Editing Comte de Lautréamont (section)

==Influence on others==
[[Kadour Naimi]] realized an adaptation of ''Les Chants de Maldoror'', in theater in 1984, and as a film in 1997.

A portion of ''Maldoror'' is recited toward the end of [[Jean-Luc Godard]]'s 1967 film ''[[Week End (1967 film)|Week End]]''.

[[Situationist]] founder, filmmaker and author [[Guy Debord]] developed a section from ''Poésies II'' as thesis 207 in ''[[The Society of the Spectacle]]''. The thesis covers plagiarism as a necessity and how it is implied by progress. It explains that plagiarism embraces an author's phrase, makes use of his expressions, erases a false idea, and replaces it with the right idea. His fellow Situationist [[Raoul Vaneigem]] placed considerable importance on the insights of Lautréamont, stating in the Introduction to ''[[The Revolution of Everyday Life]]'' that: "For as long as there have been men — and men who read Lautréamont — everything has been said and few people have gained anything from it."

The writers [[Jean Paulhan]] and [[Henri Michaux]] have both counted Lautréamont as an influence on their work.{{citation needed|date=November 2015}}

[[Kenneth Anger]] claimed to have tried to make a film based on ''Maldoror'', under the same title, but could not raise enough money to complete it.<ref>{{Cite web|url=https://www.interviewmagazine.com/film/kenneth-anger|title=Kenneth Anger|date=June 30, 2014|website=Interview Magazine}}</ref>

In recent years, invoking an obscure clause in the [[Napoleonic Code|French civil code]], Article 171, modern [[performance artist]] Shishaldin petitioned the government for permission to marry the author posthumously.<ref>{{Cite web|url=https://brooklynrail.org/2004/04/artseen/shishald|title=Shishaldin: Untimely Career Retrospective|first=Sonya|last=Shrier|date=April 1, 2004|website=The Brooklyn Rail}}</ref>
[[File:Lautréamont, Arnaud Courlet de Vregille (2012, Acrylique, 90 x 120 cm).jpg|thumb|Lautréamont, by the French painter [[Arnaud Courlet de Vregille]] (2012, acrylic, 90 x 120)]]

[[John Ashbery]], an American poet influenced by surrealism, entitled his 1992 collection ''[[Hotel Lautréamont]]'', and the English edition notes that Lautréamont is "one of the forgotten presences alive" in the book.

[[Brazil]]ian author [[Joca Reiners Terron]] depicts the character of Isidoro Ducasse as one of the seven angels of the [[Apocalypse]] in his first novel, ''Não Há Nada Lá''. Ducasse's character becomes obsessed with an edition of ''[[Les Fleurs du mal]]'' in the novel, while taking a trip by train through Europe. Both Ducasse and his ''Chants de Maldoror'' are also briefly mentioned in [[Jô Soares]]' 1995 novel ''[[A Samba for Sherlock (book)|O Xangô de Baker Street]]'', and musician [[Rogério Skylab]] has a song inspired by, and named after, the ''Chants of Maldoror'' in his 2021 album ''Caos e Cosmos, Vol. 1''.

Isidore Ducasse is the given name of the fashion creator in William Klein's 1966 movie ''[[Who Are You, Polly Maggoo?]]''.

Lautréamont, as an unnamed "South American", appears as a character in [[Julio Cortázar]]'s short story "The Other Heaven", which also uses quotations from ''Maldoror'' as epigraphs.<ref>Cortázar, Julio. ''Cartas'' (tomo 4) p.415.</ref>

French philosopher [[Gilles Deleuze]] and psychiatrist [[Félix Guattari]] cited Lautréamont twice over the course of their joint two-volume work, ''[[Capitalism and Schizophrenia]]'', once in [[Anti-Oedipus|each]] [[A Thousand Plateaus|volume]].{{efn|In this domain as in the others, isn't there a properly libidinal conflict between a paranoiac-Oedipalizing element of science, and a schizorevolutionary element?  That very conflict that leads Lacan to say there exists a drama for the scientist. ("J.R. Mayer, Cantor, I will not draw up an honor roll of these dramas that sometimes lead to madness..., a list that could not include itself in Oedipus, unless it were to call Oedipus in question." Since, in point of fact, Oedipus does not intervene in these dramas as a familial figure or even as a mental structure; its intervention is determined by an axiomatic acting as an oedipalizing factor, resulting in a specifically scientific Oedipus.)  And in contrast to Lautréamont's song that rises up around the paranoiac-Oedipal-narcissistic pole-"O rigorous mathematics....Arithmetic!  algebra! geometry! imposing trinity! luminous triangle!"-there is another song: O schizophrenic mathematics, uncontrollable and mad desiring-machines!<ref>{{cite book |last1=Deleuze |first1=Gilles |last2=Guattari |first2=Félix |title=Anti-Oedipus |url=https://archive.org/details/antioedipuscapit00dele_367 |url-access=limited |date=1972 |publisher=[[University of Minnesota Press]] |isbn=9780816612253 |page=[https://archive.org/details/antioedipuscapit00dele_367/page/n389 371] }}</ref>}}{{efn|In contrast to natural history, man is now no longer the eminent term of the series; that term may be an animal for man, the lion, crab, bird of prey, or louse, in relation to a given act or function, in accordance with a given demand of the unconscious. Bachelard wrote a fine Jungian book when he elaborated the ramified series of Lautréamont, taking into account the speed coefficient of the metamorphoses and the degree of perfection of each term in relation to a pure aggressiveness as the principle of the series: the serpent's fang, the horn of the rhinoceros, the dog's tooth, the owl's beak; and higher up, the claw of the eagle or the vulture, the pincer of the crab, the legs of the louse, the suckers of the octopus.<ref>{{cite book |last1=Deleuze |first1=Gilles |last2=Guattari |first2=Félix |translator-last1=Massumi |translator-first1=Brian |title=A Thousand Plateaus |url=https://archive.org/details/thousandplateaus00dele |url-access=limited |date=1980 |publisher=[[University of Minnesota Press]] |isbn=9780816614028 |page=[https://archive.org/details/thousandplateaus00dele/page/n256 236] }}</ref>}} 

[[Róbert Wittinger]] composed a ''Maldoror Requiem'', for 8 soloists, mixed choir, narrator and large orchestra, Op.42 (1984-86).