A Greek Lyric Metre as Vector of the Self in the Poetry of Arthur Symons and Christopher Brennan

2012 ◽  
Vol 2 (2) ◽  
pp. 163-180
Author(s):  
Michael Buhagiar
Keyword(s):  
The Self ◽  
Fin De Siecle ◽  
Major Influence ◽  
Long Poem ◽  
Common People ◽  
Fin De Siècle ◽  
The Common ◽  
The Wanderer

Arthur Symons was a major influence on the Australian poet Christopher Brennan (1871–1932). For his long poem The Wanderer, Brennan took from Symons's poetry of the fin de siècle the theme of longing for a lost love, and much of its associated imagery and rhythms. Chief among the latter is the dochmial rhythm of the Aeschylean drama, which expresses, in shorter irregular lines, the spasmodic emotional ejaculations of the common people, and stands in contrast to the measured iambic rhythm and longer lines of the great speeches of the nobles. Eros was highly problematic for both writers, contributing to Symons's breakdown of 1908, and Brennan's ongoing psychological crises of the 1890s. I propose that both writers’ employment of the dochmial rhythm in longer, measured lines, was to ennoble the Self as a subject worthy of respect and study, in a way typical rather of modernism than Decadence.

scholarly journals The criticism of language in one-acter cycle of "The Comedy of Seduction" by Arthur Schnitzler

2019 ◽  
pp. 109-112
Author(s):  
Lyudmila Yu. Korshunova
Keyword(s):  
Fin De Siecle ◽  
Common People ◽  
Arthur Schnitzler ◽  
Fin De Siècle ◽  
The Common ◽  
The One ◽  
Release Of Information ◽  
The Way

The article deals with the issue of correlation of language and reality in the one-acter cycle "The Comedy of Seduction" by Arthur Schnitzler. It is underlined that this theme was on the front burner among philosophers and writers of the Fin de siècle epoch and was regarded rather negatively: the language seemed not to be able to highlight the outside world in a befitting way. In Arthur Schnitzler’s one-acter cycle "The Comedy of Seduction" the afore-referenced issue is strongly involved in difficulty by the confrontation of the common men and art people. It is demonstrated that the common people use the language for the release of information whereas in contrast the art people always grind their own axe using the language. In this case they have the bulge on the common men. The impossibility of language to be the way of highlighting the outside world is shown in the one-acter cycle.

Tactile Vision and Enworlded Being

2017 ◽  
Author(s):  
Cleo Hanaway-Oakley
Keyword(s):  
The Self ◽  
The Other ◽  
Fin De Siecle ◽  
Gestalt Theory ◽  
Fin De Siècle ◽  
Phenomenal Field ◽  
The Relationship

Stephen’s musings on the pre-cinematic ‘stereoscope’ are discussed in relation to Bloom’s contemplation of parallax and his mention of the ‘Mutoscope’. The three-dimensionality, tangibility, and tactility of stereoscopic perception is analysed alongside Bloom’s and Gerty’s encounter in ‘Nausicaa’ and the Merleau-Pontian concepts of ‘flesh’ and ‘intercorporeity’. The bodily effects of projected cinema—achieved through virtual film worlds, virtual film bodies, and the intercorporeity of film and spectator—are discussed through reference to panorama, phantom ride, and crash films. The dizzying effects of some of these films are compared to the vertiginous nature of the ‘Wandering Rocks’ episode of Ulysses; these cinematic and literary vestibular disturbances are elucidated through gestalt theory and the phenomenological concepts of ‘intention’, ‘attention’, and the ‘phenomenal field’. Finally, the relationship between the self and the other is considered, through a discussion of cinematic mirroring in Ulysses and in Mitchell and Kenyon’s fin de siècle Living Dublin films.

