scholarly journals The image of the “horror” world in the “Fin de siècle” prose (Mikhail Artsybashev, Fyodor Sologub, Leonid Andreyev)

2021 ◽  
Vol 27 (2) ◽  
pp. 123-129
Author(s):  
Tatyana Alexandrovna Khitarova ◽  
Elena Georgievna Khitarova
Keyword(s):  
World Order ◽  
Turn Of The Century ◽  
Fin De Siecle ◽  
Literary Texts ◽  
The World ◽  
Fin De Siècle ◽  
Literary Process

The article examines the problem of typological features of the chronotope of the prose of the writers of the “Fin de siècleˮ, who defined the model of the world order in the image of the “horror worldˮ. The goal is analysis of the prose samples of the middle epic of Mikhail Artsybashev, Fyodor Sologub (Teternikov), Leonid Andreyev. Perversion, the corporeality of the depicted reality are the main chronotopic features found in all the literary texts involved for consideration. As we can conclude, the writers of the “Fin de siècleˮ really do make fear and horror a constantly sounding plot-forming motif. However, this constant motif for the literary process of the turn of the century sounds in a unique personal key. The writers offer their own architecture of the image of the “horrorˮ. Thus, the sound of the fear motif is an artistic characteristic of the text, it determines both the dominant of its poetics, and the worldview and attitude of the creator of the text.

The Chronology of Apollinaire's Alcools

PMLA ◽  
1952 ◽  
Vol 67 (7) ◽  
pp. 907-923
Author(s):  
LeRoy C. Breunig
Keyword(s):  
Direct Current ◽  
Turn Of The Century ◽  
Fin De Siecle ◽  
Fin De Siècle

Guillaume Apollinaire's poetry fills the twenty-year interregnum between the end of Symbolism as an organized movement and the birth of Surrealism. The earliest selections in Alcools were composed the year of Mallarmé's death in 1898, and Calligrammes appeared only a few months before Breton and Soupault began their collaboration on Les Champs magnétiques in 1919. The work of perhaps no other poet in France at the turn of the century flows in such a direct current between the two dominant schools of the last seventy-five years. Obviously our appreciation of this period would gain considerably could we but view the poems of Apollinaire in the order in which he created them, proceeding with him from the mellifluous, fin de siècle delicacy of his first published piece, Clair de lune, to the discordant lines of Victoire:On veut de nouveaux sons de nouveaux sons de nouveaux sonsOn veut des consonnes sans voyellesDes consonnes qui pètent sourdement Imitez le son de la toupieLaissez pétiller un son nasal et continuFaites claquer votre langueServez-vous du bruit sourd de celui qui mange sans civilitéLe raclement aspiré du crachement ferait aussi une belle consonne

Germany at the Fin de Siècle: Culture, Politics, and Ideas

2006 ◽  
Vol 39 (1) ◽  
pp. 138-140
Author(s):  
H. Glenn Penny
Keyword(s):  
Nineteenth Century ◽  
Political Activism ◽  
Urban Spaces ◽  
Fin De Siecle ◽  
Dark Side ◽  
German Population ◽  
The Sun ◽  
The World ◽  
Fin De Siècle ◽  
Weimar Culture

This is a fascinating book, partly because of the excellent contributions, and partly because of the ways in which the editors have chosen to engage the topic and organize their volume. Marchand and Lindenfeld open the collection with a loaded question: Was there a German fin de siècle? Did Germans, in other words, share the kinds of reactions to modernity that have so fascinated historians of Austria and France? Their answer is yes and no. Many German intellectuals embraced the modernist currents Carl Schorske identified more than forty years ago in his work on fin de siècle Vienna, reacting to the depressing problems of modernization in ways similar to their Austrian counterparts. And yet much of the German population was largely unbowed by their putatively perplexing condition. As the editors argue, despite the worries of many an intellectual, “the later Wilhelmine world was characterized by enormous ambition and optimism, booming industries and bustling new urban spaces, cultural and political activism on a new scale, and the promise, if not the immediate realization, of a ‘place in the sun’ on the world stage” (p. 1). That optimism is the perplexing bit, because many of us, schooled in the dark side of Weimar culture and its intellectual antecedents, have learned to imagine Germans at the end of the nineteenth century (or at least our favorite representatives) as people caught up in a pessimistic, existential, Nietzschean funk. Indeed, the editors themselves have not avoided that position entirely.

