Enduring Habits and Artwares

2017 ◽  
Author(s):  
Adi Efal
Keyword(s):  
Fin De Siecle ◽  
Use Value ◽  
History Of Art ◽  
Fin De Siècle ◽  
History Of ◽  
Habituation Process

The essay draws preliminary guidelines for a realist history of art. In this realism, art is considered as taking a part in the habituation-process of an organism to its outer reality. As such, the artwork is operative, as an accessory. Moreover, to follow the terms of the Viennese fin-de-siecle historian Alois Riegl, the artwork possess both a use-value and an age-value: it serves indeed various needs of the organism, but it carries as well a sovereign value registering the work's already gone-through processes of mediating between a wearer and her reality. As such, we are able to return to the Marxist problem of the values of commodities, and to suggest the term of the "artware" as embodying this accessorial character of art, taking a part in the regular and habitual circulation of goods, needs and usages. The works of the artist Sylvie Mas are brought-up in the article as typifying this durational nature of the artware.

scholarly journals Spiritual Art and Hybridity: Mixed Discourse in the History of Art

KÜLÖNBSÉG ◽  
2016 ◽  
Vol 17 (1) ◽  
Author(s):  
Anna Váraljai
Keyword(s):  
Art History ◽  
Blind Spot ◽  
Fin De Siecle ◽  
Scientific Language ◽  
History Of Art ◽  
Fin De Siècle ◽  
History Of ◽  
The Subject

The article proposes a methodological experiment in writing art history, namely the incorporation of the study of mixed discourse into the area of art history.  The term mixed discourse was defined by Ricoeur in his analysis of Freud’s writings. It refers to a mixed discourse of everyday and scientific language that is manifested in verbal and visual productions.  A mix of epistemological modes is represented in products of mixed discourse that disturbs consumers. In the art history of the fin-de-siècle, the popular register of mixed discourse is usually overlooked. The article surveys what happens if this blind spot becomes the subject of scrutiny.

Syphilitic General Paralysis

1893 ◽  
Vol 39 (165) ◽  
pp. 217-224
Author(s):  
M. J. Nolan
Keyword(s):  
Life Histories ◽  
The Other ◽  
Fin De Siecle ◽  
Short Life ◽  
General Paralysis ◽  
Generic Term ◽  
Fin De Siècle ◽  
History Of ◽  
Vexed Question

At the present time, when our fin de siècle knowledge of “general paralysis” enables us to recognize under that generic term many types of the disorder, and when the relation between it and syphilis continues a rather vexed question, little apology is needed for introducing to notice the following cases. They illustrate unmistakably some of the instances in which syphilis is solely responsible for what. Is termed by Dr. Savage” A process of degeneration which ultimately produces the ruin we recognize as general paralysis.”∗ Whatever may be hereafter formulated from the present evolutionary crisis in the history of the disorder there can be but little doubt that syphilis will be one of its most intimate and important relations. The story of its methods is briefly sketched in the following two short life-histories—in one asserting itself in the offspring of its victims by right of impure heredity, in the other carrying death direct into the vital centres by the force of its malignant virus.

Vernon Lee: Slow Serialist and Journalist at the Fin de Siècle

2021 ◽  
pp. 1-30
Author(s):  
Linda K. Hughes
Keyword(s):  
Fin De Siecle ◽  
Vernon Lee ◽  
Fin De Siècle ◽  
History Of ◽  
Periodical Publication

To expand understanding of imbricated journalism and high aestheticism at the fin de siècle, this essay examines Vernon Lee's journalism and slow essay serials, a form spread over space (viz., different periodicals) and marked by irregular temporal issue of installments before finding new cohesion when retroactively constructed as a book. Lee's prolific periodical publication, especially her aesthetic criticism, is rarely approached as journalism. Newly available letters and Lee's negotiations with editors clarify the occluded history of Lee's journalism and her slow essay serials, a distinctive serial form at the fin de siècle, which this article conceptualizes in closing.

