Search

Aparece, en el siglo XIX, la figura del “soltero” (artista) como un gesto de resistencia ante el avance y la generalización de la vida burguesa y utilitaria que se impone en forma desmedida. À Rebours, de J.K. Huysmans, es la narración de un espíritu hastiado debido a dicha imposición. El capítulo seis de la novela recrea la figura del soltero en des Esseintes como un modo de vida de su pasado, que, a causa de la neurosis, se exacerba en un deseo de soledad y aislamiento hasta revelar un proceso de desintegración paulatina del personaje. Sostengo que, por causa de su composición estilística, esta novela desencadena hacia fin de siglo XIX un proceso declinatorio de desintegración de la figura decimonónica del soltero y crea una nueva figura, que es la del “solo”, por ello, concentraré esta lectura estético-hermenéutica en el capítulo mencionado.

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This overview article is devoted to presenting the work of Wincenty Korab-Brzozowski in a philosophical framework (focused around the following concepts: oneirism - symbolism - decadentism), in the context of various cosmological visions from the ancient times to the early 20th century. The article is an attempt to answer the question of the aesthetic value of cosmic landscapes (composed of northern lights, the night sky with stars and the moon, phantasmagorical visions of cosmic retreats), which build the poetic space in the literary legacy of the author of Domus aurea. The article looks at both the Polish and the French poems, as well as the only prose work - Wśród gwiazd [Among the Stars]. [ABSTRACT FROM AUTHOR]

This essay focuses on the story “Uno spirito in un lampone” to highlight I. U. Tarchetti’s contribution to the fantastic as a means of exploring the nightmares that haunt modern progress. Adopting a method of inquiry inspired by ecocritical principles and aimed at grounding the text in its own complex context, the author addresses two main questions: What are the cultural and social productions, conditions, and issues that inspire Tarchetti’s work? And how does his writing—in particular, his reflections on and emplotment of the relationship between reality and the imagination—contribute to the development of the fantastic mode? Through close textual analysis and wide-ranging contextual exploration, the essay shows how Tarchetti’s story puts into question the natural order and, by pointing to a connection between the treatment of women and the treatment of nature, exposes imbalances and abuses in the established order of social structures and institutions.

Copyright of Dacoromania Litteraria is the property of ACADEMIA ROMANA Filiala Cluj-Napoca Institutul de Lingvistica si Istorie Literara "Sextil Puscariu" and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Haidé: Estudis Maragallians is the property of Biblioteca de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present article follows the evolution of the approaches to the problem of authenticity, focusing on the various forms of literary authenticity reflected in modernist literary theory texts and manifestos. We will emphasize the differences and similarities between the conceptions, phenomena, and literary currents that refer to authenticity, trying to understand their causes and evolution. The subjects we will particularly draw attention to refer to the definition of authenticity throughout literary history, literary authenticity expressed within the literary currents of modernism, and the influence of philosophical conceptions concerning authenticity on modernist literature.

A rebellious and transgressive novelist of the late nineteenth century, Rachilde often recalls in her writings, in the first or third person, significant events in her “formation”. This key word sums up both her education and her earliest family, emotional and imaginative experiences. These intimate elements have left deep traces in his novels. Indeed, the latter is based on a dynamic of appropriation and transformation of what the author experienced from childhood to adolescence, in particular her suffering and anger, but also learned, such as the potentialities of literary elaboration revealed to her by her favourite authors.

Copyright of Siglo Diecenueve: Literatura Hispánica is the property of Universitas Castellae and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Siglo Diecenueve: Literatura Hispánica is the property of Universitas Castellae and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Siglo Diecenueve: Literatura Hispánica is the property of Universitas Castellae and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Siglo Diecenueve: Literatura Hispánica is the property of Universitas Castellae and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Starting with the considerations formulated by the philosopher Maël Renouard in his essay Nostalgie et mélancolie regarding the both material and symbolic meaning of a heritage and from Nietzsche's reflection on the connection between heritage and memory, we analyzed this topic from the conjugate perspective of decadent aesthetics and philosophy of decadence as approached by theorists such as Mario Praz, A.E.Carter, Richard Gilman, David Weir, Barbara Spackman, Matei Calinescu and philosophers like Friedrich Nietzsche, Oswald Spengler, or Emil Cioran and degenerationist theories of heredity from the late 19th century. From the perspective of heritage as cultural memory and defective heredity correlated with the decadent theme of the last living scion of an aristocratic family or of genius as a "superior degenerate" in Cesare Lombroso's terms, we approached two relevant texts in this sense: the novel Against the Grain by K.-J. Huysmans and the short story Remember by the Romanian writer Mateiu I. Caragiale. The decadent aesthete type becomes the depository of an extended cultural memory, a living library/pinacotheque, at a time when the heritage can no longer be passed on but only exhibited for the last time. [ABSTRACT FROM AUTHOR]

