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The turn of the twentieth century in Finland saw an increasing number of popular articles and books on health, which were published within the broader framework of 'social hygiene' and aimed at children, young people and their families. This article examines how young people articulated concerns about their own mental health in the context of these campaigns to improve social hygiene. Based on an extensive body of original sources consisting of medical advisory material and letters written by the young, the study reveals how young people saw themselves in this health context—especially when writing about their 'nerves' or 'nervousness'. Drawing on more recent methodological investigations in the history of childhood, this study adds the much-needed perspective of the young people themselves as subjects experiencing these problems, to counterbalance the otherwise exclusively expert discourses on the subject of mental hygiene. [ABSTRACT FROM AUTHOR]

H. G. Wells's serial fable The Sea Lady (1902) offers a satirical commentary on the Victorian Age: It draws a societal allegory that criticises both a cohesive conception of the natural world, and Victorian notions of the domestic realm – in the private and national sense of the term. Yet the story has long been regarded as an oddity in the author's oeuvre. Wells's Victorian contemporaries criticised its lack of scientific detail so characteristic of his more successful scientific romances. The reason for this appears to be the story's eponymous central figure – a mermaid, supposedly rather the stuff of legend, folklore and fairy tales. However, by opening up a utopian realm in which 'better dreams' await, the figure of the sea lady destabilises Victorian moral orders as a potential discovery of the future lingers on the horizon of the century's turn. In this article, I foreground the story's ecofeminist potential by analysing the intersections between its unconventional form, the 'untameable female' protagonist at its centre, and the specific oceanic and littoral environments it presents. [ABSTRACT FROM AUTHOR]

During the first decade of her Mercure de France book review column, Rachilde evolved from an avant-garde provocatrice to an established literary figure. While denigrating bourgeois taste and traditional critical authority, Rachilde asserted the critic’s duty to champion literary underdogs and to defend readers from mediocre works. She used the ‘Romans’ column to assert an alternative vision of literary value and to re-position herself in the wake of Decadence and Symbolism.

Summary: Using the example of the fin‐de‐siècle German Reich, this article outlines how insomnia emerged as a "disease of civilisation" in an industrialising society, defined by time‐specific notions, reflecting and strengthening the social norms of the time. Furthermore, it analyses the process of individualisation and flexibilisation that transferred the social struggles and economic demands of modernity onto the subject's body or soul. The history of insomnia around 1900 thus reveals a pattern of thought that shaped the understanding of the insomniac throughout the 20th century. [ABSTRACT FROM AUTHOR]

This article provides a comparative study of the underlying cognitive structures laid out in Arthur Machen's decadent novella The Great God Pan (1894) and Friedrich Nietzsche's "On Truth and Lying in a Non-Moral Sense" (1873). It scrutinizes the images of the "chamber of consciousness" and "the house of life", deployed by the German philosopher and the Welsh author respectively, and explores how the use and the stylistic qualities of both images affect and determine the overall conception of reality exposed in each work. This analysis helps identify Nietzschean undertones in Machen's novella, which, in turn, allows an interpretation of The Great God Pan through the lens of Nietzsche's discourses on cognition and reality. The reading resulting from the analysis puts forward two conclusions. Firstly, Nietzsche's concept of "Dionysian wisdom" brings to light and informs a specific and yet unexplored source of horror in Machen's novella, i.e., the feeling of revulsion developed by Helen Vaughn's victims after they experience Dionysian rapture. Secondly, the analysis of the concepts of reality implied in Nietzsche's and Machen's imagery contributes an argument for the idea of reality as becoming in the context of Machen's novella. [ABSTRACT FROM AUTHOR]

