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Weinfortner, Almir Jose. "Cristianismo e decadence." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278707.
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Orientador: Jose Oscar de Almeida MarquesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: o propósito básico deste estudo é procurar compreender a vontade débil a partir da relação conceitual entre a décadence e o Cristianismo. Para trilhar tal caminho, é imprescindível que sigamos as pegadas de Nietzsche, desenvolvendo uma crítica à religião, mais especificamente ao Cristianismo. O estudo tem início com a discussão acerca do fenômeno da crença religiosa, buscando o seu significado e fundamento. Um dos alicerces básicos deste primeiro momento é a atenção dedicada à estruturação do conceito de fé, tal como aparece em O Anticristo. Desenvolvida esta questão, num segundo momento procuramos compreender a vontade débil a partir do Cristianismo - segundo Nietzsche, melhor representante desse tipo de vontade. Alicerçamos este estudo na configuração do Cristianismo como um "mau inimigo", nos conceitos de "corrupção da vontade" e "compaixão" - elementos conceituais de importância considerável na caracterização do Cristianismo desenvolvida por Nietzsche. Esta discussão encaminha para o desenvolvimento do capítulo que trata do conceito de décadence. O estudo tem início com a apresentação do que Nietzsche considera sua "experiência pessoal com a décadence", da qual ele se considera um "mestre". Na seqüência do capítulo, aprofundamos a discussão do conceito de décadence, apresentando a influência que Nietzsche teve da leitura da obra Essais de psychologie contemporaine, de Paul Bourget, a partir das críticas que faz à Richard Wagner, em O Caso Wagner. Talvez seja nessas críticas que se pode perceber de uma forma melhor sistematizada as características do processo de décadence. Processo este que encontra na vontade asceta o seu melhor representante e no Cristianismo a sua melhor sustentação. Feitas discussões conceituais básicas, no final do capítulo procuramos mostrar, nas pegadas de Nietzsche, o Cristianismo como "religião da décadence". Por fim, no quarto e último capítulo, buscamos perceber os fundamentos da afirmação de que o Cristianismo é o principal represente da décadence, a partir de sua origem e caracterização histórica. Para tanto, seguimos o percurso conceitual desenvolvido por Nietzsche em O Anticristo, passando pela história de Israel, a interpretação do tipo psicológico de Jesus e sua desfiguração histórica, cujo principal responsável foi o apóstolo Paulo. Uma das principais preocupações da filosofia de Nietzsche foi a denúncia de um tipo de vontade que se quer forte negando os fundamentos da própria força, na afinnação de valores que enfraquecem o tipo homem.E aqui nos deparamos com o Cristianismo, como a religião responsável pela universalização desses valores. Desenvolvendo o percurso teórico apresentado neste estudo, procuramos compreender alguns dos traços da indignação filosófica nietzscheana
Abstract: The basic purpose of this research is to try to comprehend the weak wish from the conceptual relation between décadence and the Christianity. To thresh such way, it is essential to follow Nietzsche's footprints, developing a criticism to the religion, more specifically to the Christianity. The study has beginning with the discussion conceming the religious belief phenomenon, seeking your meaning and foundation. One of the basic foundations of this first moment is the dedicated attention to the faith concept structuring, just as it appears on The Antichrist. Developed this matter, in a second moment we try to comprehend the weak wish from Cristianity - according to Nietzsche, the best representative of this kind of wish. We base this study on the Christianity configuration as a "bad enemy", in the "wish corruption" concepts" and "compassion" - conceptual elements with considerable importance in Christianity's characterization developed by Nietzsche. This discussion forwardfor the chapter development that care for décadence concept. The study has beginning with the presentation that Nietzsche considers his "personal experience with décadence", in which he considers himself as a "master". In the chapter sequence, deepen décadence concept discussion, introducing the influence that Nietzsche had of the work reading Essais de psychologie contemporaine, of Paul Bourget, from his criticisms to Richard Wagner, in The Case of Wagner. Perhaps is in these criticisms that is possible to realize in a better systematized form the characteristics of décadence process. Process that finds in the weak wish your best representative and in the Christianity its best support. Done basic conceptual discussions, at the end of the chapter we try to show, in the footprints of Nietzsche, the Christianity as a "décadence religion". Finally, in the fourth and last chapter, we seek to realize the affinnation of the foundations that the Christianity is the principal representative of décadence, from its origin and historica1 characterization. For so much, we follow the conceptual route developed by Nietzsche in The Antichrist, passing through Israel's history, the interpretation of Jesus's psychological type and his historical disfigurement, which principal responsible was the apostle Paulo. One of the principal philosophy preoccupations of Nietzsche was the accusation of a kind ofwish that is wanted strongly denying the foundations ofthe force, in the values affinnation that weaken the man. And here we come across to the Christianity, as the responsible religion for universalization of these values. Developing the introduced theoretical route in this study, we try to comprehend some of the philosophical indignation nietzscheanna traces
Mestrado
Filosofia
Mestre em Filosofia
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Bowles, Henry Miller. "Anatomy of "Decadence"." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493344.
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Examining the perception of literary decline in Greek, Latin, Arabic, and Persian, this study unearths an enduring taboo, one little changed by place and time, against verbal creation too readily sacrificing “nature” and “truth” to artifice and phantasy. The fading of the taboo after the nineteenth century, when “Decadent” yields to a non-normative name for the present (“Modern”), is without precedent. Demonstrating the opprobrium’s enduring nature, this study compares for the first time four literary traditions’ confrontations with a “Decadence” whose similarities have been conjectured since philology’s “golden age.”
