Fin de Siecle Literature & Culture Research Papers (original) (raw)

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- Cultural History, Emotion, Historiography, Theory of History
- by Kristiāna Ābele
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- Baltic Studies, Fin de Siecle Literature & Culture, Latvian art

Ankündigung: Wissenschaftlicher Workshop im Dehmelhaus Hamburg, 16./17.9.2021.

- by Julia Ilgner
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- Fin de Siecle Literature & Culture, Lyrik, Richard Dehmel, Ida Dehmel
- by Robert Proctor
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- Design History, Symbolism, Architectural History, Design History and Theory

Georges Rodenbach regarderait la peinture de Jules Chéret et d’Albert Besnard au prisme de la danse de Loïe Fuller : telle est l’hypothèse de cet article. Les correspondances suggérées entre danse et peinture par un subtil travail d’écriture permettent de dessiner les contours d’une esthétique moderne caractérisée par le travail sur la couleur, l’usage de l’électricité et un processus d’abstraction des formes qui rejoint la réflexion symboliste sur le rythme.

- by Cyril Barde
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- Dance Studies, Symbolism, Art Criticism, Fin de Siecle Literature & Culture

With the literary movement known as Modernismo, writers from the Americas claimed a space at the vanguard of artistic developments in the Hispanic world. By adopting elements of Symbolism and Parnassianism, they made a forceful declaration of Spanish America's cultural independence vis-à-vis Spain; they reinvigorated the poetic lexicon and retooled Spanish prosody. This review looks at a new translated anthology of Modernismo, finding that while the translations sometimes play up themes and stylistic features appealing to twenty-first century readers, they by and large present a compelling and much-needed overview of the movement for English-speaking audiences. Some aspects of the anthology, such as its treatment of gender, come as a welcome corrective.

- by Laura Fanti
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- Art History, French History, Literature, Painting

Die Zeitschriftenforschung hat sich zu einem produktiven und interdisziplinär verzweigten Arbeitsfeld entwickelt. Auffallend ist dabei jedoch die bislang geringe Beachtung der multimodalen Beschaffenheit des Mediums. Die Beiträger_innen des interdisziplinären Bandes legen erstmals einen besonderen Fokus auf die Text-Bild-Strategien Illustrierter Zeitschriften und setzen diese zudem in Bezug zur gesteigerten Tendenz ästhetischer und kultureller Selbst- und Metareflexion um 1900. So leistet der Band eine stärkere Konturierung der medialen Eigenlogik Illustrierter Zeitschriften vor dem Hintergrund der für das Medium konstitutiven Verzahnung von Bild und Text.

Walter Benjamin’s “Unpacking my Library – A Talk about Collecting” occasions reflections on the meaning of fin-de-siècle and contemporary collecting and memory. In late nineteenth-century bourgeois culture collecting lost its traditional sense because desiring a totality could no longer serve as the basis of collecting. Solitary individuals had to face a universe of unstable signs in which the accumulated objects no longer possessed an original purpose or religious meaning. For Benjamin, collecting opens “above an abyss”. The absence of a purpose or order in the collected objects turns collecting into an irrational passion, a work of hermeneutics.

Das Interesse an der englischen Lyrik des sogenannten Fin-de-Siècle 1 hat sich in Deutschland immerhin in einigen jüngeren Übersetzungen niederge-schlagen. So hat Frank Stückemann Ernest Dowson und Lionel Johnson 2 übersetzt und Hans Wipperfürth A. E. Housman. Und nun legt der renom-mierte Berliner Anglist Manfred Pfister, Spezialist u.a. für Oscar Wilde und das Fin-de-Siècle, 3 eine neue Übersetzung im Rahmen einer zweisprachi-1 Siehe allgemein Handbuch Fin de Siècle / hrsg. von Sabine Haupt und Stefan Bodo Würffel.-Stuttgart : Kröner, 2008.-XXII, 950 S. : Ill. ; 22 cm.-ISBN 978-3-520-83301-3 : EUR 49.00 [9888].-Rez.: IFB 08-1/2-300 http://swbplus.bsz-bw.de/bsz285758837rez.htm-Ferner: Fin de siècle / Monika Fludernik .