Defined as the individual and recurrent association of the mental image of a color with the perception of a sound, colored hearing—including the sensory perceptions named synesthesia from the 1890s onwards—had a substantial impact on both the arts and sciences during the last quarter of the nineteenth century. During this media age, chronicles, popular essays, fiction, works by art, literary, and theatrical critics, and caricatures dealing with this modality of sensory perception multiplied in the newspaper and specialized press, in fashion newspapers, and in the satirical press. Often in dialogue with each other, these articles and drawings constitute a corpus testifying of the international reception of the arts and sciences of synesthesia. Above all, the press articles reflect a keen interest in synesthesia, which emerged as a social topic that, at times, aroused exasperation or enthusiasm but most often curiosity and perplexity. Three main postures stand out in the critical reception of synesthetic or polysensorial works of art: doubts about the reality of these perceptions, which were expressed in spite of the scientific endorsement from which the synesthesia benefited; the enthusiasm stemming from the emergence of novel perceptions likely to transform one's relationship to art and the world; and, finally, the belief that these perceptions testified to a degeneration of art and humanity. The aim of this article is to observe how these questions, fundamental to the history of aesthetic appreciation, were presented to the large and diverse reading public of the fin-de-siècle press in order to highlight the conceptions and judgments associated with synesthesia as well as the endogenous links forged among sensory perception, progress, and decadence. This approach allows us to better grasp the enthusiasm and resistance generated by questioning the hierarchies that have governed the history of the senses and the arts. Définies comme une association individuelle et récurrente de l'image mentale d'une couleur à la perception d'un son, l'audition colorée, puis les perceptions sensorielles nommées synesthésies à partir des années 1890, ont connu un important retentissement à la fois dans le domaine des arts et des sciences pendant le dernier quart du dix-neuvième siècle. À l'ère médiatique, les chroniques, critiques d'art, critiques littéraires ou théâtrales, essais de vulgarisation, textes de fiction mais aussi les caricatures abordant cette modalité de la perception sensorielle se multiplient dans la presse quotidienne et spécialisée, mais aussi dans les journaux de mode et dans la presse satirique. Dialoguant souvent entre eux, ces textes et ces dessins constituent un corpus témoignant de la réception internationale des arts et des sciences des synesthésie. Les articles de presse rendent ainsi compte avant tout d'un vif intérêt pour les synesthésies, qui s'imposent comme un sujet de société suscitant parfois de l'exaspération ou de l'enthousiasme, mais le plus souvent de la curiosité et de la perplexité. Trois postures principales se détachent dans la réception critique des oeuvres d'art synesthésiques ou polysensorielles : le doute quant à la réalité de ces perceptions qui s'exprime en dépit de la caution scientifique dont les synesthésies bénéficient, l'enthousiasme que suscite l'idée de nouvelles perceptions susceptibles de transformer le rapport à l'art et au monde et, enfin, l'idée que ces perceptions témoignent d'une dégénérescence de l'art et des hommes. Il s'agit d'observer comment ces questions si fondamentales pour l'histoire de l'appréciation esthétique ont été présentées au public large et diversifié des lecteurs et lectrices de la presse fin-de-siècle afin de mettre en évidence les conceptions et jugements associés aux synesthésies ainsi que les liens endogènes tissés entre perception sensorielle, progrès et décadence. Cela permet de mieux saisir les enjeux de l'enthousiasme et des résistances suscitées par la remise en cause des hiérarchies qui gouvernaient l'histoire des sens et celle des arts. [ABSTRACT FROM AUTHOR]

Far from being a mere rebuttal against romanticized views of the Middle Ages, Mark Twain's A Connecticut Yankee in King Arthur's Court engages constructively with the medievalist milieu of the late-Victorian fin-de-siècle. Twain depicts sixth-century England as a time of squalor, but he extends a level of appreciation to the selflessness of King Arthur. Framing time-traveling rabble-rouser Hank Morgan as a symbol of both Enlightenment reformism and self-aggrandizing authoritarianism that justifies wanton violence through abstract claims of societal progress, Twain is as critical of industrial commercialism as of medieval feudalism. This article argues Twain engages with the same questions as the more overtly medievalist writers of the fin-de-siècle, specifically William Morris. While Morris was more laudatory toward the medieval period, this article asserts they both staunchly criticized the solipsism and obsession with technology they believed defined the industrial age without desiring merely to re-create the hierarchies of the past. [ABSTRACT FROM AUTHOR]