Chapter I examines two ancient polemics against decline, the tableaux of decay painted by the Avestan liturgical texts and the Attic Greek thinkers before new attitudes towards verbal creation. A similar tableau emerges in Roman reactions to post-Augustan eloquentia’s “decline,” as the analysis of Tacitus in chapter II demonstrates. Chapter III gives voice to non-specialist Imperial reactions to the “decline” heralded by the Second Sophistic, analyzing Plutarch’s and Marcus Aurelius’s rejections of verbal art. Chapter IV considers the effort to regulate artifice within the rhetorical tradition, examining the two great Hellenistic and Imperial authorities (Demetrius and Quintilian).
Chapter V finds the prohibition unbroken in the earliest Arabic debate over suqāṭ (“Decadence”). Al-Āmidī’s Muwāzana is a summary statement of the rejection of verbal creation too enamored of facticity. Conversely, chapter VI looks to post-Classical Persian voices enshrining this very conception of verbal creation. Suhrawardī, Mullā Ṣadrā, and Ṣāʾib call for a language reflective of little other than wahm (“imagination”) and himma (“desire”).
Chapter VII examines “Decadence” in Greek and Arabic post-Classical fiction. The erosion of μῦθος by ψυχή as the banal desire of non-heroic protagonists eclipses action, as phantasy, shown through the pathetic fallacy, irradiates out into the world, supports critics’ contention: Imperiousness of imagination goes with the genera dicendi’s loosening and the pull of language from the inhuman towards personal fancy. “Decadence” in fiction reflects a literature democratized, one mirroring (petty-) bourgeois interests. This is, argues chapter VIII, a premonition of Modernity: With Gutenberg and Calvin, with an unprecedented accessibility and banality of letters, the taboo against subjectivism and facticity recedes.Comparative Literature
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Riley, Nathan T. "Decadence and creation /." Available to subscribers only, 2007. http://proquest.umi.com/pqdweb?did=1453232581&sid=8&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Pittock, Murray. "Decadence and the English tradition." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:6fa01d5c-e900-4ee8-9fb6-a8c3645e0bdd.
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The thesis sets out to do two things. It seeks first of all to describe the revival of interest in the Caroline era which defines the nature of an "English Tradition" in the Eighteen Nineties. Secondly, in doing so it seeks to reappraise three significant poets of that era, Ernest Dowson, Lionel Johnson, and Francis Thompson, in terms of their participation in this revival. The first chapter, "Craving Viaticum", deals with the general background of the Eighteen Nineties period. It suggests that the Symbolist movement equates with the Decadent one in a more direct way than has often been allowed, and deals with the era's enthusiasm for nostalgia and past ages as part of its reaction against current society. It also explores the period's allegiance to hero-figures. The second chapter, "The French Connection: Pater's Part", deals with Walter Pater, and evaluates him in terms of his art and criticism, suggesting how these develop from a nostalgic desire to re-create past ages in the image of his present ideals. The more exaggerated claims made by critics of his work for the influence of French writers on him are questioned, and Pater's relation to the "English Tradition" is discussed. In the third chapter, "The French Connection: Other Approaches", the tendentiousness of those critics who attempt to define the entire Decadent era in Britain in terms of French influences is discussed and exposed. The fourth chapter, "New Births of Decadence: The English Tradition and the Seventeenth Century", deals with the relation of the literature of the period to the Caroline era in detail, and the fifth chapter, "Of Academic Interest", is concerned with analysing this relationship through discussion of both contemporary and present-day critics, adducing statistical evidence to prove a resurgence of interest in the writers of the Caroline era in the period 1880-1910. The sixth chapter, "By the Statue of King Charles: The Jacobite Revival" deals with the political and religious aspects of the Caroline revival, and charts the growth of neo-Jacobitism in the Eighteen Nineties and its relation to literary history. The seventh chapter, "Against Nature: Defining Decadence", suggests that the root of Decadent thinking is myth, and that the counterpart of Symbolism in the world of decadent nostalgia was the iconic religious and political culture of the court of King Charles I, a convenient archetype for Decadent myths of ritual, aristocracy, and martyrdom. This discussion closes the first part of the thesis. "Francis Thompson, Faithful Decadent: Catholics and Criticism" is Chapter Eight. It discusses Francis Thompson in relation to his critics, and the manner in which views of his work have been polarised between two main schools of criticism. Chapter Nine, "Faithful in my Fashion", suggests a resolution of this historically polarised critical discussion by assessing Thompson's poetry in close relationship with the work of the seventeenth-century sacred poets. The tenth chapter, "Waif of Romance: The Poetry of Ernest Christopher Dowson", assesses Dowson in relation to Herrick and the Cavalier lyrists, discussing also how he stands as a type in relation to his age. The eleventh chapter, "Lionel Johnson: One of Those Who Fall: His Life and Ideas", is concerned with the crisis in Johnson's thought over the natures of guilt and beauty, and how this is illustrated in his poetry. The twelfth and final chapter, "The Life and Work of Lionel Johnson: A Long Blast Upon the Horn: His Work and Themes", assesses Johnson's nostalgia for the Stuart era in terms of a resolution of his present poetic crisis through past values. His intellectual and intertextual relationships with Ben Jonson and Marvell are also discussed. The thesis closes with an assessment of Johnson's achievement based on his allegiance to the Caroline revival with which the argument throughout has been concerned.
