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.

scholarly journals Balancing between different careers - The starting career of Max Nordau as physician and journalist in Budapest

2021 ◽  
Vol 11 (22) ◽  
pp. 156-166
Author(s):  
Hedvig Ujvári
Keyword(s):  
Cultural Criticism ◽  
Fin De Siecle ◽  
Contemporary Culture ◽  
Professional Activities ◽  
Main Work ◽  
Cultural Paradigm ◽  
Fin De Siècle ◽  
Total Failure ◽  
History Of ◽  
The University

The doctor, journalist, Zionist, and essayist of cultural criticism Max Nordau (born as Simon Maximilian Südfeld 1849 Pest – died in Paris 1923), after high school graduation 1867 enrolled in Medical School at the University of Pest. Aged 37, he became famous at once for his book of cultural criticism titled Conventional Lies of Human Culture (Die conventionellen Lügen der Kulturmenschheit) and later he ruled the narrative and the set of definitions of Fin de Siècle by his main work Degeneration (Entartung). The year 1867 was also an important year in Nordau’s career as a journalist when he was hired to write for Pester Lloyd, a prestigious German-language journal. Prior to World War 1, he submitted Feuilletons to numerous newspapers of Europe and Northern America and was engaged among others for 35 years by the Vossische Zeitung. His works are in 17 languages available and his bestseller Degeneration had e.g. in England seven editions within four months. Between 1873 and 1876 Nordau travelled across Germany and parts of Northern Europe and in 1874, he finally began his long-awaited European tour he earned financially himself. He returned to Budapest only in Dezember 1875 and completed his medical exams. However, he did not stay in Budapest for long. He moved to Paris with his younger sister and mother, where he worked as a doctor and the correspondent of several European journals and in 1880 settled there permanently. When Nordau arrived in Paris, the opportunities he was presented with as a freelance journalist and the international fame of the Parisian medical circles were definitely a positive experiences to him. Nordau’s main achievement was complying with his two professional activities. As a physician, he endeavoured to analyse the contemporary culture by available means of psychopathology. Nevertheless, his diagnosis turned out as a total failure. He denied the creational capabilities of mainstream artists like novelists (Baudelaire, Zola, Verlaine, Tolstoi etc.), componists (e.g. Richard Wagner) and Philosophers (e.g. Nietzsche) and stigmatized them simply as insane and degenerated. However, his significant merits survived in the history of literature since he was a pioneer of modern cultural criticism thus his later impact e.g. on Georg Lukacs was obvious. Concerning Nordau’s works beyond novels, dramas and letters, medical and Zionistic documents, there are prevailing works of cultural criticism. They testify clearly that he was an icon of cultural criticism of Friedrich Nietsche’s significance and one of the leading intellectuals of Europe at the time of the Fin de Siècle. The aim of this paper is to show the years Nordau spent in Pest/ Budapest in terms of polyglottism and national identity. We discuss his linguistic and cultural paradigm shift since 1861 which forced Nordau first into defence and then into isolation both socio-culturally and professionally. He planned to write a dissertation about medical anthropology, a field for which there were no Hungarian specialists at that time.

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.

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