From Metapsychology to Magnetic Gnosis: An Esoteric Context for Interpreting Traumatic Modes of Transcendence in Sándor Ferenczi's Clinical Diary and Elizabeth Severn's The Discovery of the Self

2021 ◽  
Vol 23 (3) ◽  
pp. 297-323
Author(s):  
John Boyle
Keyword(s):  
The Self ◽  
Fin De Siecle ◽  
Fin De Siècle ◽  
The Subject ◽  
Western Esotericism ◽  
The Clinical Diary ◽  
Clinical Diary ◽  
Mutual Analysis ◽  
Academic Study

It has been argued that the essential themes in Sándor Ferenczi's Clinical Diary (1932) centre around three major axes (theoretical, technical and personal). This paper proposes a fourth: namely, an occult or esoteric axis. To make the case for its presence in the Clinical Diary, the article provides a brief introduction to the academic study of Western esotericism in order to more adequately situate its proximate fin de siècle occult precursors vis-à-vis psychoanalytic metapsychology. A brief account of Ferenczi's correspondence with Freud on the role of the occult in psychoanalysis is then provided. This constitutes the necessary context for embarking upon an investigation into the ‘psychognostic’ metapsychology co-developed during the course of Ferenczi's ‘mutual analysis’ with the so-called ‘evil genius’, Elizabeth Severn. By way of conclusion, James Grotstein's account of a ‘numinous and immanent psychoanalytic subject’ is highlighted as the locus for a synergistic rapprochement between pre-Freudian and contemporary psychoanalytic conceptualizations of the subject congruent with the ‘Orphic trajectory’ outlined in this paper.

Reading the Gothic and Gothic readers

Interventions ◽  
2017 ◽  
Author(s):  
Andrew Smith
Keyword(s):  
Nineteenth Century ◽  
Animal Studies ◽  
The Self ◽  
Fin De Siecle ◽  
Late Nineteenth Century ◽  
Self Reflection ◽  
Fin De Siècle ◽  
Recent Developments ◽  
Late Nineteenth ◽  
The Relationship

In ‘Reading the Gothic and Gothic Readers’ Andrew Smith outlines how recent developments in Gothic studies have provided new ways of critically reflecting upon the nineteenth century. Smith then proceeds to explore how readers and reading, as images of self-reflection, are represented in the fin de siècle Gothic. The self-reflexive nature of the late nineteenth-century Gothic demonstrates a level of political and cultural scepticism at work in the period which, Smith argues, can be applied to recent developments in animal studies as a hitherto largely overlooked critical paradigm that can be applied to the Gothic. To that end this chapter examines representations of reading, readers, and implied readers in Arthur Machen’s The Great God Pan (1894), Bram Stoker’s Dracula (1897), and Arthur Conan Doyle’s The Hound of the Baskervilles (1902), focusing on how these representations explore the relationship between the human and the non-human. An extended account of Dracula identifies ways in which these images of self-reflection relate to the presence of the inner animal and more widely the chapter argues for a way of rethinking the period within the context of animal studies via these ostensibly Gothic constructions of human and animal identities.

Italy

2021 ◽  
Author(s):  
Lara Raffaelli
Keyword(s):  
Nineteenth Century ◽  
Technological Progress ◽  
Fin De Siecle ◽  
Industrial Capitalism ◽  
Cultural Expectations ◽  
Fin De Siècle ◽  
The Common ◽  
Economic Advancement ◽  
Common Man ◽  
Changing World

Nineteenth-century Italy witnessed the rise of nationalist politics, industrial capitalism, and colonialist adventurism. Intellectuals viewed political conquest and technological progress as barbaric and invasive, feeling alienated from a changing world dominated by bourgeois materialism and by the lower classes seeking economic advancement. This isolating tendency represented a desire to rise above mediocrity, to be greater than the common man. Progress was viewed with cynicism, and writers met with despair the failure of ideals in the post-Risorgimento world. Once the guiding hand of the populace, intellectuals now lost their way, as well as their ability to reconcile the profound contradictions in society and their cultural expectations. This article explores how Italian decadentismo as a spiritual reaction to progress occasioned an escape from reality. It also touches on the dichotomies present in the literature, illustrating the despondency of Italian writers at the fin de siècle.

