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.

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.

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.

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.

Jane Avril and the Entertainment Lithograph: The Female Celebrity and fin-de-siècle Questions of Corporeality and Performance

2005 ◽  
Vol 30 (2) ◽  
pp. 107-123
Author(s):  
CATHERINE PEDLEY-HINDSON
Keyword(s):  
Fin De Siecle ◽  
High Profile ◽  
Celebrity Status ◽  
The World ◽  
Fin De Siècle ◽  
The Creation ◽  
Popular Performance ◽  
And Performance ◽  
Visual Record

Celebrity status at the fin de siècle depended largely on the creation and sustenation of a high profile, easily recogniZable image and the entertainment lithograph offered the most powerful and culturally pervasive means to achieve this. Thanks to the poster collectors of the period, and the acceptance of this ephemeral form into the world of ‘high art’, many examples of advertising imagery exist, offering a visual record of the themes and the performers that dominated the popular stage. This article focuses on poster works created by Jules Chéret (1836–1933) and Henri de Toulouse-Lautrec's (1864–1901) images of the dancer and actress Jane Avril, to explore whether the entertainment lithograph can be employed to aid an understanding and contextualization of fin-de-siècle popular performance.

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