The Unknown Weininger: Science, Philosophy, and Cultural Politics in Fin-de-Siècle Vienna

1996 ◽  
Vol 29 (4) ◽  
pp. 453-493 ◽  
Author(s):  
Chandak Sengoopta
Keyword(s):  
Doctoral Dissertation ◽  
Turn Of The Century ◽  
Fin De Siecle ◽  
August Strindberg ◽  
Central Importance ◽  
Cultural Contexts ◽  
Jewish Intellectual ◽  
Fin De Siècle ◽  
Cultural Themes ◽  
Science Philosophy

Otto Weininger (1880–1903) is a notorious figure in European history.1 A Jewish intellectual of Vienna, Weininger committed suicide at the age of 23 after publishing a single book based on his doctoral dissertation, Geschlecht und Charakter (Sex and Character, 1903). The work was admired by some of the greatest intellects of our century—Franz Kafka, Ludwig Wittgenstein, James Joyce, Karl Kraus, August Strindberg. More recently, it has attained virtually legendary status among scholars as an exemplary text of European misogyny and antisemitism. While Geschlecht und Charakter is certainly unrivaled as a compendium of turn-of-the-century prejudices, stereotypes, and anxieties, it is not simply a deranged thinker's chronicle of personal nightmares. This fact has been obscured due to the failure of recent scholars to situate Weininger and his work in the intellectual and cultural contexts of fin-de-siècle Central Europe. This paper demonstrates that Geschlecht und Charakter is an intensely personal analysis of intellectual, political, and cultural themes that were of central importance to contemporary Viennese intellectuals.

scholarly journals Character of Vasyl Stus as Basis of Writer’s Psychotype

2019 ◽  
pp. 3-13
Author(s):  
Olha Punina
Keyword(s):  
Everyday Life ◽  
World Order ◽  
Theoretical Concept ◽  
Psychological Type ◽  
Literary Texts ◽  
Literary Style ◽  
Psychological Structure ◽  
The World ◽  
Key Features ◽  
The Individual

In the present paper the scholar refers to the first part of her theoretical concept “psychotype – creator – image” and focuses on the peculiarities of Vasyl Stus’s character. This approach helps to defi ne the psychological type of the poet. Psychic ways of adaptation always leave a mark on the character of the individual. The coincidence between indirect observations of friends, acquaintances and psychological self-characteristics of the writer gives especially important information for the researcher. The analyzed materials include literary texts and different everyday life records that contain psychologically mediated observations and self-observations on the character of Vasyl Stus. These data allow identifying the specific psychological structure of personality based on many characteristics. The attributes ‘strong-willed’, ‘vulnerable’, ‘sensitive’, ‘quicktempered’, ‘uncompromising’, and ‘intellectual’ may be recognized as key features of this personality. The psychological exclusivity of Vasyl Stus is presented by the characteristics ‘self-suffi cient’, ‘intellectually deep man of strong will’, ‘inclined to expansive reaction and unsuited for compromise’. The scrupulous attention to the moral, volitional, emotional and intellectual components of Vasyl Stus’s character brings the researcher closer to determining the author’s model of the world order. The defined psychotype of the writer helps to understand the interdependence of the psychological nature of the author and his literary style

scholarly journals Ibsen in Russia Revisited: The Ibsenian Legacy in the Writings of the Russian Symbolist Andrey Bely

2016 ◽  
Vol 19 ◽  
Author(s):  
Lillian Jorunn Helle
Keyword(s):  
Life Cycle ◽  
Fin De Siecle ◽  
Main Topic ◽  
Significant Source ◽  
Henrik Ibsen ◽  
Creative Development ◽  
The World ◽  
Andrey Bely ◽  
Fin De Siècle ◽  
The Many

