scholarly journals Comment représenter la transgression de genre - L'Hermaphrodite dans l'oeuvre de J. K. Huysmans -

Nordlit ◽  
2012 ◽  
Vol 15 (2) ◽  
pp. 197
Author(s):  
Mihaela Gabriela Stănică
Keyword(s):  
19Th Century ◽  
The Other ◽  
Fin De Siecle ◽  
Clinical Perspective ◽  
Fin De Siècle ◽  
Gender Trouble ◽  
The 19Th Century ◽  
Secondary Representation

By the end of the 19th century one may observe the birth of a particular form of knowledge which would further be known as scientia sexualis as well as the rationalization of the hermaphroditic body. Ernest Martin’s attempt to realize a taxonomy of the different forms of monstrosity (Histoire des monstres depuis l’Antiquité jusqu’à nos jours -1880) from a juridical and clinical perspective is representative for what Jean-Jacques Courtine will call “le désenchantement de l’étrange”.Since the physicians from that period refuse to acknowledge the existence of real hermaphrodites among humans, the pseudo-hermaphrodite will lose his ontological independence and will turn into a simple pathological deviation which will be placed among the other pathological figures which constitute the inventory of degenerationshaunting the imaginary of the fin de siècle. Since the hermaphroditic body, this gender trouble that threatens the dual taxonomy of the society, is denied the ontological independence, this body enters the sphere of invisibility. Given that the transgressive body becomes a simple deviation, the hermaphrodite can only be a secondary representation.How are these mechanisms of the secondary representation applied to the literary productions of that period? The answer to this question could be found in Huysmans’ texts where the ambiguity of the hermaphroditic figure is captured into somatic and psychical representations that seem to confirm the epistemic paradigms of that fin de siècle.

Fin de siècle

2018 ◽  
Author(s):  
David Martens
Keyword(s):  
19Th Century ◽  
Cultural Production ◽  
Fin De Siecle ◽  
Art Nouveau ◽  
European Languages ◽  
Fin De Siècle ◽  
Mind Set ◽  
Historical Moment ◽  
The 19Th Century ◽  
First Time

Referring to the end of the 19th century, Fin de siècle not only represents a specific historical moment but also a part of the sensibility and of the cultural production of the period. It is particularly challenging to define fin de siècle within the artistic world, as it neither corresponds to a movement around a leading figure, nor to an amalgamation of shared and promulgated aesthetic principles (there is no manifesto laying claim to fin-de-sièclism). The term appears for the first time at the end of the 1880s. In its French form, it has imposed itself ever since on most Western-European languages (e.g., English, German). Fin de siècle crystalizes certain anxieties that are typical of this era: the period is characterized by a particular striving for modernity, while at the same time it is also perceived as an end. This explains why the fin de siècle mentality has often been closely related to decadence (or decadentism) to which it is, however, not limited: symbolism, aestheticism or even art nouveau all fall within fin de siècle. The fin de siècle mind-set is marked by an ensemble of shared features, in particular an ambivalent fear for the end.

TRANSFORMATION OF EUROPEAN SOCIETY FROM THE PERSPECTIVE OF RADICAL INTELLECTUALS IN THE PERIOD OF FIN-DE-SIECLE (1890-1914)

2019 ◽  
Vol 3 (2) ◽  
pp. 214-231
Author(s):  
M.V. Chernyshev
Keyword(s):  
19Th Century ◽  
European Society ◽  
Political Ideology ◽  
National Socialism ◽  
Social Life ◽  
Fin De Siecle ◽  
Gabriele D'annunzio ◽  
Bourgeois Society ◽  
Fin De Siècle ◽  
The 19Th Century

