehre gibt mithin den biblischen Befund wieder. Catherine Bordeau, ‘The Milieu in Baudelaire’, French Forum, 40 (2015), 17–30; Daniel Gălăţanu, ‘Espace et personnages chez Baudelaire’, Nouvelles Études francophones, 29 (2014), 168–81. Both ask us to act with certainty. He attempts to bring a sense of perspective and a dose of contextual knowledge to what he considers to be the surfeit of excessively sophisticated interpretations of that body of work, arguing for example, intriguingly, that the lettre-dédicace to Arsène Houssaye does not in fact conceal ‘une féroce ironie’, as various critics have suggested: ‘Baudelaire s’efforce seulement de concilier, autant qu’il est possible et comme chacun le fait tous les jours, la politesse et la lucidité — ce qui n’empêche nullement, comme toujours chez lui, toutes les perfidies sous-entendues.’23 In one study of the history of the poet’s reception, Mathilde Labbé studies other poets’ responses to the centenary of the publication of Les Fleurs du Mal, arguing that Baudelaire was valued in 1957 more for the ethical, spiritual, and even prophetic dimension of his work than for his aesthetic innovations; in another, the same scholar explores the prevalence of the notion of debt repayment in the reception of the poet.24, Considerable attention has been concentrated, recently, upon the history of the transnational reception and translation of Baudelaire’s work. by Scott and Wettlaufer, pp. Valentina Gosetti and Daniel Finch-Race, for example, trace a similar fragmentation of the identity of the other person in works by Baudelaire, Aloysius Bertrand, and Rimbaud, while Kathryn Oliver Mills examines four points of contact between the ideas of Baudelaire and Flaubert.43 Andreas Huyssen’s book, on short modernist prose responses to the city, reads Baudelaire alongside the later German-language poet Rainer Maria Rilke, and John E. Jackson reads the poet’s ambiguous modernity in parallel with that of T. S. Eliot.44 Chloé Laplantine considers the significance of Baudelaire’s language for the linguist Émile Benveniste.45 Xingbo Li draws out points of continuity and contrast between the conceptual and political implications, and the syntactic handling, of the trope of wine-drinking in English translations of Baudelaire’s ‘Enivrez-vous!’ and the eighth-century Chinese poem by Li Bai, ‘Bring in the Wine’.46 Laurent Dubreuil writes about the interpretative possibilities opened up by the quasi-citational parallels between Baudelaire’s work and that of the slightly earlier Haitian poet Coriolan Ardouin.47 Joseph Acquisto devotes a book to the theme of redemption in the poet’s work, which he studies in ‘amodern’ or ‘alinear’ parallel with the insights of a range of later literary and philosophical thinkers, not in order to draw out any overarching system of thought but rather to engage in a dynamic dialogic process.