Copyright of Impossibilia: Revista Internacional de Estudios Literarios is the property of Impossibilia: Revista Internacional de Estudios Literarios 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 the late 1890s, chemists devised industrial processes to manufacture milk protein powders, now a major fitness food category. These peculiar and flavorless inventions were made from skimmed milk waste from modernised dairies. This paper explores why manufacturers made them and why the British ate them, by examining what commentators and eaters wrote and read about them. The two leading brands were near-identical materially, but became understood differently. Purportedly, Plasmon was a scientifically-advanced proteinaceous muscularizing product while Sanatogen was a phosphorated nerve supplement which imbued intellect and willpower. Their positionings were shaped by the myth-making power of advertising, amplified by the power of celebrity testimonies and the authority of scientific experts, and tempered by press and consumer' reactions. Scientific knowledge was used reductively, and was shaped by cultural values. Consumers were complicit in this framing: the technification of these white powders provided mechanisms for self-improvement. Consumers simply needed to swallow. [ABSTRACT FROM AUTHOR]

Copyright of Essays in French Literature & Culture is the property of University of Western Australia 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.)

As the foremost organ of the French satirical and illustrated press, the weekly Le Rire captivated a broad reading public in the final decade of the nineteenth century. At the crossroads of commercial entertainment and mass media, Le Rire sought to champion caricature and comic illustration as art forms worthy of serious merit and to make humor a powerful tool for political, cultural, and social commentary. This article aims to assess the periodical's impact in its time, and furthermore, contends that Le Rire was a determinative force in reshaping public mores toward comedy and satire, carrying the legacy of nineteenth-century developments in the history of French caricature into novel modes of expression and consumption at the turn of the twentieth. [ABSTRACT FROM AUTHOR]

The great leisure travel movement that occurred in the 19th century came late to Portugal, largely due to the influence of the geo-political vicissitudes of the first half of the 19th century, particularly the French invasions and the consequent refuge of the Portuguese court to Brazil, as well as the subsequent liberal civil war. In this changing atmosphere, the foreign dimension became, for Portuguese nationals, an imperative that was more desired and sung about than experienced, so that it was only towards the end of the century that the necessary conditions were met for some Portuguese to pack their bags and set off across borders. Hence, their testimonies (literary and artistic) are precious records of an iconic time: the Belle Époque. This article proposes a transversal reflection based on the legacy left by some of the Portuguese travellers between the end of the 19th century and the beginning of the 20th century, crossing a phenomenon that is transversal to western society in mutation in a consideration of travel as an element of modernity. In this sense, and bringing together a set of names of Portuguese culture who experienced the journey abroad, it is intended to perspective a thematic of authorial worldview heir to the journey of the Portuguese Expansion whose genealogy shaped the globe on a planetary scale and which the twenty-first century is heir to.

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Les auteurs et artistes des dernières décennies du XIXe siècle montrent une évidente obsession eschatologique, qu’elle concerne le déclin de la nation, de la civilisation, ou de l’humanité tout entière. Cette inquiétude se décline en une poétique et une esthétique de la finitude que la « décadence » désigne comme un mot-totem. Pourtant, cette fin-de-siècle, qui se croit à la fin de tout, puise dans les nouveaux savoir portés sur les origines (préhistoire, évolutionnisme) les ferments de ses visions apocalyptiques. Il s’agira, dans cette étude, de comprendre l’implication des connaissances sur les débuts des temps dans l’imaginaire de la fin des temps. Car, dès lors que cette culture se positionne sur l’échelle de l’espèce qu’invitent à penser ces nouveaux savoirs, il semblerait que mourir, ce n’est pas tant « partir beaucoup », pour reprendre le trait plaisant d’Alphonse Allais, c’est peut-être et avant tout revenir.

Cette étude aborde les récits brefs d’anticipation parus dans la presse entre 1860 et 1940 qui traitent de sexualité. Trois veines distinctes de cette thématique sont envisagées en fonction de leur effet littéraire et pragmatique : l’anticipation gauloise, érotico-pornographique et fantaisiste.

