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Journal articles on the topic 'Dandyisme'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Todd, Drew. "Dandyism and Masculinity in Art Deco Hollywood." Journal of Popular Film and Television 32, no. 4 (January 2005): 168–81. http://dx.doi.org/10.3200/jpft.32.4.168-181.

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12

Zima, Peter V. "From dandyism to art or narcissus bifrons." Neohelicon 12, no. 2 (September 1985): 201–38. http://dx.doi.org/10.1007/bf02093324.

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13

Cuckovic, Aleksandar. "Dandyism and fashion: From clothes to style." Kultura, no. 141 (2013): 73–100. http://dx.doi.org/10.5937/kultura1341073c.

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14

Maciejewski, Grzegorz, and Dawid Lesznik. "Twenty-First Century Male Elegance Amongst Elegantly-Dressing Polish Males and Self-Declared “Dandies”." Marketing of Scientific and Research Organizations 40, no. 2 (June 1, 2021): 71–92. http://dx.doi.org/10.2478/minib-2021-0010.

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Abstract Dandyism was a thriving philosophical and social movement amongst elegant men of the nineteenth century. The prevailing conviction in the literature on the subject is that the dandy trend began to gradually disappear in the twentieth century, whereas in the new millennium it essentially no longer exists, or at best exists only as a mere shadow of itself. Herein we report a questionnaire study of elegantly-dressing Polish males regarding their behaviour on the fashion market, seeking to gain an better image of this particular market segment and at the same time to identify the features of contemporary dandies and possible connections with the “metro” style. The results indicate that dandyism (at least in the respondents’ opinion) is still a lively and thriving e-consumer community, which clearly differs in terms of certain features from metrosexualism. However, the modern-day “dandies” cannot easily be considered heirs to the ideals of their nineteenth-century counterparts. Our findings, in particular the characterization of twenty-first-century elegant-dressing men in Poland, may be of use to fashion brands in the broader men’s elegance segment.

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15

Hiddleston, J. A., and Bernard Howells. "Baudelaire: Individualism, Dandyism and the Philosophy of History." Modern Language Review 94, no. 3 (July 1999): 832. http://dx.doi.org/10.2307/3737049.

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16

Todd, Drew. "Decadent Heroes: Dandyism and in Art Deco Hollywood." Journal of Popular Film and Television 33, no. 4 (December 1, 2005): 168–81. http://dx.doi.org/10.3200/jpft.33.4.168-181.

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17

Stilling, Robert. "Dandyism: Forming Fiction from Modernism to the Present." Genre 53, no. 3 (December 1, 2020): 271–77. http://dx.doi.org/10.1215/00166928-8847253.

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18

Guan, Beibei. "Oscar Wilde’s Aestheticism." Journal of Arts and Humanities 7, no. 2 (February 27, 2018): 24. http://dx.doi.org/10.18533/journal.v7i2.1331.

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<p> <em>Abstract</em>-Dandyism is a very important and significant social phenomenon in 19<sup>th</sup> century Europe. This paper focuses on Oscar Wilde and Wilde’s numerous works. Aestheticism was used as a tool by the dandy in his rebellious performances in London, manifesting the contradiction between the spiritual and the material, the aristocracy and the bourgeoisie, and art and nature. The social backgrounds and life experiences of Wilde influenced his transformation into dandies during the time of the Victorian period. With his strong sense of fashion and style, and their elegant ironic use of language, the dandies focused on the importance of artificial forms - himself included — in daily life and work. The dandies’ concern was pleasure seeking through consuming the visual and actual. To this end Wilde developed unique aesthetic theories regarding evil; he looked for the beautiful in the ugly and repulsive. At the same time, Oscar Wilde criticized the hypocrisy of bourgeois morality and values, showing the genuinely ugly and evil reality beneath bourgeois industrial society, and focusing on revolt and resistance against the bourgeois world.</p><p><em>Index Terms</em>-Dandyism, Aestheticism, Revolt</p>

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19

Humphreys, Karen. ""Barbey, Baudelaire, and the 'Imprevu': Strategies in Literary Dandyism"." Modern Language Studies 29, no. 1 (1999): 61. http://dx.doi.org/10.2307/3195360.

