Relevant bibliographies by topics / Dandyisme

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Dandyisme'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Dandyisme"

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Wiener, Oswald. "An Ego of Her Own." October 170 (October 2019): 69–94. http://dx.doi.org/10.1162/octo_a_00371.

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The essay formulates a theory of dandyism that relates the literature of Dark Romanticism to computer science and psychology. Oswald Wiener describes dandyism as an ambivalent response to scientific and technological developments that reduce human beings to their observable behavior and seek to render them predictable. Dandyism, according to Wiener, articulates itself in social experiments in which the dandy adopts a behaviorist perspective yet at the same time distances himself from any aspect of his personality whose mechanisms he thereby understands.
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Nicolay, Claire. "DELIGHTFUL COXCOMBS TO INDUSTRIOUS MEN: FASHIONABLE POLITICS IN CECIL AND PENDENNIS." Victorian Literature and Culture 30, no. 1 (March 2002): 289–304. http://dx.doi.org/10.1017/s1060150302301141.

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THOMAS CARLYLE’S CONTEMPTUOUS DESCRIPTION of the dandy as “a Clothes-wearing Man, a Man whose trade, office, and existence consists in the wearing of Clothes” (313) has survived as the best-known definition of dandyism, which is generally equated with the foppery of eighteenth-century beaux and late nineteenth-century aesthetes. Actually, however, George Brummell (1778–1840), the primary architect of dandyism, developed not only a style of dress, but also a mode of behavior and style of wit that opposed ostentation. Brummell insisted that he was completely self-made, and his audacious self-transformation served as an example for both parvenus and dissatisfied nobles: the bourgeois might achieve upward mobility by distinguishing himself from his peers, and the noble could bolster his faltering status while retaining illusions of exclusivity. Aristocrats like Byron, Bulwer, and Wellington might effortlessly cultivate themselves and indulge their taste for luxury, while at the same time ambitious social climbers like Brummell, Disraeli, and Dickens might employ the codes of dandyism in order to establish places for themselves in the urban world. Thus, dandyism served as a nexus for the declining aristocratic elite and the rising middle class, a site where each was transformed by the dialectic interplay of aristocratic and individualistic ideals.
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Glick, Elisa. "The Dialectics of Dandyism." Cultural Critique 48, no. 1 (2001): 129–63. http://dx.doi.org/10.1353/cul.2001.0035.

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Schillinger, Jakob. "Oswald Wiener on Dandyism." October 170 (October 2019): 31–50. http://dx.doi.org/10.1162/octo_a_00368.

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The article introduces readers to Oswald Wiener's writings on dandyism from the late 1970s and early 1980s and relates them to Wiener's previous work with the Vienna Group and his seminal text “the bio-adapter.” At the core of Wiener's aesthetic, according to the author, is a problematization of human behavior as it was conceptualized and operationalized by behaviorism and cybernetics. Drawing on systems theory and on the work of Gilles Deleuze and Félix Guattari the article argues that what is at stake in Wiener's texts is not so much a hypothetical difference between human and machine as the question of how different components, such as humans and computers, are assembled into a machine through recursive communication.
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Guan, Bei, and Jian Xie. "Morality and Evil in Baudelaire’s The Flowers of Evil." English Language and Literature Studies 7, no. 4 (November 2, 2017): 73. http://dx.doi.org/10.5539/ells.v7n4p73.

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Dandyism reflected the social reality and the rebellious spirit of resistance within 19th century Western Europe. As an aesthetic dandy, Baudelaire combined form, spirit and rebellion. He forever sought beauty with passion and sincerity. His work was about a decadent spirit and wild ideas, he displayed to his world the evil flowers of aestheticism, and thus fulfilled the last flash of light of an aesthetic heroism. The article investigates the dandyism of Baudelaire and his aesthetic revolt, and how his works represented rebellion towards the bourgeois authority.
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Krizhovetskaya, O. M. "DENDISM AS A TRANSCULTURAL PHENOMENON." Bulletin of the Tver State Technical University. Series «Social Sciences and Humanities», no. 3 (2020): 28–33. http://dx.doi.org/10.46573/2409-1391-2020-3-28-33.