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Pino, Morales Cristián. "Moby Dick and trascendental Decadence." Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/110469.
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Benhardus, Nellene. "British literary decadence and religion." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6055.
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Throughout British decadent literature, authors creatively experiment with religion. While part of this experimentation is a matter of how authors represent religious subjects or syncretized religious traditions, a much more foundational level of this experimentation seeks to redefine “the religious” altogether. Collectively, the authors in this study seek to redefine “religion” as focused around community, ritual, and aestheticism over creed or dogma. This new definition resonates with the way many twentieth-century sociologist, theologians, and psychoanalytic theorists have discussed the nature and role of religion in Western society, and I rely on these thinkers throughout my methodology.
Also central to my methodology is my suggestion that the primary lens through which critics often read British decadence is the lens of experimentation and redefinition. It has been well established that British decadents creatively experimented with their representations of gender and sexuality, their use of genre, and their incorporation of Western philosophy, yet their treatment of religion—specifically the Western religious traditions which appear in their works—has been largely unexamined. This project argues that the British decadent authors’ creative treatment of religion is central to their works and to their broader experimental project.
In my first chapter, I suggest that the experimental work that Pater does with philosophy, art theory, and genre has its roots in the experimental work he does with religion. Pater espouses a syncretic approach to religion which sees Christianity as the most recent, and most evolved, link in a series of conversant religious and philosophical traditions. At the same time, he opposes the institutionalization of religion as well as any violence that might take place in its name. In my second chapter, I claim that Oscar Wilde’s destabilization of language—separating words from their denotative meanings—lays the groundwork for his separation of religious ideology from the aesthetic and communal elements of religion. My third chapter argues that decadent religion, as imagined by Pater and Wilde, was not always easily integrated into religious life. I suggest that the sadomasochistic imagery seen throughout some of Francis Thompson’s works signifies a larger conflict between his attraction to decadence and his devotion to Catholicism. In the final chapter, I consider Vernon Lee, a woman writer who spent much of her life in Continental Europe. I claim that her position on the fringes of British, male, decadent society allowed her a unique vantage point, from which she repeatedly examined the decadent religious project even as she valued a secular, moral humanism over that project.
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Wishart, Ruth. "Georg Trakl and the literature of decadence." Thesis, University of St Andrews, 1994. http://hdl.handle.net/10023/13361.
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This thesis examines the poetry of Georg Trakl within the context of literary decadence in Europe at the turn of the century (1880-1914). It provides an analysis of Trakl's early writing, and traces themes of literary decadence which recur throughout his work, particularly in the late prose and the dramatic fragment of 1914. In so doing, it also undertakes a comparative study of Trakl's poetry and decadent literature in Austria, Germany, France and England. Chapter One looks at the literary background and attempts a definition of what was understood by literary decadence in France and Germany at the end of the nineteenth century. Chapter Two examines motifs of crime and horror in Trakl's writing, paying particular attention to the concept of Lustmord in the early dramas Blaubart and Don Juans Tod and the later dramatic fragment of 1914. Chapter Three examines the issue of sexual guilt, and the portrayal of women in Trakl's poetry, from the femme fatale of the early poetry to the figure of the sister and the androgyne in the later poetry. Chapter Four traces the theme of blasphemy from the early lyric to the last poetic utterances of 1914, and touches briefly on the question of Trakl as a Christian poet. Chapter Five looks at motifs of isolation, obsession with death and decay, and poetry as the expression of the poet's etat d'ame. Chapter Six provides an analysis of the language and style of the early poetry, focusing on Trakl's affinity with the style of literary decadence.
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Gable, Nicolette. "Morbid Love: American Decadence in the 1890s." W&M ScholarWorks, 2016. https://scholarworks.wm.edu/etd/1477068588.
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This dissertation engages with a neglected group of writers, artists, and intellectuals in the United States who identified with Decadence, a European literary and artistic movement. Decadence was a label, embraced by some, that refers to a state of art and literature that suggests the end of an Empire: luxurious, imitative, corrupt, sensuous, and ultimately worthless. Self-professed Decadents elevated artificiality, morbidity, sensuality, and pessimism. They also lived lives, both imaginary and real, of separation from the world, attempting to fully embody otherness as they watched the world change around them and anticipated the fall of civilization. I question how these supposedly foreign ideas worked in America, in a transatlantic conversation that reveals yet another aspect of the transition to modernity in America. I suggest “morbid love” as key to understanding the cultural work of Decadence, using it to mean both a love of illness and disease that the Decadents evidenced, as well as a love that in itself was doomed to death. In this dissertation I argue the following. First, I build on work establishing the existence of American Decadence by emphasizing the cultural engagement of Decadence despite its self-professed insularity and rarity. Second, I argue that Decadence in America exemplifies a particular moment in the intellectual histories of degeneration theory and sexuality that has been largely ignored. While most studies of degeneration theory emphasize the power of the theorists and the low social status of theorized, Decadents brought degeneration to the upper classes, the learned, those with cultural capital. They acted as both theorists and theorized. In terms of sexuality, Decadence created a space that fit into neither the standard acts paradigm, nor the following identity paradigm, suggesting that sexuality was a matter of artistic and aesthetic choice and taste. Third, I argue that these deviations from standard narratives show that American Decadents performed a political queerness that functioned as a cultural critique and created a space that complicates our understanding of the period. Each chapter of this dissertation explores an aspect of the Decadent cultural criticism, emphasizing the deliberate queerness, or morbidity as they would phrase it, of their stance. It is now standard in studies of structures to examine the construction of the “normative” condition (whiteness, heterosexuality, masculinity, etc.) rather than the deviant. I argue, however, that this approach automatically associates those with power as normative and those without as deviant. I hope in this work to complicate that narrative.
