Modernismo, Spiritualism, and Science in Argentina at the Turn of the Twentieth Century

2020 ◽  
pp. 215-229
Author(s):  
Soledad Quereilhac
Keyword(s):  
Twentieth Century ◽  
Scientific Discourse ◽  
Fin De Siecle ◽  
Literary Modernism ◽  
The Social ◽  
Fin De Siècle ◽  
The Status ◽  
Social Legitimation ◽  
Scientific Discourses ◽  
Growth Of Science

This chapter analyzes the uses and appropriations of scientific discourse in Argentine magazines from the fin de siècle: a period in which literary modernism coincided with the development of spiritualisms that aspired to the status of science (or “occult sciences”) like Spiritism and Theosophy. The aim is to examine concrete examples that relativize the sharp division between science, art, and spiritualism in the culture of this period. The main sources explored are La Quincena. Revista de letras (1893–1899), Philadelphia (1898–1902), La Verdad (1905–1911), and Constancia (1890–1905). In addition, the chapter focuses on how the astonishing growth of science in Argentina, as well as the social legitimation of scientific discourses, influenced other fields, giving shape to new literary expressions, beliefs, and utopian projections that synthesized the material and the spiritual.

Punarvivaham vs. Pativratyam: Pulugurta Lakshmi Narasamamba and the Widow Remarriage Question in Colonial Andhra

2021 ◽  
pp. 025764302110017
Author(s):  
Shaik Mahaboob Basha
Keyword(s):  
Twentieth Century ◽  
Social Reform ◽  
Reform Movement ◽  
Primary Sources ◽  
Child Marriage ◽  
Important Place ◽  
Early Twentieth Century ◽  
The Social ◽  
The Status ◽  
Women's Journals

The question of widow remarriage, which occupied an important place in the social reform movement, was hotly debated in colonial Andhra. Women joined the debate in the early twentieth century. There was a conservative section of women, which bitterly opposed the widow remarriage movement and attacked the social reformers, both women and men. Pulugruta Lakshmi Narasamamba led this group of women. Lakshmi Narasamamba treated widow remarriage (punarvivaham) with contempt and termed it as an affront to the fidelity (pativratyam) of Hindu women. According to her, widow remarriage was equal to ‘prostitution’, and the widows who married again could not be granted the status of kulanganas (respectable or chaste women). Lakshmi Narasamamba’s stand on the question of widow remarriage led to the emergence of a fiery and protracted controversy among women which eventually led to the division of the most famous women’s organization, the Shri Vidyarthini Samajamu. She opposed not only widow remarriage but also post-puberty marriage and campaigned in favour of child marriage. This article describes the whole debate on the widow remarriage question that took place among women. It is based on the primary sources, especially the woefully neglected women’s journals in the Telugu language.

Fin de siècle: the meaning of the twentieth century

1996 ◽  
Vol 72 (2) ◽  
pp. 358-359
Author(s):  
Peter Lawler
Keyword(s):  
Twentieth Century ◽  
Fin De Siecle ◽  
Fin De Siècle

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.

Vision

2021 ◽  
Author(s):  
Vivien Greene
Keyword(s):  
Physical World ◽  
Status Quo ◽  
Fin De Siecle ◽  
Dominant Culture ◽  
Social Theories ◽  
Fin De Siècle ◽  
The Status ◽  
Male Supremacy

Even though the culture of decadence at the fin de siècle was widespread, most artists of the period did not think of themselves as “decadent.” Instead, writers transposed the term from literature to art. This article considers whether there was a decadent subset to symbolism, a movement that burgeoned when scientific developments, industrialization, and secularism spurred artistic explorations antithetical to reality and the physical world. Close readings of specific symbolist works identify potentially decadent tendencies, such as overwrought, debased, or gruesome imagery animated by exaggerated form, distorted line, and extreme ornamentation. Centering on depictions of erotically charged, bestial, and often “exoticized” women, from castrating femmes fatales to hybrid mythical creatures, the chapter contextualizes such representations within contemporary scientific, pseudo-scientific, and social theories, especially evolutionary ideas, that were manipulated to validate white European male supremacy. Ultimately, symbolist painters who were inclined to decadence deployed hyperbolic style in frequently misogynistic or racially biased interpretations of nonmimetic subjects that threatened dominant culture and the status quo.

Introduction

2017 ◽  
Author(s):  
Susan Scott Parrish
Keyword(s):  
United States ◽  
Twentieth Century ◽  
The United States ◽  
Literary Modernism ◽  
The Social ◽  
History Of ◽  
Multiple Media ◽  
Environmental Causes ◽  
The Way

This introductory chapter discusses the Great Mississippi Flood of 1927. It argues that although historians have uncovered the details of what caused the flood to unfold the way it did, less work has been done to explain how, what was arguably the most publicly consuming environmental catastrophe of the twentieth century in the United States, assumed public meaning. The chapter then sets out the book's purpose, which is to explore how this disaster took on form and meaning as it was nationally and internationally represented across multiple media platforms, both while the flood moved inexorably southward and, subsequently, over the next two decades. The book begins by looking at the social and environmental causes of the disaster, and by briefly describing the sociological certitudes of the 1920s into which it broke. It then investigates how this disaster went public, and made publics, as it was mediated through newspapers, radio, blues songs, and theater benefits. Finally, it looks at how the flood comprises an important chapter in the history of literary modernism.

Technologies of Detection

2017 ◽  
Author(s):  
Lena Wånggren
Keyword(s):  
Twentieth Century ◽  
Detective Fiction ◽  
New Woman ◽  
Police Force ◽  
Fin De Siecle ◽  
Forensic Evidence ◽  
Fin De Siècle ◽  
The New Woman ◽  
Modern Technologies

This sixth chapter concludes the monograph by examining the figure of the New Woman detective and the specific technologies of detection employed. While women could not enter the British police force until well into the twentieth century, female detectives had been a part of British crime and detective fiction since the 1860s, culminating in the 1890s with the rise of New Woman detective. Mapping the literary trope of the New Woman detective, and the part played by modern technologies in these narratives, the chapter considers the nature of forensic evidence and the gendered use of technologies in producing this knowledge. Reading M. McDonnell Bodkin’s Dora Myrl, the Lady Detective (1900), the chapter considers New Woman detective fiction as a culmination of the New Woman’s use of technologies at the fin de siècle.

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