- by Till Kinzel
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- Symbolism, Fin de Siecle Literature & Culture, Aestheticism, Decadence (Literature)
- by Sophie Basch
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- French Literature, Travel Writing, Urban Studies, Fin de Siecle Literature & Culture

Meeting Without Knowing It compares Rudyard Kipling and W.B. Yeats in the formative phase of their careers, from their births in 1865 up to 1903. The argument consists of parallel readings wed to a biographic structure. Reading the two poets in parallel often yields remarkable discursive echoes. For example, both men were similarly preoccupied with the visual arts, with heroism, with folklore, balladry and the demotic voice. Both struck vatic postures, and made bids for public authority premised on an appeal to what they considered the "mythopoeic" impulse in fin de siecle culture. Meeting Without Knowing It dentifies these mutual echoes in their poetry and political rhetoric, before charting them against intersections in their lives. Kipling and Yeats were, for much of their careers, irreconcilable political enemies. However, a cross-reading of the two poets' bardic ambitions, heroic tropes, and interpretations of history reveals that, to achieve their opposed political ends, they frequently partook of a common discourse. Supplementing this analysis with biographical context, we can trace these shared concerns to their late nineteenth century artistic upbringing, and to the closely linked social circles that they inhabited in fin de siecle London. It is, in fact, their very mutuality during the 1890s which lent rancor to their ideological division after the Boer War. In turn, acrimony and denunciation only served to bind together all the more intimately, in an argumentative spiral of revolving discourses, two men who were often proximate but who actually met only in cartoons and satirical gossip.

Les études concernant l'image de Venise dans la littérature européenne ne se comptent plus. Curieusement, la multiplication de ces essais ne s'est accompagnée d'aucun renouvellement du corpus : on continue d'invoquer le témoignage des mêmes auteurs, du XVIe au XXe siècle ; on questionne les mêmes textes. La recherche s'est trouvée tributaire de cette stagnation.
Tandis qu'on passait les récits de voyage au crible, on a ignoré les romans, les nouvelles, situés à Venise. Or, entre le dernier quart du XIXe siècle et l'entre-deux-guerres, on assiste à une spectaculaire floraison des récits évoquant cette ville où l'on voyage moins qu'on n'y séjourne, périodiquement, rituellement. Romans anglais, allemands, italiens mais surtout français. C'est d'un véritable établissement de la fiction qu'il s'agit, révélateur de l'engouement des écrivains pour une cité où le snobisme, essentiellement parisien, s'épanouit chaque automne suivant des itinéraires thématiques et géographiques bien particuliers. Dans cette perspective, les pages vénitiennes de Proust apparaissent comme la chevelure d'une comète largement inexplorée.
Aucun ouvrage sur Venise n'avait pris en compte les textes dont il est question dans cette étude. Tantôt illustres, les auteurs de ces fictions vénitiennes sont pour la plupart ignorés, oubliés, voire méprisés. Seul l'examen de leurs textes permet cependant de mesurer l'importance d'un phénomène capital pour l'appréhension littéraire d'une ville trop souvent réduite à un cortège de préjugés immuables : la « folie vénitienne », engouement dont l'apparente futilité masque mal l'angoisse d'un monde qui refuse de croire à sa fin.

- by Sophie Basch
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- Comparative Literature, French Literature, English Literature, Travel Writing