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20

CLARKE, DAVID. "Dandyism and Homosexuality in the Novels of Christian Kracht." Seminar: A Journal of Germanic Studies 41, no. 1 (February 2005): 36–54. http://dx.doi.org/10.3138/sem.v41.1.36.

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21

Pham-Thanh, Gilbert. "Lost in Translations? Maleness, Masculinity, Dandyism, Literature and Criticism." Roczniki Humanistyczne 66, no. 5 (2018): 128–41. http://dx.doi.org/10.18290/rh.2018.66.5-9.

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22

Lane, Christopher. "The Drama of the Impostor: Dandyism and Its Double." Cultural Critique, no. 28 (1994): 29. http://dx.doi.org/10.2307/1354509.

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23

Hyunzin, Ko. "A Study on the Black Dandyism of Sapeur Subculture." Journal of the Korean Society of Costume 68, no. 6 (September 30, 2018): 150–66. http://dx.doi.org/10.7233/jksc.2018.68.6.150.

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24

Lloyd, Rosemary. "Baudelaire: Individualism, Dandyism and the Philosophy of History (review)." Nineteenth Century French Studies 30, no. 1 (2001): 193–95. http://dx.doi.org/10.1353/ncf.2001.0047.

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25

García, Frank. "Inside the NBA: Black Dandyism and the Racial Regime." Journal of the Midwest Modern Language Association 51, no. 2 (2018): 103–36. http://dx.doi.org/10.1353/mml.2018.0016.

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26

McMillan, Michael. "Saga Bwoys and Rude Bwoys: Migration, Grooming, and Dandyism." Nka Journal of Contemporary African Art 2016, no. 38-39 (November 2016): 60–69. http://dx.doi.org/10.1215/10757163-3641689.

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27

Efimova, Anna D. "DIACHRONIC ANALYSIS OF THE SEMANTIC STRUCTURE OF THE NOTION “DANDYISM”." Bulletin of the Moscow State Regional University (Linguistics), no. 2 (2018): 27–36. http://dx.doi.org/10.18384/2310-712x-2018-2-27-36.

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28

Greenfeld, Anne. ""Chemin bordé d'aristoloches": Dandyism, Projection and Self-Satire in Paludes." Australian Journal of French Studies 35, no. 2 (May 1998): 189–98. http://dx.doi.org/10.3828/ajfs.35.2.189.

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29

Harrison, Bill. "Violence, dandyism and the literary self-portraiture of Quentin Crisp." Neohelicon 44, no. 1 (November 7, 2016): 199–215. http://dx.doi.org/10.1007/s11059-016-0361-x.

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30

Ferrero-Regis, Tiziana. "Twenty-first century dandyism: fancy Lycra® on two wheels." Annals of Leisure Research 21, no. 1 (September 16, 2017): 95–112. http://dx.doi.org/10.1080/11745398.2017.1379028.

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31

Kim, Boo Young, and Hye Kyung Kim. "A Study on the Men's Jacket Fashion Design Applying 19th century Dandyism of Men's Fashion - Focused on Aesthetic Features and Figurative Characteristic of Dandyism -." Korean Society of Fashion Design 16, no. 1 (March 31, 2016): 171–88. http://dx.doi.org/10.18652/2016.16.1.11.

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32

Wiener, Oswald. "Some Remarks on Konrad Bayer: Dark Romanticism and Surrealism in Postwar Vienna." October 170 (October 2019): 61–68. http://dx.doi.org/10.1162/octo_a_00370.