Introduction

2019 ◽  
pp. 1-14
Author(s):  
Dana Seitler
Keyword(s):  
Aesthetic Experience ◽  
Gender And Sexuality ◽  
Fin De Siecle ◽  
Literary Fiction ◽  
Economic Equality ◽  
Aesthetic Form ◽  
Fin De Siècle ◽  
History Of ◽  
The Aesthetic ◽  
Aesthetic Ideas

This book explores the pivotal role that various art forms played in American literary fiction in direct relation to the politics of gender and sexuality at the turn of the century. I track the transverse circulation of aesthetic ideas in fiction expressly concerned with gender and sexuality, and I argue that at stake in fin-de-siècle American writers’ aesthetic turn was not only the theorization of aesthetic experience, but also a fashioning forth of an understanding of aesthetic form in relation to political arguments and debates about available modes of sociability and cultural expression. One of the impulses of this study is to produce what we might think of as a counter-history of the aesthetic in the U.S. context at three (at least) significant and overlapping historical moments. The first is the so-called “first wave” of feminism, usually historicized as organized around the vote and the struggle for economic equality. The second is marked by the emergence of the ontologically interdependent homosexual/heterosexual matrix—expressed in Foucault’s famous revelation that, while the sodomite had been a temporary aberration, at the fin de siècle “the homosexual was now a species,” along with Eve Sedgwick’s claim that the period marks an “endemic crisis in homo-heterosexual definition.”...

Rinuccini the craftsman: A view of his L'Arianna

1999 ◽  
Vol 18 ◽  
pp. 75-117 ◽  
Author(s):  
Bojan Bujić
Keyword(s):  
Fin De Siecle ◽  
Work Of Art ◽  
Fin De Siècle ◽  
The Status ◽  
History Of ◽  
As If ◽  
The Craftsman

Like her crown, which according to the story shines in a constellation, L'Arianna as a work of art shimmers as a distant and mysterious object, and the loss of Monteverdi's score, apart from the famous lament, makes it one of the great ‘if onlys’ of the history of music. Artistic responses to L'Arianna range wide. In Gabrielle d'Annunzio's novel Il fuoco, Stellio Effrena and his group of aesthetes in fin de siècle Venice embrace Monteverdi, and Arianna's lament in particular, as a home-grown antidote to Wagner, elevating ‘Lasciatemi morire’ to the status of an Italian precursor of the ‘Liebestod’. Recently Alexander Goehr gave a new lease of life to Ottavio Rinuccini's libretto in his opera Arianna, first performed in September 1995, and, as if not to desecrate a hallowed object, he included in the opera a recording of the opening of Monteverdi's surviving fragment sung by Kathleen Ferrier.

scholarly journals LOGIC OF LIFE AGAINST DOGMATICS OF RATIONALITY (FIN DE SIÈCLE OF GERMAN CLASSICAL PHILOSOPHY)

2020 ◽  
Vol 30 (3) ◽  
pp. 231-236
Author(s):  
N.N. Misyurov
Keyword(s):  
Rapid Development ◽  
Theory And Practice ◽  
Fin De Siecle ◽  
Philosophical Study ◽  
Philosophy Of Life ◽  
Cultural Paradigm ◽  
Fin De Siècle ◽  
Systemic Crisis ◽  
History Of ◽  
Classical Philosophy

The problem of conceptual conflict of theory and practice is investigated on the example of the transformation of long-reigning rationalism under the influence of the "organic logic of life" (the basic concept of romantic philosophy). The formation of "non-classical" philosophical epistemology, an alternative to neo-Kantianism, Young Hegelianism and positivism, is considered in the context of the systemic crisis of scientific knowledge and the change of cultural paradigm at the turn of the 19th and 20th centuries. The situation of changing the philosophical paradigm itself - the result of criticism of rationalism, as well as changes in the epistemological basis of the "science of sciences" - is described as a kind of fin de siècle (similar to the processes that took place in art and literature) in the history of German classical philosophy. The article proves that disputes (provoked by the Feirbach's criticism of Hegelian philosophy, as well as the polemics of Young Hegelians with positivists, initiated by Nietzsche and his imitators, and then continued by opponents and critics of Nietzscheanism) led to serious changes in the methodology and principles of philosophizing. Formed by these discussions a specific philosophical discourse (the struggle against dogmatism and the justification of the "philosophy of life" were the focus of attention of the Western European scientific community) was the beginning of the formation and rapid development of a new philosophical science based on "non-classical rationality". The article concludes about the continuity of development, not only repulsion, but also attraction in the relationship between the "former" and the newest philosophy: both paradigms imply the "truth of the world" and the appointment of man as an equal and equivalent objects (and subjects) of philosophical study.

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