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The phenomenon of dandyism is considered as the open cultural system, the ultra-disciplinary integrity, and the borderline creativity. Dandyism combines possibilities that are not realized in existing cultures. Some perspectives of «dandy discourse» in modern culture are outlined. The article raises the problem of productivity of this unique phenomenon in a retrospective context. It concerns such a complex culture object as fiction, in particular, its component targeted at the tastes of mass reading public and those social models of behavior that are implanted today by mass culture.
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Gamalova, N. "Innokenty Annensky: the poet’s appearance." Voprosy literatury, no. 4 (August 19, 2021): 118–39. http://dx.doi.org/10.31425/0042-8795-2021-4-118-139.

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The topic of the article places it within the overlapping boundaries of literary criticism, the history of 19th-c. men’s suits, and memoirs.The methodology of the study involved comparing all contemporary descriptions of I. Annensky’s appearance with his photographs as well as Parisian fashion magazines with articles on men’s fashion, in particular, on collars and neckties; it was mostly these items of his wardrobe that caught the eye of the people who wrote about Annensky. And if it seems that descriptions like ‘overly ceremonious’ and ‘old-fashioned’ begin to dominate the memoirs, it is not because of Annensky alone but rather that, instead of recording what they saw with their own eyes, their authors tend to engage in a dialogue protracted in time and defined by contradictions, concessions and repetitions. The scholar concludes that, not only in his poetry but also in appearance, Annensky was a direct successor of the French poètes maudits with their dandyism. Interestingly, there was no contradiction between Annensky’s poetry and dandyism and his bureaucratic airs; in fact, dandyism and the Decadent fondness for beautiful artefacts perfectly coexisted with the distinguished public office of this Tsarskoe Selo resident.
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Hörner, Fernand. "Dandyismus und popkultur." POP 2, no. 1 (March 1, 2013): 156–76. http://dx.doi.org/10.14361/pop.2013-0121.

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Ko, Hyunzin. "A Historical Review of Black Dandyism." Journal of the Korean Society of Costume 70, no. 2 (April 30, 2020): 98–116. http://dx.doi.org/10.7233/jksc.2020.70.2.098.

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Foffani, Enrique. "Figura del poeta en la iconografía vallejiana: pobreza y dandismo." Archivo Vallejo 1, no. 1 (November 29, 2018): 17. http://dx.doi.org/10.34092/av.v1i1.32.

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Este ensayo se propone leer la figura del poeta y los modos con que Vallejo la construye en su escritura (sobre todo en la poesía y en las cartas) para confrontarla con los textos iconográficos, en especial con la fotografía. Como punto de partida, se pretende discernir los alcances de la pobreza del autor tal como esta se registra en la biografía, es decir, como creciente intensificación particularmente en los últimos años de su estadía europea. La hipótesis del ensayo consiste en sostener que Vallejo se esmera en construir esa imagen en las poses y el vestido registrados en las fotos y, de esa manera, sitúa su propia imagen al resguardo para impedir poner en riesgo la dignidad del escritor. Por eso el dandismo de Vallejo es un dandismo de la pobreza, y el uso del traje su expresión más elocuente. ABSTRACTThis paper intends to understand the poet’s figure and how Vallejo built it in his writing (especially in poetry and letters) to compare it with the iconographic texts, especially photography. As a starting point, it is intended to discuss the author’s poverty scope reflected in his biography that is to say in increasing intensification, particularly in the last years of his European stay. The hypothesis of this paper is Vallejo’s endeavor to build an image through the poses and clothing in the photos and, thus, protecting his own image to prevent compromising his dignity. So the dandyism of Vallejo is a dandyism of poverty and the use of a suit is his most eloquent expression. Keywords: Vallejo, poet’s figure, dandyism, poverty, iconographic texts, photography, biography.
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Dissertations / Theses on the topic "Dandyisme"

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Burton, Tara Isabella. ""Narrative dandyism" : the theology of creation in the French decadent-dandyist novel, 1845-1907." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:4bb3da1e-a2f8-40bf-ba9c-c960ebf6976c.