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In “Some Remarks on Konrad Bayer” Oswald Wiener reflects on his deceased friend and collaborator. Arguing that Bayer's personal presence was more influential than his literary work, Wiener focuses on experiments Bayer conducted in his milieu, which aimed at predicting and manipulating the behavior of others. If the other proved hard enough to predict, according to Wiener, such experiments could complicate the participants' representations of the situation to such an extent that they would induce ecstatic states. Wiener connects these experiments to epistemological questions and relates them to different literary and artistic traditions including Dark Romanticism, Surrealism, and dandyism.

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33

Tilby, Michael. "Dandyism in the Age of Revolution: The Art of the Cut." French Studies 70, no. 2 (February 15, 2016): 269.2–269. http://dx.doi.org/10.1093/fs/knw042.

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34

Vugt, Geertjan de. "Dandyism as Monumental-Political ethos: Van Deyssel and the Walking Utopia." Dutch Crossing 37, no. 1 (March 2013): 57–78. http://dx.doi.org/10.1179/0309656412z.00000000025.

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35

COLE, SARAH ROSE. "The Aristocrat in the Mirror: Male Vanity and Bourgeois Desire in William Makepeace Thackeray's Vanity Fair." Nineteenth-Century Literature 61, no. 2 (September 1, 2006): 137–70. http://dx.doi.org/10.1525/ncl.2006.61.2.137.

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39 Alexis de Tocqueville, The Old R´´gime and the French Revolution, trans. Stuart Gilbert (Garden City, N.Y.: Doubleday and Doubleday, 1955), pp. 88-89.Taking their cue from Thomas Carlyle's Sartor Resartus (1833-34), scholars of Regency and early-Victorian dandyism have focused on a supposed opposition between the dandyism of a declining aristocracy and the moral earnestness of a rising bourgeoisie. This historical model obscures the full complexity of relations between the nineteenthcentury British bourgeoisie and aristocracy, a complexity that can be illuminated by a closer examination of William Makepeace Thackeray's works. Thackeray's novels and sketches, which are surprisingly filled with middle-class dandies (such as Vanity Fair's George Osborne and Jos Sedley) and vigorous, hypermasculine aristocrats (such as Vanity Fair's Rawdon Crawley), reverse the Victorian literary stereotypes of effete aristocrats and manly bourgeoisie. Focusing particularly on Vanity Fair (1847- 48) and on Thackeray's sketch journalism, I seek to understand why Thackeray repeatedly depicts bourgeois men who are feminized both by their vanity and by their homosocial-even homoerotic-desire for more powerful aristocratic men. My essay places Thackeray's works within recent historiographical models that emphasize the fusion of, rather than the opposition between, the nineteenth-century British bourgeoisie and aristocracy. Protesting against this fusion in the name of bourgeois independence, Thackeray indicts the British middle classes for their obsession with aristocratic concepts of gentility,a phenomenon that he was the first to label "snobbism." For Thackeray, I argue, the comic trope of bourgeois male vanity becomes an especially powerful device for critiquing"snobbism." By calling upon the scandalous figure of the mirror-gazing man,Thackeray attempts to shock his middle-class readers into acknowledging the artificial and performative nature of their own class personae.

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36

Kolomeytseva, Ekaterina B. "THE DANDY IN LITERATURE: ANALYZING THE LANGUAGE OF THE LITERATURE OF DANDYISM." Вестник Пермского университета. Российская и зарубежная филология 12, no. 1 (2020): 24–33. http://dx.doi.org/10.17072/2073-6681-2020-1-24-33.

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37

Rossbach, Susanne. "Dandyism in the Literary Works of Barbey d'Aurevilly: Ideology, Gender, and Narration." Modern Language Studies 29, no. 1 (1999): 81. http://dx.doi.org/10.2307/3195361.

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38

Botz-Bornstein, Thorsten. "Rule-Following in Dandyism: "Style" as an Overcoming of "Rule" and "Structure"." Modern Language Review 90, no. 2 (April 1995): 285. http://dx.doi.org/10.2307/3734540.