Medien der Herrschaftskonstitution und -repräsentation und ihre Funktionen beim Aufbau des frühneuzeitlichen Fürstenstaates in Gotha

Daphnis ◽  
2013 ◽  
Vol 42 (2) ◽  
pp. 379-426
Author(s):  
Axel E. Walter
Keyword(s):  
Early Years ◽  
The Self ◽  
Common People ◽  
Self Presentation ◽  
Short Overview ◽  
Local Elite ◽  
Occasional Poetry ◽  
The Common ◽  
And Function

This paper focuses on selected media that were specifically used, in the early years of the reign of Ernest the Pious, for communication and interaction between the duke and the court, or between the local elite and the common people, as well as in the self-presentation of the court to the outside world. Firstly, official edicts are discussed, as an influential means of communication by the court and the [functional] elite, for the simultaneous enforcement and enactment of sovereignty; secondly the precisely calculated architectural program of Friedenstein castle is examined, as this relates different media to one another. The paper ends with a short overview of occasional poetry, which is directed at the court (and often written on its behalf), and not only strengthens, but also legitimizes and often even conceptualizes power. It is emphasized that in the case of courtly communication one should not only consider individual media, but also their development and function in context with other media, and therefore as media networks.

Queering the Border: Walter Pater’s “Sebastian Van Storck” and the Apocalypse of the Self

Pólemos ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 297-312
Author(s):  
Raffaele Cutolo
Keyword(s):  
The Self ◽  
Fin De Siecle ◽  
Social Perspective ◽  
Fin De Siècle

Abstract This essay examines how Walter Pater’s work “Sebastian van Storck” (Imaginary Portraits) could provide for a new re-reading of Pater’s queerness from a de-constructivist viewpoint which investigates the borders of identity from an anti-social perspective. As a juxtaposition to 1970s theory of sexuality, the anti-social take involves a withdrawal of the homosexual from society, and a subsequent tendency to create a twofold separation: one from without, and one -more subtle- from within. The former entails a rupture between the homosexual Self and the heteronormative Other, the latter is an ontological division between the queer I and its internal culturally heteronormalised counterpart, to be viewed as yet another attempt of the fin-de-siècle complex Self to reach a compromise in a liminal time that could no longer be considered fully Victorian.

From the Plant of Life to the Throat of Death: Freakish Flora and Masculine Forms in Fin de Siècle Lost World Novels

2021 ◽  
Vol 49 (3) ◽  
pp. 481-509
Author(s):  
Elly McCausland
Keyword(s):  
Fin De Siecle ◽  
British Imperialism ◽  
Common Assumption ◽  
The Uncanny ◽  
Fin De Siècle ◽  
The Common ◽  
And Control ◽  
Romance Novel

This article explores the representation of “plant horror” in fin de siècle “lost world” novels, from hideously dynamic carnivorous trees to mysterious plant-based drugs with the power to send their victims into torpid apathy. Such freakish flora can contribute to new understandings of the imperial romance novel, specifically in relation to its depiction of threatened masculinities. Combining modern ecocritical research into plant horror with readings of the imperial gothic, this article sheds new light on both fields by challenging the common assumption that both genres often associate the uncanny with moments of accelerated violence. Rather, I argue that these texts are instead most interested in questions of lassitude and stasis, and in problematizing the ideologies of conquest and control that animated British imperialism. Nuancing the ecophobia that is often identified with moments of plant horror, this article interprets nature not as phobic object but as sublimated metaphor for a specifically gendered anxiety. Encounters with the monstrous vegetal serve as an unsettling reminder that male bodies were ultimately disposable, controllable, and replaceable within the flawed economies of Victorian imperialism.

scholarly journals Russian Beckett: Paradoxes of Perception

2010 ◽  
Vol 5 ◽  
pp. 87-94
Author(s):  
Nadezhda Prozorova ◽  
Keyword(s):  
Fin De Siecle ◽  
Cultural Tradition ◽  
Common Fate ◽  
Fin De Siècle ◽  
The Common ◽  
Revaluation Of Values

This essay is focused on hermeneutical aspects of Samuel Beckett’s work. To be precise – on the problems of their perception and interpretation in contemporary Russia in the situation of “revaluation of values” that is typical of the new fin de siécle. The process of Russian perception of Beckett is connected with radical changes in the optics of our vision. Something outer and alien unexpectedly becomes inner and native when we apply the works by this “splendidly mad Irishman” to our own experience. Beckett’s works help us to feel the unity of European cultural tradition and the common fate of “all that fall”.

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