The works of such late-Victorian writers as Lionel Johnson, Ernest Dowson, Theodore Wratislaw, John Oliver Hobbes and Oscar Wilde represent Catholic churches as retreats set apart from the ugliness and mediocrity of Victorian England—religious versions of Des Esseintes’s Fontenay-aux-Roses house in À rebours—filled with incense, organ music, and coloured light filtering through medieval stained-glass windows. In Dowson’s correspondence or in his poem ‘Benedictio Domini’, in Johnson’s ‘Our Lady of France’, in Wratislaw’s ‘Palm Sunday’ and ‘Songs to Elizabeth’, in some of Wilde’s stories, the opposition between inside and outside expresses figuratively the fundamental incompatibility between an ideal of beauty, embodied in the aesthetic experience of the church, and the coarseness of the outside world. This article explores how such a polarised vision reflects contemporary debates about the interior organisation and decoration of churches. Drawing on William Whyte’s analyses of changing attitudes towards church architecture in the 19th century in Unlocking the Church: The Lost Secrets of Victorian Sacred Space (OUP 2017), it shows how literary representations of church interiors in fin-de-siècle literature reflect the shift from the Protestant aniconic, congregation-centred approach to church design, in favour of an architecture of affect and sensation, where space and ornamentation lead the worshipper to experience the divine through a sensory overload. It focuses on two aspects of church architecture and decoration that are foregrounded in fin-de-siècle poetry and fiction—and were highly polemical in the late Victorian context because of their association with the Ritualist controversy and with ‘Romishness’: the eastward position, i.e. the celebration of the Eucharist on a stone altar fixed to the back of the chancel rather than on a wooden communion table facing the congregation; and altar candles, which were condemned in anti-ritualist pamphlets as both pagan and ‘popish’. Through these two examples, this article argues that fin-de-siècle literary representations of church interiors reflect a major change in the perception of sacred space, from the ‘auditory church’ (Whyte) of the 18th century, where function (essentially focused on the proclamation of the word of God) dictated the organisation of space and even the furnishings, to the ‘visual church’, saturated with symbolism, where the eye, rather than the ear, becomes the central organ of religious experience.

Copyright of Anales de Filología Francesa is the property of Servicio de Publicaciones de la Universidad de Murcia 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.)

Le dérèglement dans À rebours de Huysmans et Madame Gervaisais des frères Goncourt doit être rapproché du sentiment de décadence, prégnant en Europe occidentale à la fin du XIXe siècle. Le duc des Esseintes et Mme Gervaisais subissent les désordres d’un monde disharmonieux, désordres auxquels la musique participe. Sa présence au coeur des romans sous forme d’ekphrasis témoigne à la fois d’une fascination pour cet art parfois jugé supérieur, et d’une compétition entre les arts.

After the first death of Sherlock Holmes in 1893, both Arthur Conan Doyle and L. T. Meade turned to the medical short story in order to fill the gap in the popular market. While Meade's series in The Strand (1893–96), in collaboration with Dr Clifford Halifax, were extremely popular and created a new, sub-genre of detective fiction, Doyle's stories, published in Round theRed Lamp (1894) were not well-received. The irony in this comes from the fact that Meade managed to adapt the Sherlock Holmes formula to medical fiction, while Doyle did not learn from his own success. [ABSTRACT FROM AUTHOR]

Encompassing the final decades of Habsburg rule and the rise of modern culture, the cosmopolitan and Jewish Vienna of the fin de siècle was a despised locus in the Nazi historical imaginary. Vienna 1900 was a polyglot, multicultural city, a place where European Jewry had risen to unforeseen heights of economic prosperity and cultural influence; many Nazi ideologues, historians, and authors focused on the verjudet nature of late imperial Vienna. A variety of strategies were employed to distance the Nazi present from Vienna 1900; it was alternately suppressed and ignored, or deeply vilified. Yet the period was also inseparable from two figures celebrated in Nazi Vienna: Mayor Karl Lueger and artist Gustav Klimt. This article examines Nazi discourse on Vienna 1900, especially that originating from Viennese writers, ideologues, and political figures. Reflecting both scholarly and popular views, I examine academic texts, books for popular readers, films, and art exhibitions. After examining the perception and appropriation of Vienna 1900 between the years 1938 and 1945, I end by exploring its instrumentalization in a different context. In an ironic twist of history, the very period suppressed and derided in Nazi discourse would in turn be called upon, by the 1970s, to distract from the shadow of the Nazi era that still hung over the city. [ABSTRACT FROM AUTHOR]

Kokoschka’s first literary work The Dreaming Youths (Die träumenden Knaben) was published in 1908. The work includes a poem with eight colored and two black and white lithographs. Although the young artist was commissioned by the Wiener Werkstätte to make a children’s picture book, the end result seemed quite different: a sort of personal tale of self-discovery and sexual awakening during puberty placed in a dream scenario. Kokoschka himself remembers in his autobiography only following the task in the first lithograph. The aim of this paper is to show how Kokoschka actually continued to draw on the language of fairy tales, although apparently taking distance from it. The crucial role of children’s literature in adult life emerges especially within the process of shaping childhood memories and approaching traumatic experiences. The use of fairy tales becomes, therefore, an autobiographical urge and a means to tell personal experience through a universal language.