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Introduction: The comparison between East and West can be played at different levels. At a religious level, we find numerous analogies. On a more cultural level, we may detect more differences than identities. Culture in the West has long been represented by literature. Perhaps, it is to the latter that Westerners have entrusted the expression of their ideal of man. It may therefore be interesting to make comparisons with the figure of the ideal yogi as it was outlined in India. Materials and Methods: On the one hand, some recent masters and some older texts on yoga have been examined and compared with some European writers, as far as they say about the ideal of man. Results: We found that the Western man, in XIX and XX centuries, has gone through a crisis. This crisis does not seem to have touched Indian thought, at least as far as yoga is concerned. The ideal of the yogi in India has withstood the blows of criticism to which the concept of ego in the West has been subjected. Discussion: While in the West, the ego was considered as a sovereign that performs acts of government and when it fails, a crisis occurs, in yoga, the ahaṃkāra is an aspect that must be transcended in the direction of a further development of the self. These differences in the conception of ego may partially explain the success and spread of yoga in the West.

Analyzing some of Alexandru Macedonski's poems, written both in Romanian and in French, this study aims to outline the construction of macedonskian masculinity as a reflection of the decadent theatricalization of identity, demonstrating that his vitalistic and dominant hyper-virility is closely linked to the obsession with self-representation which in its narcissic ambiguity allows us to glimpse eccentric and non-normative aspects of a multiple masculinity. [ABSTRACT FROM AUTHOR]

Copyright of Literatura y Lingüística is the property of Universidad Catolica Cardenal Raul Silva Henriquez and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the body expression of the unconscious, from the 1880s to the 1920s. Associated with a form of primitivity, this ‘corporal unconscious’ is in fact a style, and a style itself strongly identified with a technical innovation: first of all, the medical technique of hypnosis, then the aesthetic technique of film projection, conceived or assumed as a process of artialization.

This article explores the body expression of the unconscious, from the 1880s to the 1920s. Associated with a form of primitivity, this "corporal unconscious" is in fact a style, and a style itself strongly identified with a technical innovation: first of all, the medical technique of hypnosis, then the aesthetic technique of film projection, conceived or assumed as a process of artialization. [ABSTRACT FROM AUTHOR]

This paper will deal with one of the earliest phases of Aleister Crowley's (1875–1947) life: his university years spent writing Decadent poetry. Contrary to the vast majority of previous critics, biographer John Symonds in primis , I will set forth the hypothesis that, far from being an amateur and inconsistent lyricist, Crowley fit perfectly within the British Decadent milieu of his day, and should also be considered a bona fide Decadent poet, alongside his more famous colleagues Arthur Symons and Ernest Dowson. Through an analysis of Crowley's Cambridge years, literary influences, and of the poet's own verse, it will be my resolve to prove this hypothesis and situate the figure of Crowley qua poet as a legitimate representative of the Naughty Nineties, and to position his poetic output within the already accepted canon of British Decadent verse. [ABSTRACT FROM AUTHOR]

In this paper we will highlight some aspects of Un viaje de novios that are not closely related to the canons of realism. The elements of Romanticism, decadentism and symbolism reveal a conscious and premeditated theoretical basis. The novel thus has an allegorical character that the author calls symbolism or representational truth where bodies, gestures and poses of the characters become decisive in the interpretation of the novel. [ABSTRACT FROM AUTHOR]

The Adriatic Sea, between the Italian and Dalmatian coasts, so close to each other, is a land of historical, economic and literary interesection. The novel Il Cerusico di mare, by the then young D'Annunzio, belongs to this universe. A text with obvious loans from Verga and Maupassant, pierced by dialogues in the Pescara dialect, and which recounts a navigation through the sea painted from the European decadence. [ABSTRACT FROM AUTHOR]

Introduction: The comparison between East and West can be played at different levels. At a religious level, we find numerous analogies. On a more cultural level, we may detect more differences than identities. Culture in the West has long been represented by literature. Perhaps, it is to the latter that Westerners have entrusted the expression of their ideal of man. It may therefore be interesting to make comparisons with the figure of the ideal yogi as it was outlined in India. Materials and Methods: On the one hand, some recent masters and some older texts on yoga have been examined and compared with some European writers, as far as they say about the ideal of man. Results: We found that the Western man, in XIX and XX centuries, has gone through a crisis. This crisis does not seem to have touched Indian thought, at least as far as yoga is concerned. The ideal of the yogi in India has withstood the blows of criticism to which the concept of ego in the West has been subjected. Discussion: While in the West, the ego was considered as a sovereign that performs acts of government and when it fails, a crisis occurs, in yoga, the ahaṃkāra is an aspect that must be transcended in the direction of a further development of the self. These differences in the conception of ego may partially explain the success and spread of yoga in the West. [ABSTRACT FROM AUTHOR]