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This thesis explores how selected "decadent-dandyist" writers of late 19th century France at once exemplify and subvert the self's act of shaping and imprinting its own selfhood upon the world: a model in which an autonomous, discrete artist-self freely creates, and in which both reader/audience and artistic "subjects" are treated as raw canvas and denied agency of their own. Storytellers like Barbey D'Aurevilly, Villiers de l'Isle-Adam, J.K. Huysmans, and Remy de Gourmont create not only hyper-artificial, cloistered, "auto-telic" (to use Charles Taylor's term) textual worlds (e.g. Huysmans' theïbade raffinée) but also hyper-artificial selves: presenting themselves and their often autobiographical protagonists as dandy-artists for whom artistic creation is an extension of self-creation. Central to this thesis is the 19th century figure of the dandy - he who, to quote D'Aurevilly, "[causes] surprise in others, and [has] the proud satisfaction of never showing any oneself." Appropriating the divine power of self-fashioning, the dandy transforms the chaos of existence into a clear narrative over which he alone exerts control, denying that he himself is subject to the control of the world. In my thesis, I first explore the cultural and economic roots of this understanding of the autonomous dandyist-artist in the light of wider tensions in 19th century Paris. I then explore selected "decadent-dandyist" texts through close reading, focusing on the theological implications of our authors' treatment of narrative, character, setting, and language: showing how our writers cast doubt on both the possibility and morality "autonomous" creation on theological grounds. Finally, I ask how constructive theologians might learn from our authors' condemnation of "dandyist" storytelling to create a new Christian aesthetics for the novel: proposing elements of an alternate, "kenotic" novel, in which self-projection gives way to "self-giving", a model based not on power and ego but rather on love.
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Brito, Cláudia Sofia Simas Monteiro. "Dandyism survival." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2020. http://hdl.handle.net/10400.5/20522.

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Dissertação de Mestrado em Design, apresentada na Faculdade de Arquitetura da Universidade de Lisboa, com a especialização em Design de Moda para obtenção de grau de Mestre.
O presente trabalho versa o tema do universo do movimento: Dandy, como tendência na moda no vestuário masculino e a influência que o mesmo exerceu desde o seu aparecimento, até aos dias de hoje. O Dandy é o homem moderno perfeito, que opta por viver a vida intensamente, que dá um enorme valor e atenção ao esteticismo e à beleza dos pormenores, quer exteriores quer interiores. Reúne características bastante peculiares e vanguardista para a sua época. Obcecado pelo requinte na forma de ser, estar e vestir, mantendo-se à margem do que é comum. Numa primeira parte da dissertação, foi realizada uma abordagem sobre a origem, do Dandyism Europeu e também dos Black Dandies, com o propósito de perceber o seu contexto histórico-cultural. Damos a conhecer arte da Alfaiataria, de modo a entender a sua história, bem como uma pequena exploração de certas técnicas por estes usadas, passando também por práticas mundanas. Do mesmo modo passamos pela Indústria da Confecção, desde da Revolução Industrial do séc. XIX até a certos acordos e práticas da altura. Com o objectivo de unir estes dois temas na produção da colecção-cápsula, surge assim uma colaboração com o Grupo Diniz & Cruz. Por fim, com os elementos formais e visuais recolhidos na fase teórica, pretendeu-se então dar-lhes continuidade através da criação de uma coleção-cápsula no universo do vestuário masculino, que aplique os princípios do Dandyism com todas as suas componentes, com recurso à Arte da Alfaiataria e á confecção Industrial. O arranque do processo criativo foi feito com um inquérito ao público-alvo, de modo a compreender e conhecer os Dandies do dia de hoje. Concluindo-se, com uma micro-validação do projecto final deste mesmo grupo de homens.
ABSTRACT: The present work deals with the theme of the universe of the movement: Dandy, as a fashion trend in men’s clothing and the influence that it has exercised since its appearance, until today. Dandy is the perfect modern man, who chooses to live life intensely, who gives enormous value and attention to aesthetics and the beauty of details, both exterior and interior. It has very peculiar and avant-garde characteristics for its time. Obsessed by the refinement in the way of being, being and dressing, keeping to the margin of what is common. In a first part of the dissertation, an approach on the origin of the European Dandyism as well as of the Black Dandies, with the purpose of understanding their historical-cultural context. Henceforth, we showcase the art of tailoring, in order to understand its history, as well as a small exploration of certain techniques used by them, also passing through mondaine practices. We also go through the Clothing Industry, since the Industrial Revolution of the century. XIX as well as certain agreements and practices of the time. In order to unite these two themes in the production of the capsule collection, a collaboration with the Diniz & Cruz Group emerges. Finally, with the formal and visual elements collected in the theoretical phase, it is intended to continue them through the creation of a capsule collection in the universe of men’s clothing, which applies the principles of Dandyism with all its components, using Tailoring and Industrial clothing. The creative process started with a survey of the target audience, in order to understand and meet today’s Dandies. In order to conclude the project, it finalizes with micro-validation of the final project of this same group of men.
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Venter, Dawid Johan. "Die aristokraat-virtuoos in die moderniteit : die ontwikkeling van die Franse Fluitskool in die laat negentiende eeu (Afrikaans)." Diss., University of Pretoria, 2008. http://hdl.handle.net/2263/23578.