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Manfredi, Paul Richard. "Decadence in modern Chinese poetry problems and solutions /." access full-text online access from Digital dissertation consortium, 2001. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3024264.
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Pereira, Eloíse Mara Grein. "The imagery of decadence in Tennessee Williams' Vieux Carré." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/24341.
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Barrera-Medrano, Leire. "Spain and British Decadence, 1880-1920 : aesthetics of extremes." Thesis, Birkbeck (University of London), 2018. http://bbktheses.da.ulcc.ac.uk/357/.
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This thesis uncovers the role played by Spain in the articulation of British Decadence from the 1880s to the 1910s. It examines chronologically the reception of Spanish aesthetics by four authors linked to Decadence: Vernon Lee (Violet Paget, 1856– 1935), Oscar Wilde (1854–1900), Arthur Symons (1865–1945) and Michael Field (Katharine Bradley, 1846–1914, and Edith Cooper, 1862–1913). It contends that British Decadent writers found in Spain — its culture, history and landscape — an ‘aesthetics of extremes’ that enabled them to test out artistic boundaries beyond and against their own dominant culture. Drawing on extensive archival and primary material, and working through theories of excess, I suggest that Spanish aesthetics seemed to embody spaces of extremity where artistic dissidence and experimentation were possible. For British Decadent writers, Spanish aesthetics were appealing because they exceeded the limits of moderation. Away from the perceived mundane and oppressive environment of Victorian middle-class, industrial Britain, Spain represented the heightened sensations of Catholic rituals, Baroque paintings of the grotesque, and the erotics of Gypsy dancing and mysticism. I ultimately argue that, as opposed to other encounters with Spanish culture, British Decadent writers’ engagement with Spain does not only involve projection onto another culture, but also a dynamic reshaping of the discourses of Decadence. The ‘extreme’ tendencies of Spain and its culture became a central aesthetic value for many Decadent writers.
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Ashley, Katherine. "From naturalism to decadence : the novels of Edmond de Goncourt." Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/23118.
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The aim of this thesis is to provide a coherent study of Edmond de Goncourt’s four solo novels - La Fille Elisa (1877), Les Frères Zemganno (1879), La Faustin (1882), and Chérie (1884) - in terms of Naturalism and Decadence and the changing literary field of late nineteenth-century France. The thesis approaches Goncourt’s solo novels as novels in their own right rather than simply as extensions of the joint oeuvre of Goncourt brothers. The first chapter, as well as providing an overview of the state of Goncourtian studies, furnishes background information on the joint writings of the Goncourt brothers and on the various literary movements of the nineteenth century. The second chapter is devoted to paratexts and demonstrates, in the first instance, how the title changes of the joint and solo nóvels offer insights into Edmond de Goncourt’s evolving literary aesthetic. The chapter then moves on to a detailed analysis of the prefaces to Edmond de Goncourt’s novels and argues that Goncourt used the prefaces to simultaneously establish his authority as the founder of Naturalism and to distance himself from the movement in order to present his solo novels as initiating a new mode of literature. The third chapter studies the concept of the ‘document humain’ and its role in the process of literary creation in Edmond de Goncourt’s novels. The chapter makes use of archival material - the Goncourt correspondence - and begins with a discussion of the (changing) nature of the document, drawing on examples from La Fille Elisa. It then enters into a textual analysis of the three final novels and argues that while a Naturalist documentary apparatus is retained by Goncourt, the thematic ends to which this documentary process is used are increasingly decadent in nature in the later novels.
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Vici, Gabriella. "Distorted Tradition as Contemporary Expression: Models of Decadent Procedures in Bartók and Shostakovich." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/22885.
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The works of Bartók and Shostakovich are often rightly praised for their trailblazing techniques, innovatory procedures and modernist craftsmanship. Analyses of these pieces are thus invaluable to the twenty-first-century composer who seeks to understand and engage with the compositional intricacies found within these masterworks; yet, such bias towards objectivity has its limits. Equally useful to the composer but drastically under-explored in the analytical literature, is an understanding of the modes of expression that these composers have employed. By neglecting the hermeneutical pathways between technique and expression, the value of these analytical perspectives to the present-day composer is restrictively empirical and arguably hollow. It is thus necessary to implement an analytical strategy that allows composer and analyst alike to better understand how works separated by time and location can still share expressive characteristics. Such a construct can be found in the fin-de-siècle concept of decadence. Building on Stephen Downes’ analytical framework of decadence in music, the notion can be understood to transcend its original turn-of-the-century boundaries and find equal relevance in selected later works of Béla Bartók and Dmitri Shostakovich. This perspective allows one to not only assess the ways in which tradition is manipulated, distorted and even sacralised, but also consider how Bartók and Shostakovich’s re-contextualisation of the past was an essential component in expressing their present. In turn, whilst decadence itself may no longer be of contextual relevance to the contemporary composer, it still holds potent artistic value. By applying it during the composition of my own portfolio, I have been able to respond to the various decadent procedures found in these pieces, engaging with their modes of expression and continuing this ever-complex artistic relationship between convention and innovation into the twenty-first century.