(2019). Tesis doctoral. Universidad de Sevilla.
Programa de doctorado en Estudios Filológicos de la Facultad de Filología. Línea de investigación “Mujer, escritura y comunicación”.
Directoras: Dra. Mercedes Arriaga Flórez, Dra. María Rosal Nadales, Dra. Eva María Moreno Lago.
Tesis completa: 536 páginas.
Tesis reducida: 207 páginas.
La artista británica Evelyn Pickering De Morgan (1855-1919) suele ser ubicada por la historia y la crítica del arte en los distintos movimientos estéticos que tuvieron lugar en la segunda mitad del siglo XIX y los primeros años del XX -Prerrafaelismo, Esteticismo, Simbolismo-, pero nunca desde un enfoque estrictamente feminista, cuando la propia De Morgan fue una feminista confesa y manifiesta y a sabiendas de que, a la hora de abordar sus imágenes, emergen numerosos interrogantes e incongruencias si se pretende abordar sus pinturas desde la misma mirada de los artistas masculinos de la época. Y aunque la influencia de ciertos componentes de estas corrientes son obvias en sus obras, la crítica en general y las escasas estudiosas de De Morgan en particular no se han detenido lo suficiente en examinar hasta qué grado y con qué finalidad la artista tomó tales elementos y qué hizo con ellos. Aquí radica la razón de ser de esta tesis doctoral. la obra estética de Evelyn De Morgan, que es a la vez un proyecto ético (feminista, sororario, humanitario), plantea tantas preguntas que es preciso un cambio radical de paradigma, una mirada completamente otra que sea también una nueva manera de dar respuesta no solo a la producción de una artista concreta, sino a cualquier creadora que sea recuperada y estudiada desde la esfera feminista. Mi trabajo de investigación, como se expone en estas páginas, ha procurado la doble tarea de recuperación e intervención. Recuperamos a Evelyn De Morgan e intervenimos críticamente en su obra a través de un nuevo instrumento teórico y epistemológico, metodológico y didáctico: la iconoginia. Frente al establecido sistema dual del arte victoriano y finisecular que justificó y argumentó la supuesta superioridad masculina a través del discurso de las esferas separadas y de la (re)producción de modelos y antimodelos de identidad femenina, desde el angel in the house a la femme fatale, pasando por la damsel in distress y la fallen woman, De Morgan se mostró como creadora de personalísimas y poderosas imágenes de mujeres y para mujeres, de una iconografía propia, iconoginias de denuncia y crítica contra el dominio masculino y contra la cultura patriarcal, pero también iconoginias de empoderamiento femenino y de sororidad. En esta tesis, analizamos comparativamente las iconografías patriarcales con las iconoginias de Evelyn De Morgan, con el fin de demostrar que fue una artista que se trazó en la esfera del arte un fundamental proyecto feminista, con una nítida perspectiva de género, con conciencia de pertenecer a una genealogía y con voluntad de continuarla, a la vez que proponemos el concepto de iconoginia como nuevo instrumento hermenéutico dentro de la crítica feminista.

In the 1880s and 1890s, New Woman writers changed the face of British society and British fiction through their sexually open works, which critiqued old notions of marriage, and through their stylistic experimentation, which announced the modernist novel. New Woman scholarship has often studied their work in connection with that of French feminists of the late twentieth century, such as Julia Kristeva, Luce Irigaray, and Hélène Cixous. This article reconsiders the nature of this connection through a close examination of novels by two of the most popular New Woman authors, Mona Caird (1854–1932) and Olive Schreiner (1855–1920). I read Caird’s The Wing of Azrael (1889) and Schreiner’s The Story of an African Farm (1883) through the lens of Hélène Cixous’s theories of écriture féminine, or feminine writing, to question the accusation of biological determinism which is frequently directed at both groups of writers. By applying Cixous’s notions of feminine aesthetics, bisexuality, and alterity to Caird and Schreiner, my study provides the basis for a new understanding of their novels. More generally, it complements and qualifies the connection between the New Woman and so-called French feminism, thereby helping produce a more complex framework to study the fin de siècle.

- by Marina Cano
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- Women's Studies, Feminist Theory, Victorian Studies, Nineteenth Century Studies

This article examines Bram Stoker's Dracula (1897) as an entry into the canon of doppelgänger fiction by complicating traditional readings of the central relationship between Count Dracula and Jonathan Harker. By revisiting the novel within the framework of a doppelgänger narrative, this article suggests that part of the real terror for Stoker's fin-de-siècle audience lies in the novel's timing. Located in the gap between the retreating Romantic and advancing high modern epochs, the novel dramatizes the apprehensions of a culture experiencing enormous technological and social upheaval. Specifically, it offers in its doubled pair a means to navigate those anxieties.

This link [http://www.temple.edu/tempress/titles/2363_reg.html] leads to my Introduction to the edited collection Sexology and Translation: Cultural and Scientific Encounters Across the Modern World (Temple UP, 2015). The collection discusses the emergence of modern sexual science in Europe, Asia, Peru and the Middle East. The introduction locates the book in relation to critical debates about sexology and translation. It argues that the research gathered here complicates the idea that modern sexuality is a 'Western' construct that was transmitted around the world.