Fin-de-siècle is a French definition for “end of the age”, though also implying an era of changes in different spheres of social life within European society between 1890 and 1914. At the turn of the 20th century we can observe the phenomenon of formation of the new type of modernist political ideology “beyond Left and Right” which tended to adopt some sort of cultural revolt against decadent bourgeois society and associate it with new forms of political actions. Famous writers of the Fin-de-siècle Gabriele D’Annunzio and Maurice Barrès embodied in their writings this tendency. This essay argues that despite their claimed break with the tradition of the 19th century and search for individual liberation, the representatives of the new intellectual tradition put into practice some of the ideas that later were associated with European totalitarian ideologies of fascism and national socialism. This study attempts to describe development of views of the two writers on the national societies taking into consideration a certain number of dynamic tensions within the period of European fin-de-siècle: first of all, between the tendencies of Decadence which were evident in the last quarter of the 19th century and the desire for spiritual renewal, between the cult of personal perfection and the collective myth of political nationalism.

Two fin de siècles

1994 ◽  
Vol 2 (3) ◽  
pp. 213-220
Author(s):  
H. L. Wesseling
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Fundamental Difference ◽  
Fin De Siecle ◽  
Cultural Climate ◽  
Fin De Siècle ◽  
The 19Th Century ◽  
Cultural Concept ◽  
European Civilization

Is the end of the 20th century comparable with the end of the 19th century, the so-called fin de siècle? To what extent are the cultural characterizations of that decade—for fin de siècle is first and foremost a cultural concept—applicable to our days? The answer to this question is not easy to give because there are similarities as well as dissimilarities. The central preoccupation of the fin de siècle however was the feeling of decadence, the idea that European civilization was past its prime and on to the end. This notion is not a characteristic of the present day's cultural climate and therefore there exists a fundamental difference between the two periods.

Nationalism in the fin de siècle Habsburg monarchy

1994 ◽  
Vol 2 (3) ◽  
pp. 239-246
Author(s):  
Alan Sked
Keyword(s):  
European Union ◽  
19Th Century ◽  
Fin De Siecle ◽  
Habsburg Empire ◽  
Habsburg Monarchy ◽  
Fin De Siècle ◽  
The 19Th Century

This paper examines the nationality problem in the Habsburg monarchy at the end of the 19th century and looks at the ways in which it has been treated by historians. It analyses present-day Europe and concludes, perhaps ominously, that European Union is in danger of becoming a second Habsburg Empire.

scholarly journals The New Fin-de-Siècle: Journeys of Nationhood through Almodóvar’s and Kieślowski’s Cinema

2021 ◽  
Vol 7 (1) ◽  
Author(s):  
Daniel Tan
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Shared Values ◽  
Fin De Siecle ◽  
Fin De Siècle ◽  
Social Orders ◽  
The 19Th Century ◽  
Contemporary Artists

Literally, the French phrase fin de siècle translates as “end of the century”. The term gained prominence during the end of the 19th century, and originated from artists whose works reflected the perceived decline of social orders towards a sense of renewal.1 Although fin de siècle is associated with this particular period in history, the phrase can be transposed to the end of the 20th century, when social and political upheavals were also occurring across Europe. In addition, the use of cinema by contemporary artists to reflect these developments draws artistic parallels to the original fin de siècle. This essay will explore how journeys of nationhood and social renewal at the end of the 20th century were interpreted by filmmakers, using Krzysztof Kieśowski’s Three Colours: Blue2 and Pedro Almodóvar’s All About My Mother3 as representations of Europe’s transition from a continent characterised by division and isolation, towards a unified entity with shared values of collectivism and democracy.

On the nature of chemistry

2018 ◽  
Vol 10 (2) ◽  
pp. 74 ◽  
Author(s):  
Eric R. Scerri
Keyword(s):  
19Th Century ◽  
The Other ◽  
Recent History ◽  
History Of Chemistry ◽  
History Of ◽  
The One ◽  
Fundamental Unity ◽  
The 19Th Century

<span>The very nature of chemistry presents us with a tension. A tension between the exhilaration of diversity of substances and forms on the one hand and the safety of fundamental unity on the other. Even just the recent history of chemistry has been al1 about this tension, from the debates about Prout's hypothesis as to whether there is a primary matter in the 19th century to the more recent speculations as to whether computers will enable us to virtually dispense with experimental chemistry.</span>

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.