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Perala, Tiffany. "George Moore: Innovation and Decadence in the Victorian Fin de Siecle." Thesis, University of Nottingham, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489693.
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This thesis discusses the Anglo-Irish author George Moore (18521933); in particular, I am concerned with his innovative use of Decadence in the Victorian fin de siecle and I argue that Moore was a precursor of the movement. I focus on Moore's early Decadent work, including his first autobiography, Confessions ofa Young Man (1888), and two of his experimental Decadent novels, A Mere Accident (1887) and Mike Fletcher 1889). Though neglected, I dein6nsfrate how and why a recuperation of George Moore's writings can better our understanding of Decadence in the Victorian fin de siecle. Chapter 1 establishes Moore as an author whose works adhere to the tradition of influence and originality. I discuss Walter Pater's (1839-1894) particular influence on Moore in terms of how Moore appropriated his aesthetic philosophies and m6'd'ern'ised Pater's findings in a new and creative use of language. I also address Moore's French forebears and his transmutation of French ideas of Decadence. Chapter 2 grounds the notion of Decadence in theoretical terms and definitions, providing examples of various author's interpretations of the movement during the period, (1873-1895), and in retrospect. I introduce the idea that Moore was self-consciously aware of the homosexual struggle for a positive identity and show how he narrated it; specifically, this chapter argues that Moore's originality is linked to what I term his 'regenerative style'. Chapters 3 and 4 expand the discourse on sexual identities and discuss the critical reception and neglect of his early work. Moore's artistic genesis is presented and I argue that his impressions informed his artistic temperament
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Kibble, Matthew Guy. "The 'still born generation' decadence and modernity in H.D.'s fiction." Thesis, Queen Mary, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299620.
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North, Julian. "Thomas de Quincey and the early history of aestheticism and decadence." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304930.
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Hicks, Timothy Mark. "Nietzsche’s Artistic Transfiguration of the Soul: Overcoming the Decadence of Modernity." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/367587.
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This thesis investigates Nietzsche’s conception of the soul. Nietzsche’s conception of the soul has not received due attention in the secondary literature, particularly in regards to transfiguration. The thesis, then, explicitly attempts to outline what constitutes Nietzsche’s idea of the soul; in particular how the noble soul is constituted and how it ought to overcome the decadence of modernity. For Nietzsche modernity was a declining, decadent, and life-denying way of life. Greatness of soul and great Mensch cannot come about when such values dominate the soul. Nietzsche’s philosophy sought to generate and induce greatness of the soul once again. The soul is the home of self-overcoming (a key Nietzschean concept), and also central to how his philosophy is understood. By vivisecting the soul, it can be seen how Nietzsche saw that decadence had taken hold of Mensch, and how, more importantly, he saw that Mensch could possibly overcome this decadence. Modernity possessed the strong tendency to determine the direction of the soul. In modernity Mensch fixes itself by believing morals have an eternal character and then deeply internalise this “truth” in its soul. However, for Nietzsche, drives, instincts, and affects are not determined in any way, but open to interpretation, reinterpretation, alteration, removal, or sublimation. The noble Mensch imposes on itself aesthetic and ascetic practices that guide it in overcoming, subduing, shedding, sublimating, and nurturing drives that will lead the way out of decadence. Aesthetic and ascetic practices involve organising the drives into a rank where slavish drives are dominated by noble drives and aims. The drives of the noble Mensch become ranked where the creative form-giving forces of the soul dominate, and the passive, reactive drives become subordinate or non-existent. Achieving this ideal requires Mensch to invert the current domination of the values acquainted with the bad conscience. According to Nietzsche, passivity, equality, and meekness have the good conscience on their side in modernity. Conversely, the creative, form-giving, and expansive drives are associated with the bad conscience, hence their rareness. The noble Mensch must invert this order of rank. By giving the form-giving drives dominion, a potential rupturing of the prevailing values occurs and a path toward an ideal noble future becomes a possibility.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Hurst, Darin Scott. "El amor, la belleza, y el arte en la novela decadente hispanoamericana la dialéctica de la decadencia /." Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1051278715.
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Mercurio, Jeremiah Romano. "Fantasy as a mode in British and Irish literary decadence, 1885–1925." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1964.
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This Ph. D. thesis investigates the use of fantasy by British and Irish 'Decadent' authors and illustrators, including Oscar Wilde, Max Beerbohm, Aubrey Beardsley, 'Vernon Lee' (Violet Paget), Ernest Dowson, and Charles Ricketts. Furthermore, this study demonstrates why fantasy was an apposite form for literary Decadence, which is defined in this thesis as a supra-generic mode characterized by its anti-mimetic impulse, its view of language as autonomous and artificial, its frequent use of parody and pastiche, and its transgression of boundaries between art forms. Literary Decadence in the United Kingdom derives its view of autonomous language from Anglo-German Romantic philology and literature, consequently being distinguished from French Decadence by its resistance to realism and Naturalism, which assume language's power to signify the 'real world'. Understanding language to be inorganic, Decadent writers blithely countermand notions of linguistic fitness and employ devices such as catachresis, paradox, and tautology, which in turn emphasize the self-referentiality of Decadent texts. Fantasy furthers the Decadent argument about language because works of fantasy bear no specific relationship to 'reality'; they can express anything evocable within language, as J.R.R. Tolkien demonstrates with his example of "the green sun" (a phrase that can exist independent of the sun's actually being green). The thesis argues that fantasy's usefulness in underscoring arguments about linguistic autonomy explains its widespread presence in Decadent prose and visual art, especially in genres that had become associated with realism and Naturalism, such as the novel (Chapter 1), the short story (Chapter 3), drama (Chapter 4), and textual illustration (Chapter 2). The thesis also analyzes Decadents' use of a wholly non-realistic genre, the fairy tale (see Chapter 5), in order to delineate the consequences of their use of fantasy for the construction of character and gender within their texts.
