Did the Seventeenth Century Invent Our Fin de Siècle? Or, the Creation of the Enlightenment That We May at Last Be Leaving behind

1996 ◽  
Vol 22 (4) ◽  
pp. 790-816 ◽  
Author(s):  
Joan DeJean
Keyword(s):  
Seventeenth Century ◽  
Fin De Siecle ◽  
The Enlightenment ◽  
Fin De Siècle ◽  
The Creation

scholarly journals Beyond the Boundaries of Realism Monstrous Islands and Literary Hybrids at the Fin de Siècle in Conan Doyle’s, R. L. Stevenson’s and H. G. Wells’s Fiction

2020 ◽  
Author(s):  
Julie Gay
Keyword(s):  
Fin De Siecle ◽  
Literary Texts ◽  
Modern World ◽  
Literary Aesthetics ◽  
Fin De Siècle ◽  
The Fantastic ◽  
The Creation ◽  
The Relationship ◽  
Geographical Space ◽  
The Way

This article explores the way in which at the fin de siècle, Doyle, Stevenson and Wells chose to set their works on marginal islands in order to spatially escape not only from the bleak reality of the modern world, but also from the constraints of realism, and to reconnect with more imaginative forms of writing. It thus aims to shed new light on the relationship between geographical space and literary aesthetics, and to demonstrate that the island space is especially conducive to generic excursions out of realism and towards the fantastic, the marvellous and even the monstrous, leading to the creation of eminently hybrid literary texts.

White and Gold

2018 ◽  
Author(s):  
Jane Stevenson
Keyword(s):  
Fin De Siecle ◽  
Fin De Siècle ◽  
The Creation ◽  
Ways Of Being ◽  
Being Religious

The question whether there were modern ways of being religious, or religious ways of being modern, was significant to a variety of writers and artists. Homosexuals were particularly drawn to Catholicism, which is strongly associated with both sacerdotalism and aesthetically rich forms of worship (though baroque and modernist tendencies do not divide straightforwardly down confessional lines). Maurice Child’s Society of Saints Peter and Paul was the principal theorist of baroque Anglicanism, Martin Travers its most distinguished practical exponent. Among Catholics, the most significant in the creation of a modern baroque aesthetic are Canon John Grey, priest and former fin-de-siècle poet, and Fr Martin D’Arcy, who persuaded Lutyens to build Campion Hall as a Jesuit house of study in Oxford and filled it with an astonishingly eclectic accumulation of art.

The moral sense of the majorities: indecency and vigilance in Late-Victorian music halls

Popular Music ◽  
1991 ◽  
Vol 10 (1) ◽  
pp. 39-52 ◽  
Author(s):  
Tracy C. Davis
Keyword(s):  
Nineteenth Century ◽  
Moral Values ◽  
Fin De Siecle ◽  
Moral Sense ◽  
Class Politics ◽  
Artistic Production ◽  
Fin De Siècle ◽  
The Creation ◽  
Music Hall ◽  
Insight Into

Although known as the ‘Naughty Nineties’, the last years of the nineteenth century are characterised by a succession of anti-liberal backlashes most notoriously including the Vizetelly prosecution of 1889 (principally involving Emile Zola's novels), Oscar Wilde's trials of 1895 (indirectly about homosexuality) and the pillorying of feminist reformers. Instead of becoming more sexually permissive, the English fin de siècle was in many respects deeply conservative, not only in bureaucratic responses to these sexual controversies but also in the creation of political organisations to represent and lobby for conventional moral values. Social purity campaigners' efforts to eradicate indecency in music-hall performance fits into this pattern, and provides insight into the continuity between the class politics of leisure reforms, control of artistic production and hegemonic sexual mores.