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39

Sarantou, I. M. "The Punctuational Language of Dandyism in Baudelaire's "Epigraphe pour un livre condamne"." Forum for Modern Language Studies 40, no. 1 (January 1, 2004): 14–26. http://dx.doi.org/10.1093/fmls/40.1.14.

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40

Webb, Barbara L. "The Black Dandyism of George Walker: A Case Study in Genealogical Method." TDR/The Drama Review 45, no. 4 (December 2001): 7–24. http://dx.doi.org/10.1162/105420401772990306.

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41

Breward, Christopher. "Masculine Pleasures: Metropolitan Identities and the Commercial Sites of Dandyism, 1790–1840." London Journal 28, no. 1 (May 2003): 60–72. http://dx.doi.org/10.1179/ldn.2003.28.1.60.

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42

Penney, Joel. "Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity." Text and Performance Quarterly 31, no. 4 (October 2011): 449–51. http://dx.doi.org/10.1080/10462937.2011.603055.

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43

Heller, Leonid. "Bibliography of Works on Libertinage and Dandyism (with Respect to Russian Culture)." Russian Literature 76, no. 1-2 (July 2014): 251–74. http://dx.doi.org/10.1016/j.ruslit.2014.11.008.

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44

Morgan, Thais E. "Rising Star: Dandyism, Gender, and Performance in the Fin de Siecle (review)." Victorian Studies 42, no. 4 (2000): 711–12. http://dx.doi.org/10.1353/vic.1999.0021.

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45

Finney, Gail. "Rising Star: Dandyism, Gender, and Performance in the Fin de Siecle (review)." Modernism/modernity 7, no. 2 (2000): 327–29. http://dx.doi.org/10.1353/mod.2000.0035.

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46

Braithwaite, Alisa K. "Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity." MFS Modern Fiction Studies 57, no. 1 (2011): 151–53. http://dx.doi.org/10.1353/mfs.2011.0027.

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47

Hanneken, J. "SLAVES TO FASHION: BLACK DANDYISM AND THE STYLING OF BLACK DIASPORIC IDENTITY." Comparative Literature 62, no. 4 (January 1, 2010): 423–26. http://dx.doi.org/10.1215/00104124-2010-027.

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48

Cho, Eunra. "Woman Dandyism and the Paradox of Gender : Esthetics of Worship or Revulsion." Europe Culture Arts Association 12, no. 1 (March 31, 2021): 167–81. http://dx.doi.org/10.26854/jeca.2021.12.1.167.

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49

정원석. "Verbrechen und Dandyismus – In Bezug auf die psychologische Verwandtschaft." Koreanische Zeitschrift für Germanistik 60, no. 3 (September 2019): 263–83. http://dx.doi.org/10.31064/kogerm.2019.60.3.263.

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50

PURI, MICHAEL J. "Dandy, Interrupted: Sublimation, Repression, and Self-Portraiture in Maurice Ravel's Daphnis et Chloé (1909–1912)." Journal of the American Musicological Society 60, no. 2 (2007): 317–72. http://dx.doi.org/10.1525/jams.2007.60.2.317.

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Whether understood as the elevation of material to a higher state of aesthetic being or the redirection of the libido toward socially seemly ends, the concept of sublimation has played a central but underappreciated role in accounts of Ravel and his music over the past century. Similarly, Ravel's identity as a dandy —who, according to Baudelaire, aspires to be “sublime without interruption” —has been mentioned consistently in biographical appraisals, but never deeply investigated. Incorporating a representation of the dandy's genesis from the sublimation of desire, Ravel's Daphnis et Chloé (1909–1912) offers the analyst an excellent opportunity to examine both entities in depth while also broaching a variety of related topics: repression, queer sexuality, camp aesthetics, contemporary musical politics (dandyism versus d'Indyism), and theories of autobiography.

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