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Miller, Henry. "Stars, stripes, cameras and decadence music videos of the Iraq War era." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/476.
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Recently, academic researchers have brought critical attention to representations of the Iraq War in popular culture. Most of this work, however, focuses on film and music, leaving the influential medium of music video largely unexplored. A number of artists produced music videos that capture the zeitgeists of competing movements leading up to and following the United States' involvement in the Iraq invasion. This project, "Stars, Stripes, Cameras and Decadence: Music Videos of the Iraq War," seeks to survey music videos in order to understand how music video helps shape Americans' relationship to heavily polarized public discourses in the United States regarding this controversial military act. The thesis will take a multi-dimensional approach to analyzing each music video. The study will incorporate data on public opinion, audience reaction and political shifts in relationship to each video. On the most elementary level, the thesis will address the "anti" and "pro" war stances portrayed by music videos to understand both how they were shaped by their relationship to power and how they consequently shape their audience's relationship to power. The study will also undertake to understand these music videos aesthetically. Both "anti" and "pro" music videos draw upon schools of political messaging that largely dictate the art of the music video. Each school portrays soldiers, violence, war, enemies, families and loved ones in different ways. The thesis will delve into the histories of how various political traditions use images of war to shape their messages and how music videos continue (or break from) these traditions.B.A.
Bachelors
Arts and Humanities
English
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Yue, Man Cheung Isaac. "From moralism to decadence : the reconfiguration of Victorian cultural identity, 1850-70." Thesis, King's College London (University of London), 2006. https://kclpure.kcl.ac.uk/portal/en/theses/from-moralism-to-decadence--the-reconfiguration-of-victorian-cultural-identity-185070(2d7bc1cf-7799-4246-b5cc-75de7559fea0).html.
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Marcet, Véronic. "Des fragrances dans l'ecriture de julien gracq en belle odeur de decadence. (ou des similitudes thematiques entre l'ecole surrealiste de julien gracq et celle decadente de huysmans)." Toulouse 2, 1996. http://www.theses.fr/1996TOU20036.
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En quatre actes, sur une scene imaginaire, deux ecoles litteraires tres proches se melangent. Tout d'abord, les differents types d'heroines, et leurs pendants eux-memes, viennent presenter leurs garde-robes, leurs jeux mimetiques, leurs poses signifiantes. Ensuite, les idees maitresses explosent comme autant de fleurs carnivores. Le mal, comme le reve, exposent leurs theories litteraires. Enfin, les decors se mettent a raconter, comme pour un long voyage, leur role et leur drole d'existence. Pour finir, le rideau est ouvert, les lumieres sont rallumees, et le public peut intervenir : le regne du mot et de l'image est avenu, et le tour de la question, comme un manege, peut retourner tout entier a l'ombre immobileIn four acts, on an imaginary stage, two closely-linked schools of literature mingle. At first, the different kinds of heroines and their counterparts present all their wardrobes, their mime and stage movements, their significant poses. Then, the main ideas explode like so many carnivorous flowers. Evil and dream a like expose their literary theories. At last, the scenery starts relating, as if in a long journey, the meaning of their roles and their strange existence. Finally the curtains open, the lights come up and the audience can intervene : the reign of the word and the image has come; the wheel has turned full circle just as a merry-go-round, and can return again to the motionless shadow
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Bradley, Matthew. "Decadence and theology : the religious context of the literary fin de siècle." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439703.
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Wilson, Alexander May. "The Puccini problem : nationalism, gender and decadence in Italian Puccini reception, 1896-1912." Thesis, University of London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397923.
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Puccini reception lay at the heart of a crisis of national identity that gripped Italy at the fin de siècle. His music was simultaneously held up as a symbol of cultural strength and derided as a manifestation of decadence. The sharply polarised responses of the critics mirrored wider ideological rifts in a society increasingly beset with dissatisfaction and disunity, and responses to score and libretto were at times almost 'drowned out' as Puccini became caught up in a crossfire of polemics concerning the contested question of what it meant to be Italian. This study uses evidence from turn-of-the-century press reports in order to assess Puccini's role in the nation-building process. Penetrating the conflicts which surrounded his works not only informs us about how public reputations were constructed, sustained and challenged, but reveals much about the aspirations of a nation on the brink of Fascism. Contextual chapters on the music press and the anxieties of early-twentieth-century Italian society are followed by a consideration of the ways in which Puccini was lionised as a national composer by his supporters in the early years of his career. Three case studies examine the first reviews of La bohème, Tosca and Madama Butterfly, operas which provoked the expression of profound insecurities about the future of Italian music, with discussions centring on the threat of Wagnerism, tradition versus progress, musical sincerity, and the nature of opera criticism itself. The final chapter analyses Fausto Torrefranca's 1912 assault on Puccini as an 'effeminate' composer and contextualises his monograph (Giacomo Puccini e 1 'opera internazionale) alongside contemporary debates on gender and nationalism.