La Nueva gramática de la lengua castellana de martínez de noboa

1997 ◽  
Vol 24 (1-2) ◽  
pp. 115-138
Author(s):  
Marina Maquieira
Keyword(s):  
19Th Century ◽  
The Other ◽  
The 19Th Century ◽  
Grammatical Tradition ◽  
Philosophical Grammar

Summary This paper examines a treatise on Spanish grammar, i.e., a particular grammar which follows the tradition of French philosophical grammar. Bachiller D. Antonio Martínez de Noboa’s work, published in 1839, appears in a century when the Spanish grammatical tradition is at its best. Texts like Vicente Salvá’s (1786–1849) and of course Andrés Bello’s (1781–1865) have in recent years attracted the attention of researchers. However, Martínez de Noboa’s work is much less known, although Gómez Asencio (1981, 1985) did highlight its importance in his two indispensable studies of the period between 1771 and 1847. The Nueva Gramática de la lengua Castellana is indebted to the framework set by José Gómez de Hermosilla (1835) and Jacobo Saqueniza (1828), although it does include some original observations. This paper examines the structure of the work in question and aims to show how it is in global terms a unified text combining different aspects, of which the most striking is without doubt the syntactic one. With this aim in mind certain specific examples of the analogy pertaining to syntax have been studied. First those he himself highlighted, e.g., the article/pronoun and verb and then those comments on syntax which are logically pertinent, e.g., conjunctions. Noboa himself was cited as was Saqueniza as having been responsible for the introduction of distinction between coordinate and subordinate conjunctions in Spanish grammar, along with the distinction between simple and complex clauses. On the purely syntactic level, it was also Noboa who refined the whole notion of verbal government. Finally, there is a brief summary of the section dedicated to pronunciation and spelling which are also considered by the author to be in some way related to the other parts of the grammar. In sum, what makes this work particularly interesting is undoubtedly the emphasis on syntax as more studies had been carried out on morphology than in any other area up until the 19th century and continued after Noboa to monopolise questions concerning grammar throughout this century.

Ein föderales Imperium?

2021 ◽  
Author(s):  
Patrick Rummel
Keyword(s):  
South Africa ◽  
New Zealand ◽  
Great Britain ◽  
British Empire ◽  
19Th Century ◽  
Military Personnel ◽  
The Other ◽  
The 19Th Century

The previously ignored model of Greek colonisation attracted numerous actors from the 19th century British empire: historians, politicians, administrators, military personnel, journalists or anonymous commentators used the ancient paradigm to advocate a global federation exclusively encompassing Great Britain and the settler colonies in Canada, Australia, New Zealand and South Africa. Unlike other historical templates, Greek colonisation could be viewed as innovative and unspent: innovative because of the possibility of combining empire and liberty and unspent due to its very novelty, which did not contain the ‘imperial vice’ the other models had so often shown and which had always led to their political and cultural decline.

Contraste, Dissonanzen, Missklänge: Zum Verhältnis von Idylle und Tourismus in literarischen Schweiz-Reisen des 19. Jahrhunderts (Ida Hahn-Hahn, Hans Christian Andersen)

2021 ◽  
Vol 50 (1) ◽  
pp. 34-56
Author(s):  
Christian Schmitt
Keyword(s):  
19Th Century ◽  
The Other ◽  
Hans Christian Andersen ◽  
The Aesthetic ◽  
The One ◽  
The 19Th Century ◽  
The Relationship

Abstract The discrepancy between common temporary expectations of Switzerland as idyll on the one hand, and the reality of its industrially organized tourism on the other, imposes irritations upon the touristic gaze. This article, then, traces the origins of this discrepancy and examines the relationship between Swiss idyll and tourism in the 19th century. The analyses of Ida Hahn-Hahn’s Eine Idylle and Hans Christian Andersen’s Iisjomfruen showcase different ways of relating idyll and tourism to one another as well as the aesthetic merit produced by this constellation.

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