Lucifer in the City of Light: The Palladium Hoax and “Diabolical Causality” in Fin De Siècle France

2008 ◽  
Vol 1 (2) ◽  
pp. 177-206 ◽  
Author(s):  
David Allen Harvey
Keyword(s):  
Fin De Siecle ◽  
Fin De Siècle ◽  
The City

Curious Intricacies: Some Versions of City Writing at the Fin de Siècle

2018 ◽  
Author(s):  
Nick Freeman
Keyword(s):  
Fin De Siecle ◽  
Fin De Siècle ◽  
The City

This Chapter surveys the range of writing about the city, and particularly about London at the time. It explains why the metropolis became such an important subject for writers, as well as showing how it consistently eluded and challenged perception, except in partial or fragmentary ways. Attention is given to the variety of writing about the city, there being, it is argued, no single or dominant urban vision.

The Strangely Mingled Monster

2019 ◽  
pp. 13-62
Author(s):  
Sam Wiseman
Keyword(s):  
Fin De Siecle ◽  
Fin De Siècle ◽  
Late Nineteenth ◽  
The Hill ◽  
The City

This chapter explores the ways in which London is established as the central site of Gothic modernity in literature of the late nineteenth and early twentieth centuries. It examines this literature in terms of broad movements or dynamics: the invasion of the metropolitan centre (as in Stoker’s Dracula); the conceptualization of the city as divided between dangerous and secure spaces (as in Stevenson’s Jekyll and Hyde); the pollution of those spaces by the Gothic threat (as in Machen’s The Great God Pan); and a centrifugal movement towards the suburbs (as in Machen’s The Hill of Dreams). Fin de siècle London, this chapter argues, should not be seen as an end but a beginning: it is a cultural moment in which the evolving relations between the Gothic and modernity manifest themselves in new ways of representing place.

After Nationalism? Urban History and East European History

2011 ◽  
Vol 25 (4) ◽  
pp. 774-778
Author(s):  
Chad Bryant
Keyword(s):  
Urban History ◽  
European History ◽  
Fin De Siecle ◽  
Final Part ◽  
East European ◽  
The Past ◽  
The Future ◽  
Fin De Siècle ◽  
The City

Urban history in our field has taken many different forms in the past few decades. Many such works, no doubt, have drawn great inspiration from scholars outside our area specialization. Many, however, have looked within our area specialization for inspiration, thus giving urban histories of our region several peculiar characteristics. The first part of this article discusses how urban historians have provided new perspectives on a topic long dear to Eastern Europeanist hearts—nationalism. Here the article looks at the ways in which Gary Cohen’s Politics of Ethnic Survival has influenced how historians have studied nationalism and the city. The second part will briefly survey other forms of urban history that have predominated within the field, many of which recall the questions and approaches first found in Carl Schorske’s Fin-de-siècle Vienna. The final part concludes with some thoughts about what the rise of urban history among Eastern Europeanists might mean for the future our field.

scholarly journals MAURICE LEBLANC - “GRANDSON OF FLAUBERT”?

2021 ◽  
pp. 84-99
Author(s):  
Kirill Chekalov
Keyword(s):  
Short Stories ◽  
Fin De Siecle ◽  
The Novel ◽  
Madame Bovary ◽  
Fin De Siècle ◽  
The City

Maurice Leblanc, Gustave Flaubert’s countryman, author of the famous series of novels and short stories about adventures of “gentleman-burglar” Arsène Lupin, from his youth had an interest in works of the author of Madame Bovary . The interest was shared by his sister Georgette Leblanc, a singer, actress and writer. This essay critically examins the early prose of Maurice Leblanc, its connections with the traditions of Flaubert and with typical for “fin de siècle” erotic prose of decadence. A special attention is paid to the novel A woman and its parallels and allusions to Madame Bovary . This essay shows the peculiarities of Leblanc’s description of Roune (against the background of a nagative perception of the city by Flaubert).

A fin de siècle Japanese romantic in Istanbul: the life of Yamada Torajirō and his Toruko gakan

1996 ◽  
Vol 59 (2) ◽  
pp. 237-252 ◽  
Author(s):  
Selçuk Esenbel
Keyword(s):  
Sixteenth Century ◽  
The Other ◽  
Fin De Siecle ◽  
Fin De Siècle ◽  
Imperial Capital ◽  
History Of ◽  
The Subject ◽  
The City

The modern Japanese tourist visiting the Topkapi Sarai may well be struck by a display of sixteenth-century samurai armour and helmet held there. It was presented, along with a sword, to the Ottoman Sultan Abdülhamid II in 1892 by Yamada Torajirō (1866–1957), an important pioneer in the history of Turkish-Japanese relations and the subject of this paper. Yamada, who was to remain in the imperial capital for almost twenty years, was witness to the history of the Hamidian era of conservative modernism under the despotic regime of the so-called ‘Red Sultan’, and the subsequent dramatic transition to constitutionalism that came with the Young Turk revolution of 1908. He was one of only two Japanese resident in the city (possibly in the whole empire) in this period. The other was Nakamura Ejirō, owner of the first Japanese shop in Istanbul, and Yamada's friend and partner.

Fin-De-Siècle Budapest as a Center of Art

2006 ◽  
Vol 33 (1-2) ◽  
pp. 141-169
Author(s):  
Erika Szívόs
Keyword(s):  
Urban Culture ◽  
Personal Relationships ◽  
Fin De Siecle ◽  
The Political ◽  
Cultural Institutions ◽  
Public Attention ◽  
The Arts ◽  
Fin De Siècle ◽  
Culture Centered ◽  
The City

AbstractThis article discusses the emergence of Budapest as an art center as an integral part of the greater project of the making of the Hungarian capital after the Compromise of 1867. In the political setup of the Dual Monarchy, major cultural institutions were founded and a distinct urban culture, centered around cafés, was born in Budapest. It was there that actual or potential patrons, as well as receptive audiences, of the arts were to be found, which in turn led the city to also become a magnet for artists. "Artists' tables," subject to great public attention and the source of coffeehouses' reputations, became sites of casual networking and the cultivation of personal relationships between artists, patrons, and various mediators in the arts.

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