Saint-Saëns and Sophocles

2020 ◽  
pp. 1-21
Author(s):  
Steven Huebner
Keyword(s):  
Nineteenth Century ◽  
Fin De Siecle ◽  
Late Nineteenth Century ◽  
Ancient Greek ◽  
Incidental Music ◽  
Southern France ◽  
Fin De Siècle ◽  
Late Nineteenth ◽  
The Creation

Saint-Saëns's incidental music for Sophocles’ Antigone (Comédie-Française, 1893, trans. Meurice and Vacquerie) gives witness both to his engagement with culture classique and an experimental orientation in the context of fin-de-siècle music theatre. This essay situates Saint-Saëns's highly idiosyncratic score within the frame of late nineteenth-century research into ancient Greek music by François-Auguste Gevaert and Louis-Albert Bourgault-Ducoudray. It documents how Saint-Saëns aimed to participate in the creation of an authentic experience of ancient Greek theatre, one enhanced by the initiative of the Comédie-Française to stage its production at the open air Théâtre d'Orange in southern France. The article also shows the limitations of authenticity resulting from the nature of the translation as well as from Saint-Saëns's own compositional instincts.

Dissenting Theology from the 1720s to the 1840s

2019 ◽  
pp. 127-140
Author(s):  
David Bebbington
Keyword(s):  
Seventeenth Century ◽  
Religious Toleration ◽  
Baptist Churches ◽  
The Enlightenment ◽  
The Creation ◽  
John Brown ◽  
Forward Looking

Scottish Dissent included the Reformed Presbyterians, who upheld the covenants, the Secession, both Burghers and Antiburghers, who also looked back to the seventeenth century, and the Relief Church, which was forward-looking. The Secession branches split around 1800 over New Light, the majority effectively adopting religious toleration. John Dick and John Brown were distinguished Secession theologians. Non-Presbyterian Dissenters included the Glasites, with their Sandemanian view of faith, the Old Scots Independents, the Bereans and the Scotch Baptists, all principled Independents. The Haldane brothers launched a new evangelistic movement that led to the creation of many Independent and Baptist churches, and their associate Greville Ewing forged a Congregational Union. A number of other groups added to the diversity of Scottish Dissent. Drawing on the Westminster Confession, the various bodies were influenced by the Enlightenment and by the Evangelical Revival.

Aleister Crowley's Poetic Fin de Siècle: Swinburne's Legacy, Decadent Drag, and Spiritual Sex Magick

2021 ◽  
Vol 49 (4) ◽  
pp. 777-805
Author(s):  
Joseph Bristow
Keyword(s):  
Seventeenth Century ◽  
Fifteenth Century ◽  
Fin De Siecle ◽  
Extreme Type ◽  
Fin De Siècle ◽  
Aleister Crowley ◽  
The Voice

This article explores the extreme type of decadent eroticism that Aleister Crowley developed while an undergraduate at Cambridge in the later 1890s. The discussion focuses of Crowley's desire to appear as the main legatee of Algernon Charles Swinburne's poetry from the 1860s and 1870s. Especially significant here is Crowley's volume White Stains, which the maverick publisher Leonard Smithers issued in a privately circulated edition in 1898. In the 1920s, Crowley acknowledged that his sexual affair with Herbert Charles (“Jerome”) Pollitt was largely responsible for introducing him to the works of English and French decadent writers. Pollitt—who gained celebrity as an aesthete, art collector, and drag artist in fin de siècle Cambridge—became the major patron of Aubrey Beardsley. In 1910 Crowley acknowledged the legacy of Pollitt's decadent influence into the two concluding faux-ghazals that appear in The Scented Garden of Abdullah the Satirist of Shiraz, which is in part modeled upon Richard Burton's translation of The Perfumed Garden (1886), based on the fifteenth-century heteroerotic manual by Muhammad ibn Muhammad al-Nefzawi. This 1910 volume, which celebrates sodomy through the voice of an imaginary seventeenth-century Persian poet, belongs to Crowley's established interest in taboo forms of erotic experience that relate to the occult rituals he practiced in relation to sex magick.

German and British Sexual Sciences Across Disciplines at the Fin de Siècle: ‘Homosexuals’, ‘Inverts’ and ‘Uranians’

2018 ◽  
Author(s):  
Ina Linge
Keyword(s):  
Fin De Siecle ◽  
Same Sex ◽  
Fin De Siècle ◽  
The Creation

This chapter re-examines the sexological research in Britain and Germany that has been seen to underpin the new understandings that developed at the time of same-sex desire. It shows the importance of interdisciplinarity to this process, and argues that what is singular at the time is not the dominance of the new quasi-scientific sexology—as earlier historians had argued. Rather, this perspective should be reversed so as to appreciate the formative role of literary and artistic tropes in the creation of that sexology.

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