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During the early 19th century, the flautist became known as a frivolous “dandy” figure whose extravagant appearance suited his light and virtuoso playing. He becomes a so-called professional virtuoso, generating his own income in the absence of aristocratic patronage while entertaining the rising bourgeois public, who demands light yet virtuoso performances. Many artists are disillusioned in this sphere where the arts seem to be reduced to something that is merely utile to the public – a form of entertainment; a social tool. The greatest concern of writers and poets is that the universal truth of their modern reality will not be expressed in art. It becomes the quest of these seemingly disempowered intellectuals to fight this tendency and to express the existential anguish, uncertainty and ennui of the modern materialist society through their art. It is against this background that the concept of the flautist as “aristocratic virtuoso” is developed. This idea opposes the concept of the “professional virtuoso” of the early 19th century. In this society where artists have to find their voice without the support of the aristocratic classes, 19th century disillusioned poet Charles Baudelaire develops the concept of a symbolic cultural aristocracy, wherein the artist is a privileged outsider “on the inside”; a spectator who takes up all of everyday existence, and transforms it into a profound poetic reality. It is with this theory in mind that I develop my thesis of the flautist as aristocratic virtuoso – a figure who captures the universal beauty of his time through his music and shares it with his audience. This dissertation is, therefore, a study of the events that brought about this re-definition of the role of the flautist in the 19th century. It explores the contribution of prominent composers, the impact of the Société Nationale de Musique Française and the French Flute School, as well as the development of the instrument. AFRIKAANS : Gedurende die vroeë 19de eeu onderskei die fluitis hom as ‘n byna windmakerige “dandy” figuur; sy fisieke voorkoms passend by sy ligte, dartelende tog uiters virtuose spel. Hierdie vroeë 19de eeuse fluitis staan bekend as die professionele virtuoos, omdat kunstenaars nie meer die beskermheerskap van die aristokrasie geniet nie, en vir hulle bestaan afhanklik word van die bourgeois publiek wat indrukwekkende, dog verteerbare vermaak van musici vereis. Verskeie kunstenaars voel vervreem in hierdie sfeer waarbinne die kunste gereduseer word tot iets wat “van nut” is vir die publiek. Die grootste kommer van skrywers en digters is dat dit wat van universele waarde in die realiteit van hulle epog is, nie tot uitdrukking kom in die kunste nie. Skrywers en intellektuele voel hulleself ontmagtig en dit word hulle doel om teen hierdie tendens te stry en deur hulle kuns die eksistensiële angs, onsekerheid en leegheid van die moderne materiële bestel uit te beeld. Dit is in hierdie denkraamwerk dat die konsep van die fluitis as “aristokraat virtuoos” sy oorsprong het. Hierdie idee staan vanselfsprekend in teenstelling met die “professionele virtuoos” van die vroeë 19de eeu. In ʼn samelewing waar die kunste sonder die reële gegewe van die aristokratiese beskerming en bevordering ʼn medium moet vind waarbinne hulle eie moderniteit uitgedruk kan word, ontwikkel die 19de eeuse ontnugterde digter Charles Baudelaire die konsep van ʼn nuutgevonde simboliese “kulturele” aristokrasie. Hy ontwikkel ʼn interessante dualiteit rondom die kunstenaar wat as bevoorregte objektiewe buitestaander ten nouste betrokke is by die samelewing en wat daarvoor verantwoordelik is om die tydelike met die ewige te verbind deur sy/haar kuns. Dis vanuit hierdie idee dat ek ʼn saak maak vir die fluitis as aristokraat virtuoos – as figuur wat binne die medium van musiek die skoonheid van sy tyd vasvang en met sy gehore deel. My studie is dus ‘n ondersoek rondom die gebeurtenisse wat hierdie hervorming in die 19de eeu meebring. Ek bestudeer komponiste wat ‘n belangrike bydrae lewer tot die fluitrepertorium, en ondersoek die stigting van die Société Nationale de Musique Française en die Franse Fluitskool, en die ontwikkeling van die instrument self. Copyright
Dissertation (MMus)--University of Pretoria, 2010.
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Carlson, Heidi. "Dandyism: Creating a Tradition for Consumption in London Society." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/319.