The intellectual atmosphere of Russian fin de siècle was characterized by a strong fascination for Norway, its nature, its culture and its literature. A good example is Henrik Ibsen who was a significant source of inspiration for Russian dramatists, writers and poets. The Russian symbolists in particular saw Ibsen as a tutelary spirit and not least the “younger” symbolist Andrey Bely regarded his works and thoughts as a prefiguration and a foreshadowing of his own. Ibsen was important to Bely through all his various stages of intellectual, artistic and spiritual seeking and in accordance with Bely’s highly interpretative, hermeneutical approach to the world, in which everything he experienced was transformed to confirm his own symbolist Weltanschauung, also Ibsen was transformed in much the same manner. And the very intriguing way in which Bely rewrites the Norwegian playwright into his own writings will be the main topic of this article, illustrating how the Russian symbolist refigures the Norwegian dramatist to make him fit into his own continuous search for new and meaningful perspectives and positions. Moreover and even still more remarkable, this search convincingly demonstrates how the Ibsenian legacy throughout the many different phases of Bely’s creative development keeps it crucial place within Bely’s life cycle, thereby establishing a most interesting thread in the complex web of Ibsen’s Wirkungsgeschichte.

scholarly journals Victorian Hallucinogens1

2008 ◽  
pp. 0
Author(s):  
Susan Zieger
Keyword(s):  
Nineteenth Century ◽  
Native American ◽  
Visual Experience ◽  
Turn Of The Century ◽  
Fin De Siecle ◽  
General Interest ◽  
Hallucinogenic Drugs ◽  
Fin De Siècle ◽  
The Senses ◽  
Gendered Power

AbstractNineteenth-century British, U.S., and European writings about the hallucinogenic drugs peyote and mescaline in anthropological, medical, and general interest journals appropriated the drugs from the context of Native American rituals. Appealing primarily to vision, which was commonly understood to be the most intellectual of the senses, and generating sensations of omniscience and self-reflexivity, these drugs became the occasion for their writers’ fantasies of intellectual transcendence and concomitant disembodiment. These fantasies tacitly promoted the imperial, raced, classed, and gendered power of the elite hallucinogenic subject. They also connected with similarfin-de-sièclepractices of consumption, including Aesthetic delight in the refinement of visual experience and in the collection of obscure global artifacts, and the passive consumption of media entertainment such as kaleidoscopes, phantasmagoria, and cinema. Although not numerous, hallucinogenic writings should be considered part of the culture of visual modernity that helped shape subjectivities at the turn of the century.

Becoming Americans in Paris: The Commune as Frontier in Turn-of-the-Century Adventure Fiction

2016 ◽  
Author(s):  
J. Michelle Coghlan
Keyword(s):  
Gilded Age ◽  
Popular Fiction ◽  
Turn Of The Century ◽  
Fin De Siecle ◽  
Historical Romances ◽  
Adventure Fiction ◽  
Fin De Siècle ◽  
Red Flag ◽  
A Site ◽  
The U.S

This chapter charts the reconfiguration of the Commune’s domestic threat in American popular fiction in the 1890s. I show how America’s fin-de-siècle preoccupation with the revolution of 1871 consistently reframes Paris as a frontier of empire even as it critically reimagines it as a site where American tourists—or, more specifically, Gilded Age American men—might be said to “find” themselves. Setting Edward King’s 1895 boys’ book, Under the Red Flag, alongside G. A. Henty’s A Woman of the Commune, and two other immensely popular but virtually forgotten historical romances of the period, The Red Republic and An American in Paris, I argue that the 1890s were a particularly apt time to revisit the Commune because of the very real labor unrest plaguing the country, and more importantly because the “romance of the Commune” served to revise American conceptions of revolution at a moment when the U.S. was reimagining its role abroad and reevaluating its attitude towards empire.

