scholarly journals РЕМІНІСЦЕНЦІЇ ВІКТОРІАНСЬКОГО «АВАНГАРДУ» В УКРАЇНСЬКОМУ, ПОЛЬСЬКОМУ ТА РОСІЙСЬКОМУ ОБРАЗОТВОРЧОМУ МИСТЕЦТВІ ДЕКАДАНСУ ТА СИМВОЛІЗМУ

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Turn Of The Century ◽  
Fin De Siecle ◽  
Victorian Era ◽  
Russian Art ◽  
Fin De Siècle ◽  
The Impact ◽  
The Way

Досліджено вплив англійського мистецтва вікторіанської доби на творчість представників українського, польського та російського мистецтва межі століть. Проаналізовано відмінності у втіленні декадентських й символістських тенденцій, які були характерні для кожної з зазначених країн. Зокрема, розглянуто стилістичні рецепції мистецтва руху прерафаелітів та графіки Обрі Бердслея у творах митців об’єднання «Мир искусства», польських і українських художників-символістів, а також роботах Вільгельма Котарбінського як єдиного представника декадансу в українському образотворчому мистецтві.Ключові слова: декаданс, символізм, прерафаеліти, fin de siècle, Англія, Україна, Польща, Росія. The article studies the impact of English art of the Victorian era on the work of representatives of Ukrainian, Polish and Russian art at the turn of the century. In particular, the reception of the art of the movement of the PreRaphaelites and Aubrey Vincent Beardsley was found in the decadent and symbolist works of artists from these countries. By the way, essential differences in themes and images of Decadent movement and Symbolism among the works of Ukrainian, Polish and Russian artists are identified.Key words: Decadence, Symbolism, Pre Raphaelitas, fin de siècle, England, Ukraine, Poland, Russia.

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

Raza latina: immigration and decadence at the fin de siècle

2018 ◽  
pp. 29-56
Author(s):  
Michela Coletta
Keyword(s):  
Nineteenth Century ◽  
Latin America ◽  
Turn Of The Century ◽  
Fin De Siecle ◽  
Southern Europe ◽  
Popular Press ◽  
Political Sphere ◽  
Progressive Degeneration ◽  
Sociological Literature ◽  
The Impact

This chapter explores the ways in which the incorporation of the notion of ‘Latinity’ was affected by changing representations of European civilisation. Through an analysis of the discourses that were created in the popular press, the key argument here is that shifting perceptions of the European immigrant deeply affected the debate on the Latin race: rather than being taken at face value, the possible implications of belonging to the cultural and political sphere of the Latin countries of Europe were long debated. More specifically, the chapter explores the idea of national degeneration in relation to responses to and perceptions of ‘Latin’ immigration at the turn of the century. The significant waves of immigration from Southern Europe fuelled discussions over the impact of a notion such as that of Latinity, which was becoming identified with ideas of progressive degeneration in the contemporary sociological literature. The civilising power of the immigrant was increasingly ambivalent as he was identified with a decadent civilisation whose values seemed to clash with nineteenth-century liberal ideals. So, contrary to the widely shared assumption that ‘Latin America’ was a uniform notion, this discussion shows the complex debates about Latinity and Anglo-Saxonness in each of the three national contexts.

From Hérodias to Hérodiade: Massenet’s Idiosyncratic Take on the Salomé Myth

Adaptation ◽  
2019 ◽  
Vol 13 (1) ◽  
pp. 36-58
Author(s):  
Phaedra Claeys
Keyword(s):  
Short Story ◽  
Essential Role ◽  
Third Republic ◽  
Political Context ◽  
Fin De Siecle ◽  
Fin De Siècle ◽  
The Impact ◽  
Grand Opera

AbstractMassenet’s Hérodiade (1881) is today one of the lesser-known variations of the Salomé myth. Although based on Flaubert’s Hérodias (1877) and written and premiered at the height of the narrative’s popularity, the opera displays some peculiar deviations from both Flaubert’s tale and other, especially fin-de-siècle, renderings of the myth. By situating Hérodiade’s departures from Flaubert’s short story within both the framework of operatic conventions and the broader context of the opera’s genesis, this article highlights Hérodiade’s status as a self-contained rendering, rather than a mere dramatic rewriting of the story—let alone an unfaithful adaptation. In doing so, three main elements that played an essential role in the process of (re)creation are brought to attention: the conventions of grand opera, Massenet’s own aesthetics and interpretation of the tale, and the impact of the socio-political context of France’s Third Republic on the opera’s development.

scholarly journals Lyon's Wagnerian Diva: Louise Janssen (1863–1938)

2018 ◽  
Vol 30 (2-3) ◽  
pp. 214-236
Author(s):  
Katharine Ellis
Keyword(s):  
Fin De Siecle ◽  
Foreign Born ◽  
Box Office ◽  
Fin De Siècle ◽  
The Impact

AbstractIt seems historiographically implausible to ascribe the reputation of fin-de-siècle Lyon as France's Bayreuth to the impact of a single middle-ranking soprano, but the Danish singer Louise Janssen's long-term presence, galvanic musical influence and box-office value suggest precisely that conclusion. Part of the explanation lies with the diva-worship of her supporters (‘Janssenistes’), who curated her image both during her career and in her retirement to create an adopted musical heroine whose memory remains guarded by Lyon council policy. That image, selectively constructed from among her Wagner roles, also typecast her as a singer who had much in common with Symbolist art – a potential Mélisande that Lyon never saw. This article brings together archival and press materials to explain how a foreign-born singer's agency and mythification contributed to a double French naturalisation – her own, and that of Wagner(ism).

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 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.

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.

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.

Between East and West

Experiment ◽  
2017 ◽  
Vol 23 (1) ◽  
pp. 66-79
Author(s):  
Maria Taroutina
Keyword(s):  
Visual Culture ◽  
Present Article ◽  
Turn Of The Century ◽  
Russian Art ◽  
Avant Garde ◽  
The Past ◽  
Close Analysis ◽  
East And West ◽  
The Way

Abstract Taking cue from Dmitry Sarabyanov’s seminal publications on the Stil Modern and turn-of-the-century Russian visual culture, the present article resituates Mikhail Vrubel’s œuvre “between East and West” by demonstrating that the artist moved beyond the narrowly circumscribed nationalist agenda typically attributed to the work he produced at the Abramtsevo and Talashkino artistic colonies. In addition to indigenous sources, Vrubel also assimilated a number of external artistic influences such as Jugendstil, medieval Gothic and Renaissance ceramics, Japanese and Chinese porcelain, and Egyptian and Assyrian art. Through a close analysis of Vrubel’s orientalist paintings, as well as his cycle of folkloric works such as Mikula Selyaninovich and the Volga (1896), I demonstrate that his aesthetic program crossed multiple boundaries: geographical, temporal, material, and institutional. Through a complex renegotiation of the global and the local, the past and the present, and the traditional and contemporary, Vrubel arrived at a strikingly modernist visual syntax, which paved the way for an entire generation of avant-garde artists such as Mikhail Larionov, Natalia Goncharova, Kazimir Malevich, Aleksandr Rodchenko, Liubov Popova, Vladimir Tatlin, and Naum Gabo, among others. Using Vrubel as a case study, this article thus proposes to rethink the opposing binary categories of avant-gardism and revivalism, historicism and innovation, Orientalism and Occidentalism, regionalism and cosmopolitanism, as they have been applied to the trajectory of modern Russian art—a set of ostensibly fixed dichotomies that Dmitry Sarabyanov had repeatedly and successfully challenged in his own work.

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.

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