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Guan, Beibei, and 关贝贝. "Rebellion as aestheticism: the dandyism of Charles Baudelaire and Oscar Wilde." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45706037.

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Fremiot, Anne. "Barbey d'Aurevilly : identite et difference dans la fiction du dandy." Thesis, University of Nottingham, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243661.

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Kerr, Darin Douglas. ""The Idea Of Beauty In Their Persons:" Dandyism And The Haunting Of Contemporary Masculinity." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431098722.

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Glogorovska, Kristina. "EXPLORATION OF THE GENDER MYTH VIA FASHION MEDIA : ANDROGYNY AND DANDYISM IN CONTEMPORARY FASHION MAGAZINES." Thesis, Stockholms universitet, Centrum för modevetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-62780.

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This paper attempts to analyze different representations of "androgyny‟ as fashion tendency in contemporary fashion magazines (Vogue, i-D and LOVE Magazine) for the period of 2010 and 2011. In order to show the development of "androgyny‟ as fashion tendency, this study first explores how androgyny metamorphosed from a "hidden‟ signifier of unconventional sexuality to "visible‟ postmodern teaser for sexual identities. Currently, we live in the "Age of Androgyny‟ where the modern androgynous dandy is being seen as an aphrodisiac for the fashion industry. This study also tries to provide explanation of how "androgyny‟ and "dandyism‟ evolved from concepts to parallel trends in fashion due to their frequent and simultaneous reappearance in fashion media. In order to create nuanced portrayal in the understanding of androgyny and dandyism, qualitative method was used by describing, analysing and interpreting the representation of these trends in three different fashion and art publications. The fact that this tendency for "gender fusion‟ is increasingly finding its way into mainstream culture, with emphsis on the fashion industry, raises the question of whether the society is more open towards different gender expressions or is "androgyny‟ just another exploitative form for the fashion industry.
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Knapp, Ferdinand Mathes. "Dandyism as a principle of aesthetic composition : a study of Georg Büchner, Franz Kafka and Oswald Wiener." Thesis, University of Cambridge, 2002. https://www.repository.cam.ac.uk/handle/1810/265453.

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In considering the dandy, this study does not concern itself so much with the historical figure, but rather with the specific mode of dandyistic writing. It seeks to understand the term "dandyism", and so explain the move from the dandy as a social phenomenon to dandyism as a principle of aesthetic composition. The core of my argument is that the dandy-figure has from the beginning constituted itself as a written text, and that this understanding opens up questions of identity, origination and the nature of writing. Part I takes Buchner's own dress-sense as a point of departure, through an analysis of Dantons Tod and Leonce und Lena, which focuses on questions of clothing, of the symbolic economy of seeing, and of the relationship between machinery and writing. Proceeding from the dandyism of Buchner to that of Kafka, I argue in part II that Kafka' s dandyism is a development of Buchner' s. Kafka addresses the question of clothing throughout his writing, starting with the shiny surfaces of elegant clothing that particularly occupy him in his early texts (Betrachtung and Beschreibung eines Kampfes) and moving to the virtual nakedness of the very last ones (Ein Hungerkunstler). The analysis demonstrates how Kafka's early aestheticism folds into the late asceticism, with the dandy embodying the tension between the aesthetic and the ascetic. Finally, I show in part ill how Wiener takes the dandy figure and exhausts it. For him, the dandy is a thing of the past; in his essay Eine Art Einzige, for example, he defines the dandy as a "letzter metaphysiker". Paradoxically, Wiener frames his essay on the dandy with highly technical discourses, and so this chapter does not take Wiener' s account of the dandy and his epistemology of machines at face value, but rather reads them together and against each other. In order to show how he achieves this, I undertake a close examination of Wiener' s main work, verbesserung von mitteleuropa, roman. The Conclusion brings the various threads together in a historic framework and so demonstrates a continuity (but not identity) between the three authors in the mode of dandyistic writing.
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Ström, Maria. "Man eller mus? : En studie i representationer av maskulinitet och dandyism i Alexander Golovins porträtt av Mikhail Tereshchenko." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-39670.