- by Heike Bauer
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- History, Cultural History, Cultural Studies, German Studies

_The Physiology of Love and Other Writings_ is the first English annotated collection of Mantegazza’s selected works. In my extensive introductory essay, Mantegazza’s hybrid contributions from fiction, travel-writing, and ethnography to physiology, medicine, and politics are reevaluated as instances of a proto-cultural-studies approach attuned to the cross-fertilization of disciplines and the circulation of ideas in a period of European intellectual history that defied the notion of specialization.
Table of contents:
The Physiology of Love
And Selections from:
On The Hygienic and Medicinal Virtues of the Coca Plant and on Nervine Nourishment in General
One Day in Madeira
A Voyage to Lapland with my Friend Stephen Sommier
India
Epicurus: Essay in a Physiology of the Beautiful
The Neurosic Century
The Tartuffe Century
Head: Or, Sowing Ideas to Create New Deeds
Political Memoirs of a Foot Soldier in the Italian Parliament
The Year 3000: A Dream
The Psychology of Translation

Depuis longtemps introuvables, les Esquisses vénitiennes font pendant à la Vie vénitienne, régulièrement réimprimée, du quotidien d'un Français à Venise au début du XX ème siècle. Petits tableau, tantôt réalistes, tantôt fantastiques, sans autre prétention que celle de suspendre des instants ou des circonstances privilégiés par la mémoire, tantôt réalistes, tantôt fantastiques, les esquisses de cet écrivain issu du Symbolisme forment un chapelet d'impressions variées, vives et mélancoliques, reflet d'une époque où les irisations ne jouaient pas dans une flaque d'essence mais sur les flacs d'un vase de Gallé.

Saggio per "Cavalleria rusticana" di P. Mascagni (con "Sancta Susanna" di P. Hindemith). Fondazione Teatro Lirico di Cagliari – Stagione lirica e di balletto 2017-2018; regia, Gianfranco Cabiddu, Orchestra e coro del Teatro lirico di Cagliari, dir. Marco Angius, m° del coro, Donato Sivo. Pubblicazioni del Teatro Lirico di Cagliari, 2018, pp. 35-47. Cfr.
https://www.academia.edu/38739147/Lurlo_del_Novecento._Tosca_nel_dibattito_sul_verismo

Survey of the relation between literature and religion in the Fin de siècle (1890-1910). Its metaphysic of the arts ("Kunstmetaphysik"), its use of epiphanies and its mythopoetics are discussed with examples from the works of Stefan... more

- by Manfred Engel
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- Religion, Cultural History, Cultural Studies, History of Religion
- by Heike Bauer
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- History, German Studies, Gender Studies, Queer Studies

Brief interpretation of Rainer Maria Rilke's "Das Stunden-Buch".

- by Manfred Engel
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- German Studies, German Literature, Literature, Literary Criticism
- by Denis Laoureux
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- Women's Studies, Fin de Siecle Literature & Culture, Women Artists, Belgian Art

Zur Domestizierung der Fremde durch den Kitsch im
19. Jahrhundert am Beispiel von Weltausstellung und Interieur

For a long time critically neglected or disparaged, Edith Nesbit's Gothic fiction is beginning to receive the scholarly attention it deserves. This essay extends analysis beyond the much anthologized “Man-Size in Marble” (1893) to argue that a feminist orientation is in evidence more widely in her works of supernatural short fiction. A preoccupation with gender is discernible in several stories that offer distinct gender critiques, and in further tales through imagery of the dead female body and the female revenant, as well as through the recurrent character motifs of the female Cassandra and the male Frankenstein. The essay also argues that the anti-vivisectionism of several stories is an aspect of this feminist orientation. The article recognizes Nesbit as being a problematic figure for scholarly attempts to reclaim feminist authors, since she herself evinced ambivalence about the women's movement and the New Woman, but argues that the unleashing of Nesbit's most counter-hegemonic impulses in her Gothic writings points to the political significance of this generic form, making Nesbit a figure of substantial interest for scholars working on women's supernatural fiction.