A prolific author and master imitator, Catulle Mendès can be considered as the archetype of the decadent creator who makes up for a lack of originality with spectacular virtuosity, gigantism and preciosity (Vladimir Jankélévitch). Our article examines the rhetoric of the literary monster and the monstrous writer, which is firmly grounded in contemporary reviews, but also in Mendès's novels, through the figures of the impotent artist and the successful creator. The Mendesian teratogony reveals the weaknesses of the writer in need of inspiration, and indicates a very perceptive reflection about essence, power and the aims of artistic creation. [ABSTRACT FROM AUTHOR]

Copyright of Encounters in Theory & History of Education / Rencontres en Theorie et Histoire de l'Educacion is the property of Queen's University, Faculty of Education 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.)

A hundred thirty years after his dramatic death, António Soares dos Reis (ASR) remains a huge challenge for art history understanding and art criticism interpretation, since he has been seen simultaneously as “a Greek, […] a realist, […] a classical, […] and a naturalist” (Arroyo, 1899: 78). His major sculpture – O Desterrado – being “an existential work” (França, 1966: 454) escapes from the classic orthodox aesthetic analysis, standing apart from the typical sculptural work of late 19th century. Our hypothesis is that ASR art works like a Rorschach test, for the narratives referred to it, instead of unveiling its character, reveal the concepts and beliefs upon which successive art studies have been produced. No visual images are displayed in this text, since the aim of our study is to detect the mental images associated to the insights and models that art historians and other authors traditionally used to assess ASR’s artistic work.

L’arrivée de 1900 terrifie les consciences françaises. Le sentiment de déréliction véhiculé par cette apocalypse s’incarne de manière privilégiée dans l’organe génital féminin. Il est celui qui a permis la première transgression : sa mise à nu sécrète les éléments d’une épiphanie redoutable. La littérature et la clinique fin-de-siècle captent cette inclination et mettent en scène les multiples transgressions féminines : transgressions psychiques (folles et hystériques), corporelles (avortées et femmes châtrées), pathologiques (syphilitiques et nymphomanes) ou encore sexuelles (onanistes et saphistes) balayent toutes les productions écrites de l’époque. L’objectif de cette communication serait ainsi d’étudier la représentation de ces transgressions du sexe féminin dans les textes romanesques, du naturalisme au décadentisme, mais aussi des textes issus de la clinique, thèses et articles de médecine, montrant par là une complémentarité des écritures. A cette question s’ajoute celle de la finalité : pourquoi exposer le mal ? Faire le choix d’une telle thématique n’est-ce pas proprement provocateur ? Ne traduit-il pas, in fine, une volonté du romancier et du médecin de s’affirmer soi-même comme transgressif ? Dans quelle mesure cette exposition ne correspondrait-elle pas à un exercice cathartique ? Nous analyserons cet espace de tension organique et littéraire posée par la matrice fin-de-siècle.

The present paper makes use of Michel Foucault’s theory from Discipline and Punish according to which one of the means by which women’s bodies are controlled is through their hystericization by the power-knowledge-wielding medical profession. Taking Stoker’s famous novel as a case in point, I mean to show that the men of the novel, embodiments of Reason and Empire, gathered around the guiding medical intelligence of professor Van Helsing, act upon the bodies of the vampirized women (Lucy and Mina) in a way that is the metaphorical expression of the symbolic violence perpretated against women socially. Thus, the novel is gothic in more ways than one: its much-discussed portrayal of sexually-liberated femininity through vampirization finds its counterpart in the less-approached medical masculinity, a reinforcer of masculine domination.