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Condé, Alice. "Incorporeal punishment : writing masochism and the cruel woman in English decadence, 1860-1900." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12300/.
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The cruel woman is a recurring trope in Decadent literature and visual art. She is symbolic of the primary Decadent anxieties about nature and male authorship, and, as this thesis aims to show, is distinct from the generic femme fatale, the subject of numerous studies of nineteenth-century literature, most notably by Rebecca Stott and Bram Dijkstra. This thesis is the first full consideration of the cruel woman in English Decadent literature, and comprises an investigation of her appearance in the work of Algernon Charles Swinburne (1837-1909), Oscar Wilde (1854-1900), Arthur Symons (1865-1945) and Ernest Dowson (1867-1900), the principal proponents of English Decadence from 1860-1900. I use the theoretical writings of Gilles Deleuze on masochism to illuminate the control of the masochistic writer over the figure of the written tormentor. Comparing the creation of the Decadent cruel woman to Ovid’s Pygmalion and his sculpture of his ideal female image, I analyse the power of the male masochist over the woman he creates and interrogate her supposed autonomy. In Poems and Ballads (1866), Swinburne’s poems address a series of cruel women as masochistic fantasies formed according to the speaker’s projected desires, whereas Wilde’s Salome (1894) deviates from this masochistic model. Salome is rendered fragile and delicate through the use of symbolic language. The dancing girls of Symons’s Silhouettes (1892, revised 1896) and London Nights (1895, revised 1897), have been miscast as femmes fatales. The dancer’s body is anatomized, never fully realised for the reader. The same is true of Dowson’s Verses (1896) and Decorations (1899), in which the cruel woman is diminished to a girl. Dowson’s poetry represents both the attenuation and refinement of English Decadence. He is a ‘reverse Pygmalion’ whose female figures are either dead or frozen into a perfect yet unreachable state.
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Morgan, Valery Jane. "Versions of Gilles de Rais : four perspective of an imaginary landscape." Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298839.
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Johnson, David Ian. "The ethics of pleasure." Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336572.
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Gerthoffert, Claude. "Mythe, decadence et orient dans la litterature francaise et allemande de 1880 a 1930." Paris 4, 1986. http://www.theses.fr/1986PA040162.
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La these veut montrer les rapports qui existent, dans la litterature francaise et allemande, de 1880 a 1930, entre la crise de l'occident, qui se traduit par la decadence, et l'appel de l'orient. Elle se place surtout dans le domaine du mythe litteraire. Cette these comprend trois parties : dans la premiere partie, intitulee "decadence du mythe", l'univers du mythe est etudie a la lumiere de certaines notions telles que le sacre, le temps, le langage etc. . . Et dans une perspective historique, jusqu'au debut du xxe siecle (la modernite). La seconde partie concerne "le mythe de la decadence" : emergence de ce mythe dans l'histoire moderne, en france et en allemagne ; mythes associes (age d'or, progres, eternel retour, esthete, etc. . . ) enfin, dans la troisieme partie, le mythe de la decadence est mis en relation avec le mythe de l'orient, c'est-a-dire, avec l'image de l'orient chez certains ecrivains comme keyserling, h. Hesse, r. Rolland, claudel, segalen, etc. . .
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Martin-Lau, Philippe. "Jean lorrain et la decadence en litterature francaise a la fin du dix-neuvieme siecle." Paris 4, 1994. http://www.theses.fr/1993PA040252.
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Le monde que jean lorrain nous donne a voir s'effondre. La nature, l'europe, l'etre humain, l'animal, tous sont entres dans une veritable phase de decadence. Les raisons qui expliquent cette situation sont nombreuses et variees. L'homme cherchera a fuir cette realite. Il se lancera alors dans la creation d'un univers qui donnera une autre dimension a la decadenceThe world as depicted by jean lorrain is falling apart. Nature, the european continent, humain beings and animals have all entered a veritable phase of decadence. There are numerous and varied reasons for this development. Man seeks to flee this reality. He hence throws himself into the creation of an alternative universe which will impart another dimension to the notion of decadence
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Jardat, Rémi. "ESSAI SUR LA DECADENCE L'HERMENEUTIQUE D'UN OBJET TRANSDISCIPLINAIRE ET SES CONSEQUENCES POUR UNE RECHERCHE EN GESTION." Habilitation à diriger des recherches, Université de Nantes, 2010. http://tel.archives-ouvertes.fr/tel-00514762.