Controversies in the Periodical Press

2021 ◽  
pp. 164-205
Author(s):  
Stefano Evangelista
Keyword(s):  
Social Identity ◽  
American Literature ◽  
Henry James ◽  
World Literature ◽  
Fin De Siecle ◽  
Periodical Press ◽  
Literary Periodicals ◽  
The World ◽  
Fin De Siècle ◽  
Class Privilege

This chapter argues that the periodical medium played a fundamental role in the construction of literary cosmopolitanism as a discursive phenomenon. It focuses on two periodicals launched in the fin de siècle: the American Cosmopolitan and the European Cosmopolis. The commercially oriented and middle-brow Cosmopolitan promoted cosmopolitanism as a female-gendered social identity linked to class privilege, as testified by the serialization of Elizabeth Bisland’s round-the-world trip in 1889. However, it also interrogated the cosmopolitan tendencies of modern American literature embodied by the writings of Henry James. By contrast, the short-lived Cosmopolis was a high-brow periodical that aimed to revive Kant’s Enlightenment ideal and Goethe’s notion of world literature. It was committed to multilingualism and to fighting nationalism. The chapter closes with an analysis of Cosmopolis as a competitor to the iconic 1890s English literary periodicals, the Yellow Book and The Savoy.

“Burlesque Tragedy” and “tristan Rapture”

2019 ◽  
pp. 39-72
Author(s):  
Margaret Notley
Keyword(s):  
Drug Use ◽  
Sexual Relationships ◽  
Turn Of The Century ◽  
Fin De Siecle ◽  
Tristan Und Isolde ◽  
Fin De Siècle ◽  
Original Works ◽  
Over The Top

This chapter addresses connections between the Lulu works of Wedekind and Berg and several understandings of “fin-de-siècle decadence.” The title quotes reviews of two works that owe their existence to censorship, Erdgeist and Symphonic Pieces from “Lulu,” both of which are arguably more perfect than the uncensored original works, Wedekind’s Ur-Lulu, suppressed in 1894, and Berg’s opera, rejected by authorities in 1934. After tracing the censorship of Wedekind’s Lulu plays, the chapter focuses on his transformation of Act 3 of the Ur-Lulu, manifestly a product of turn-of-the-century decadence in its ironic, over-the-top depiction of drug use and risqué sexual relationships, into passages in acts of the two later plays. It begins a discussion of Berg’s responses to those passages in the scenes of his opera’s Act 2, each of which recalls Tristan und Isolde in a different way, and touches on the broader significance of “fin-de-siècle decadence” in Berg’s time.

scholarly journals Neither Animal nor Human: An Ecogothic reading of the Monstrous Hybrid in Dracula, The Beetle and The Snake Lady

2020 ◽  
pp. 89
Author(s):  
Aurora Murga Aroca
Keyword(s):  
Hierarchical Organization ◽  
Fin De Siecle ◽  
Hybrid Identity ◽  
Human Relations ◽  
Human Identity ◽  
Gothic Fiction ◽  
The World ◽  
Fin De Siècle ◽  
The Relationship

This article analyses the relationship between humans and animals, and more importantly between humans and their animality. Concretely, this project proposes an ecocritical reading of fin de siècle gothic fiction, as it provides insight on the ideological foundation of humanity’s anthropocentric relation towards the environment. Through the analysis of the gothic hybrid monster, it is possible to grasp society’s interpretation and assimilation of Darwin’s revolutionary discoveries. However, not all gothic writers assimilated the apparent artificiality of humanity’s superiority in the same way. Thus, I hereby argue that rejection and fear is not the only response to the monstrous hybrid in fin de siècle gothic fiction. On the contrary, there are also critical voices who understood this new Darwinian human-hybrid identity as an opportunity to renew human relations towards nature. Therefore, I analyse the constructions of and reactions to the hybrid monster in Bram Stoker’s Dracula and Richard Marsh’s The Beetle against Vernon Lee’s Prince Alberic and the Snake Lady. By doing so, I aim at revealing and ultimately challenging the main dualism that sustains the hierarchical organization of the species: the privileging of culture over nature and reason over animality. The gothic genre is indeed characterised by the blurring of boundaries. Consequently, it reveals the human as irrational, the monster as natural and culture as repression, suggesting the need for the reconstruction of human identity and its place in the world.

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