The year 2021 marks the bicentenary of Captain Sir Richard Francis Burton (1821-1890). This discussion assesses Burton's career as a Victorian soldier, explorer, and writer through the theoretical framework of Edward Said's Orientalism. Burton spent years immersed in the languages and cultures of the Arab-Islamic world; while serving as an agent in the British Empire, he also challenged assumed western social and moral superiority to eastern cultures. Burton's controversial translation of the Arabian Nights (1885-1888) reveals his resistance to British sexual norms by presenting the East as a site of erotic liberation. Defying censorship laws, Burton delighted in displaying his knowledge of eastern pornography and homosexual practices. As a landmark of European scholarship and a book considered shockingly explicit by contemporaries, Burton's Nights proves to be the major work of an enfant terrible of the Victorian fin de siècle. [ABSTRACT FROM AUTHOR]

Before the mid-nineteenth century there were few subjects in the altarpiece tradition of the Evangelical Lutheran Church of Finland in which the central figures accompanying Christ were female. Seldom used or new motifs involving female characters now emerged behind the altar. Most of the altarpieces with central women figures were painted in Finland at the turn of the twentieth century by the artist Alexandra Frosterus-Såltin (1837–1916). In the nineteenth century Frosterus-Såltin was the only artist in Finland who realized the motif of ‘Christ Appearing to Mary Magdalene’ in her altarpieces. In her final representation of the theme, the altarpiece in the church of the Finnish Jepua commune, she chose an unusual approach to the motif. My interest in the subject lies in the motif’s affective nature – the ways in which altarpieces in general have been actively used to evoke feelings. Moreover, I consider the influence that Alexandra Frosterus-Såltin, a significant agent in Finnish sacral art, had on consolidating the position of women’s agency in the Finnish altarpiece tradition. I examine the motif in relation to the cultural and political atmosphere of the era, especially the changing gender roles and the understanding of women’s social agency as the women’s movement emerged.

The present paper makes use of Michel Foucault's theory from Discipline and Punish according to which one of the means by which women's bodies are controlled is through their hystericization by the power-knowledge-wielding medical profession. Taking Stoker's famous novel as a case in point, I mean to show that the men of the novel, embodiments of Reason and Empire, gathered around the guiding medical intelligence of professor Van Helsing, act upon the bodies of the vampirized women (Lucy and Mina) in a way that is the metaphorical expression of the symbolic violence perpretated against women socially. Thus, the novel is gothic in more ways than one: its much-discussed portrayal of sexually-liberated femininity through vampirization finds its counterpart in the less-approached medical masculinity, a reinforcer of masculine domination. [ABSTRACT FROM AUTHOR]

This study offers a reading of the widespread character type of the ‘Femme Fatale’ which focuses on the developments of this figure as a trope of Decadent literature in British works of the 1890s. In particular, the paper finds an element of comparison between the Decadent orientation towards an instrumental depiction of the Orient and the portrayal, in theater and fiction, of mysterious and seductive women corresponding to the trope. The texts used to illustrate the functional role of these female characters are Oscar Wilde’s play Salomé and Arthur Machen’s novella The Great God Pan, both of which employ aestheticizing strategies that are meant to elevate the object of desire by making it inaccessible. These strategies are ultimately defined as a process of identification between Wilde’s and Machen’s female protagonists and the features, or remnants, of a remote, pagan past.

In recent cosmopolitan work, scholars such as Julia Kristeva, Zygmunt Bauman, Jacques Derrida, and Ulrich Beck have represented the stranger as a universal ideal for our global age and Georg Simmel's stranger in the Exkurs über den Fremden has been emphasized as a model for this ideal. While these uses can be justified by generalized passages in Simmel's essay, they still omit the problem of European Jewish historical exemplarity. Thus, in the decades before Simmel's essay, this stranger type was already a well-developed figure related to the so-called Jewish question. Georg Brandes and Henrik Pontoppidan used the Jewish stranger to evaluate the societal changes of the fin-de-siècle period and questions of progress vs. decay. Yet, their work limited the stranger to a specific type of Jewishness not including other marginal existences. Hence, reading Simmel with Brandes and Pontoppidan outlines the boundaries of this stranger type as it raises questions regarding recent cosmopolitan uses of Simmel's stranger. [ABSTRACT FROM AUTHOR]

Copyright of Oceánide is the property of Spanish Society for the Study of Popular Culture (SELICUP) 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.)