Copyright of Estudis Romànics is the property of Institut d'Estudis Catalans and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Archivum is the property of Universidad de Oviedo, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Soletras is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article discusses the literary tradition of decadentism. It focuses on two groups of writers from Rio Grande do Sul and tracks the formation of decadentism among them and their adherence to it. The major aim of this study is to characterize the writings of both groups of authors, emphasizing what unifi es them. Since many ways of narrating modernity were forgotten since the establishment of the strong critical traditions associated with modernism, this study also aims to recover narrative modes and aesthetic cultures presents in Brazil before modernist period, such as decadentism. The constant mobility of these separate literary cultures eventually came together to form a unified literary culture in Rio de Janeiro capable of sheltering elements from several parts of the country. [ABSTRACT FROM AUTHOR]

The article presents the previously unread novel Gluvne čini (Dead Spells) from 1930, by Aleksandar Ilić (1890-1947), the writer who, after the Second World War until 1982, was excluded from the space of Serbian culture for political reasons. Neurastenia - the disease of the main character of the novel becomes a kind of response to the modernization processes experienced by him. [ABSTRACT FROM AUTHOR]

This study examines the reasons for the complex structure of Gozzano’s La vía del refugio (1907), the first book of poetry out of the two he published during his lifetime. This collection of poems brings together the first phase of Gozzano’s poetry (1901-1907) where Gabriele d'Annunzio’s aesthetic influence is predominant. During the preparation and structuring of this first book for its publication, in 1907, Gozzano had to hid this clear influence due to the intelligent change of direction of his poetics which evolved towards a type of anti-aesthetic poetry and, therefore, against d’Annunzio’s own poetry. The censorship that the poetic texts underwent resulted in a book seemingly devoid of d’Annunzio’s elements in which the author assumed a conception of poetic language which was more in agreement with the European poetic experimentation of the time and was also aimed at the literary expression of full spiritual freedom.

Copyright of Anales de Literatura Hispanoamericana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In her essay Mihai Eminescu o dell'assoluto Rosa del Conte, reflecting on the chromatic sensibility of Mihai Eminescu, remarked that in modern literature only Charles Baudelaire could be placed next to the Romanian poet for his almost morbid passion for all glittering materials: metals, crystals, precious stones. In this contribution we propose to begin a systematic study of the Eminescian mineral imaginary by focusing our attention, this time, only on the "crystalline reveries". By analyzing the symbolic valorizations of the crystal, considered in all the hypostases disseminated in the Eminescian texts (diamond, emerald, ruby, sapphire, pearl), we will show that for Eminescu the crystal does not represent only the image of a world in the world containing individual destiny, but also a "space-light" which, in its inorganic fixity and imperishable stability, materializes an "oneiric space-time" of eternity. [ABSTRACT FROM AUTHOR]

Copyright of Revista Soletras is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article reviews murder as an aesthetic creation in the short story 'Blanco y Rojo' by Bernardo Couto Castillo. It discusses the different functions that violence can play in narrative as well as the relationship between literature and morality. To understand the specific role of murder in Bernardo Couto's 'Blanco y Rojo', we review the aesthetic proposal of the Mexican decadentistas of the late nineteenth century, who were frequently labeled as immoral by their contemporaries. We will see that, in the case of Couto’s story, the violence does not lie so much in the content, the narration of a murder, but in the fact of violating the moral and literary creation norms of his time, the Porfiriato.

The main concern this articles deals with is, first, the elusive conceptual definition of the «radical right». In the last years a, so called, new consensus, has been developed in the literature of this field. The core of this new consensus about the radical right is the palingentic form of nationalism, form this pant of view the decadentism and the claim for a social renewal is a central point in the political thought of the radical right. In this article we deal with the decadent subjects of the radical right, pointing mainly to the apocalyptic tone of some major contributors of the radical right in the interwar France and Germany. In the second part we analyze the role of decadentism in the cotemporary work of some relevant authors of the European radical right, Alain de Benoist and Julius Evola. Finally we translate their idea of decadence of Europe to the political arena as shown the discourses of some right extremist European parties.

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article studies the key concept of 'life' within the context of Italian modernism, understood in the broad sense of a network of cultural responses in the period from 1861 until the mid-1930s. Following Roberto Esposito's suggestion that the transversal category of life is distinctive for Italian 'living thought' (Esposito), the 'living poetics' here exposed focuses on three key literary moments in which the crucial relationship between life and art is radically redefined. D'Annunzio's 'life as art' aesthetics develops a 'lifestyle' with an individualist as well as nationalist dimension with its climax in the First World War. Futurism, starting from the axiom that war is the sole hygiene of the world, develops instead an 'art as life program' with which to revolutionize not only present life but also the afterlife. Finally, the young realists of the 1930s bring back absolutist notions of life to their realist and private proportions in order to create a poetics of reconstruction after the trauma of the Great War. A comparison between these literary moments shows how the concept of life not only is a constitutive element of an Italian 'living poetics,' but also that literary change entails a constant redefinition of autonomist and heteronomous aspects of the paradoxical tension between art and life. [ABSTRACT FROM AUTHOR]