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The purpose of this study is to analyze the representation of masculinity of Mikhail Tereshchenko as painted by Alexander Golovin at the beginning of the 20’th century, and to connect masculinity to the values of dandyism. An iconological analysis, in the style of Erwin Panofsky, and literary research resulted in various findings. Dandyism could partly be seen as a reaction against the normative masculinity, or hegemonic masculinity stated by R.W. Connell. Both Tereshchenko and Golovin were in their everyday life surrounded by highly regarded dandies and it is likely that they were influenced by the sprezzatura, esthetics and values of dandyism. The portrait reveals the wealth and status of Tereshchenko through the clothing and artefacts visible in the painting. These objects correspond with the importance of the ‘detail’ in dandyism. Golovin and Mir Iskusstva is a great example of how artists as a social group nourished dandyism in ways other than outer appearance.
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Books on the topic "Dandyisme"

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Hielkema, André, ed. De Dandy, of, De overschrijding van het alledaagse: Facetten van het dandyisme. Meppel [etc.], Netherlands: Boom, 1989.

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d'Aurevilly, J. Barbey. Dandyism. New York: PAJ Publications, 1988.

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d'Aurevilly, J. Barbey. Dandyism. New York: PAJ, 1988.

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d'Aurevilly, J. Barbey. Dandyism. New York: PAJ Publications, 1988.

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de Vugt, Geertjan. Political Dandyism in Literature and Art. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90896-0.

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Depressive Dandys: Spielformen der Dekadenz in der Pop-Moderne. Köln: Böhlau, 2009.

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Dandismo e intertextualidade n'A correspondência de Fradique Mendes. Lisboa: Imprensa Nacional-Casa da Moeda, 2013.

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Rising star: Dandyism, gender, and performance in the fin de siècle. Princeton, N.J: Princeton University Press, 1998.

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L'art d'être odieux: Nouveaux essais sur le dandysme. [Alès]: Bayol, 2010.

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Slaves to fashion: Black dandyism and the styling of black diasporic identity. Durham: Duke University Press, 2009.

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Book chapters on the topic "Dandyisme"

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Ralickas, Vivian. "Lovecraft’s Debt to Dandyism." In New Directions in Supernatural Horror Literature, 127–53. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95477-6_7.

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Najarian, James. "Keats and Arnold’s Dandyism." In Victorian Keats, 72–99. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9780230596856_4.

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Vainslitein, Olga. "Russian Dandyism: Constructing a Man of Fashion." In Russian Masculinities in History and Culture, 51–75. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9780230501799_4.

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de Vugt, Geertjan. "Introduction." In Political Dandyism in Literature and Art, 1–33. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90896-0_1.

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de Vugt, Geertjan. "The Dandy-Insect." In Political Dandyism in Literature and Art, 35–59. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90896-0_2.

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de Vugt, Geertjan. "Tumulte." In Political Dandyism in Literature and Art, 61–94. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90896-0_3.

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de Vugt, Geertjan. "Twilights." In Political Dandyism in Literature and Art, 95–128. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90896-0_4.

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de Vugt, Geertjan. "Of Dandies Dying." In Political Dandyism in Literature and Art, 129–54. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90896-0_5.

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de Vugt, Geertjan. "L’après dandysme." In Political Dandyism in Literature and Art, 155–82. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90896-0_6.

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de Vugt, Geertjan. "Senses of Community." In Political Dandyism in Literature and Art, 183–208. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90896-0_7.

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