- by Victoria Margree
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- Women's writing, Victorian Literature, Gothic Studies, Abjection
- by Paul Dawson
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- Creative Writing, Fin de Siecle Literature & Culture, Historical Fiction

Márai Sándor sikere a nemzetközi könyvpiacon az ezredforduló éveitől hatásos cáfolatát jelenti az író várakozásainak, hiszen az emigrációban is magyarul alkotó szerző nem hitt saját műveinek fordíthatóságában. A külföldi Márai-olvasás középpontjában A gyertyák csonkig égnek című regény áll, melyet a hazai irodalmár szakma nem sorol a szerző legambiciózusabb művei közé. A siker kulcsát a Monarchia letűnt világa iránti nosztalgiahullám jelentheti. Hogyan lehetne eljutni az aktuális sikertől a Márai-életmű világirodalommal való dialógusáig? A választ a Márai-művek világ-, illetve regionális irodalmi kontextusainak feltárása adhatja meg. Ennek példájaként a tanulmány célja, hogy A gyertyák csonkig égnek nyelv-és identitásszemléletét, írásmódját az osztrák (illetve tágabban a közép-európai) modernséghez kapcsoló mélyebb összefüggésekre mutasson rá.

Nabis and Dramatists à l’Œuvre: Reflections on the Decorative from Maurice Maeterlinck to Alfred Jarry’, in Neginsky Rosina (dir.), Symbolism, its origins and its consequences, Newcastle, Cambridge Scholars Publishing, 2010, p. 367-382.

Vittorio Pica è oggetto di una rivisitazione storica relativamente recente. Nonostante gli studi pionieristici di Lamberti e Picone Petrusa, solo negli ultimi dieci anni, in effetti, è stata messa in atto un’operazione di ricostruzione della sua figura di critico d’arte, attenta alla complessità e alla varietà dei suoi interessi e agli sviluppi nazionali ed internazionali della sua attività. Tuttavia, non sono stati fin qui indagati in maniera sistematica i riferimenti al Belgio, Paese che Pica visitò in più occasioni e con il quale intrattenne continui contatti per corrispondenza, sebbene sia stato già evidenziato come la produzione letteraria e artistica della piccola e vivace nazione costituisse un ambito di grande interesse per il critico italiano. Questo contributo propone una prima indagine del legame che Vittorio Pica ebbe con alcune coeve correnti artistiche belghe. Il critico si indirizzò in particolare verso artisti nei quali aveva intuito o presagito una nota di modernità, o solo di originalità. Curioso del grottesco, del macabro, del misterioso, interessato a una certa “opacità” delle arti visive, tipica di alcune opere simboliste, Pica trovò in Belgio molteplici diramazioni di ricerca verso le quali si dimostrò osservatore perspicace e disponibile, così come nelle strategie espositive e di sociabilités.
grazie ai numerosi articoli ma anche ai cataloghi di vendita della sua collezione sappiamo dell’interesse che Pica aveva coltivato nei loro confronti, e in particolare di artisti come Ensor e Henry de groux (1866-1930), sui quali ritengo valga la pena soffermarsi in questo studio, modellato quasi esclusivamente sugli scritti pubblicati dal critico napoletano e su altre fonti indirette.

- by Laura Fanti
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- Art History, Transnationalism, Cultural Transfer Studies, Symbolism

In common with its contemporary Dracula, Marsh’s gothic novel The Beetle identifies a series of threats to the stability of late Victorian British identity. This paper focuses on the novel’s engagement with the problems of class and gender instability. It reads the narrative device in which the New Woman character is disguised as the out-of-work clerk, as equating two figures who were problematic for late Victorian culture: the proto-feminist and the unemployed male. This sub-textual identification of the two expresses a logic according to which the feminist is equivalent to the man emasculated by unemployment: both are inadequate versions of the masculinity to which they aspire. This equation, and its ideological meaning, is reinforced by the text’s problematising of these characters’ narrations in contrast to the more authoritative narratives of the male establishment figures. However, while the novel labours to establish a model of virile masculinity as its hope for the future sovereignty and security of Britain, what is perhaps most interesting is the text’s profound ambivalence about the central male character who is charged with embodying this. Like Dracula, The Beetle proposes a solution to fin de siécle anxiety; but unlike that more famous novel, it persistently undermines this solution, and emerges as a text whose irreducible mode is that of uncertainty and equivocation.