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Les recherches présentées ici reflètent l'importance de la transdisciplinarité et du structuralisme (en sens large du terme) en sciences de gestion. Deux études de terrain témoignent tout d'abord de la résistance du phénomène de gestion aux grilles de lecture purement organisationnelles : d'une part, la confrontation au Crédit Mutuel, banque coopérative dont les spécificités appellent le recours à un méta-modèle démocratie-efficacité complexe, et d'autre part, l'étude d'un projet de mécénat humanitaire, dont la gouvernance est à la fois dans et hors de la gestion. L'intérêt des approches structuralistes au sens large est ensuite souligné par l'exemple d'un travail d'archéologie du management stratégique par la méthode de Michel Foucault d'une part et par le décryptage des projets informatiques conflictuels par la sémiotique d'Algirdas-Julien Greimas d'autre part. Ce compte rendu de travaux réalisés pendant 8 années de recherche en gestion est suivi d'une étude nouvelle réalisée dans le cadre de l'Habilitation à Diriger des Recherches. Il s'avère que le concept de déclin, très utilisé en gestion du fait de la détermination de divers cycles de vie, constitue une notion à la fois très porteuse et très suspecte. Cette notion est par ailleurs massivement utilisée pour parler d'autres aspects des affaires humaines (économie, histoire, sociologie, etc.) sans que soient bien cernées les éventuelles significations que ces emplois multiples peuvent occasionner. Il est alors proposé d'étudier un objet transdisciplinaire – le « déclin-décadence-déclassement » - à l'aide d'une analyse transposant aux sciences humaines un certain nombre de notions structurales issues de la géologie. Si l'on admet en effet que les affaires humaines sont avant tout sujettes à représentations, il apparaît possible de décrire leur structure à travers deux notions-clés que sont le pli et la schistosité. Le pli est une représentation qui superpose deux termes en explicitant cette superposition, de sorte que le sens de chacun des deux termes avant l'établissement du pli soit expliqué et reste accessible à l'enquête. La marque formelle d'une représentation en pli consiste en énoncés portant sur cette représentation et affirmant son caractère conjectural et discutable. La schistosité caractérise toute représentation qui superpose deux termes de sorte que, pour au moins l'un d'entre eux, le sens auquel il était employé avant l'établissement de la représentation diffère de celui auquel il est employé une fois superposé à l'autre terme, sans que cette différence soit assumée ni même évaluable. La marque formelle d'une représentation schisteuse est typiquement l'homonymie subreptice à laquelle recourt toute généralisation abusive. L'analyse structurale est appliquée en deux volets. Un premier volet prend pour matériau d'analyse les représentations du « déclin-décadence-déclassement » produites dans le cadre de l'historiographie romaine (période impériale). Un second volet prend pour matériau d'analyse le matériau de gestion défini comme l'ensemble des représentations afférentes aux phénomènes de gestion. L'étude de ces deux matériaux est conduite en trois étapes transposées du processus de la géologie en train de se faire : la topographie, la palé-ontologie et la tectonique. Concernant les représentations du phénomène de gestion, chaque étape de l'étude conduit à des constats d'importance méthodologique croissante. La topographie du déclin invite à une analyse de l'importance et de la performance des lieux communs en gestion. La palé-ontologie amène à porter l'attention, tout d'abord aux transformations silencieuses de l'entreprise, puis aux homonymies et décontextualisations qui peuvent être le lot des travaux de recherche en gestion. La tectonique des représentations du déclin conduit à des remarques de deux niveaux. Au niveau opérationnel apparaît le risque qu'il y a pour le praticien de recourir à l'argument du déclin pour promouvoir, dans les organisations, la conduite du changement. Au niveau méthodologique est esquissé l'intérêt d'une démarche herméneutique pour étudier le phénomène de gestion. La conclusion est focalisée sur la mise en avant de quelques spécificités des représentations de gestion (en regard des représentations touchant d'autres aspects des affaires humaines). Les représentations du phénomène managérial sont analysées comme un matériau dont l'épaisseur reflète la distance qui sépare, pour le manager, les objectifs attendus des résultats réellement obtenus. Les difficultés à manager sont en conséquence décrites à l'aide de métaphores relevant de la science des matériaux. Ces propriétés du matériau de gestion trouvent alors une explication dans les structures et textures auparavant mises à jour lors de l'étude d'objets plus restreints (discours stratégistes et représentations du déclin). L'objectif de la recherche en gestion consiste dans cette optique à enrichir le matériau de gestion sans le brouiller par des transpositions et généralisations abusives.
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Stead, Evanghelia. "Teratogonie et decadence dans l'europe du tournant du siecle : le monstre, le singe et le foetus." Paris 4, 1993. http://www.theses.fr/1993PA040310.
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L'objectif de la these est d'interpreter l'imaginaire decadent sous l'angle de la genese de monstres, a travers la production litteraire et artistique en france, en angleterre, en allemagne, en italie et en belgique. Le parcours propose mene de la faillite du monstre mythologique et de la constitution d'un imaginaire monstreux de la feminite, au monstreux somatique et grotesque, represente par les phenomenes de foire, aux hybrides pathologiques, obtenus par le croisement du processus naturel et du processus artistique, enfin, a l'elaboration d'une genetique et d'une anti-maieutique monstreuses, influencees par les theories evolutionnistes et l'embryologie. La these entend montrer qu'il existe un rapport etroit entre cette thematique, l'esthetique et l'ecriture de la decadence. Elle souligne l'opposition genese de monstres#chute des dieux et la faillite d'un systeme qui jusque la reposait sur le recit de la genese. Elle interprete une creation qui desormais a lieu dans le cabinet de l'auteur et l'atelier de l'artiste, figures histrioniques, parodiees comme monstres. Aussi l'etude thematique aboutit-elle a des questions d'esthetique et d'ecriture, en examinant l'emploi de langages parasitaires, l'importance de la laideur et du grotesque et la destruction du principe ars simia naturae. On decouvre ainsi les germes d'une reflexion sur la modernite et d'une recherche plastique etonnantes, enclos cependant dans un systeme auto-reflexif, a vocation sterile et involutive. La these repose sur un ensemble de plus de mille cinq cents references biblioiconographiques, examinees de premiere main et recensees dans la bibliographieThe thesis aims to interpret the decadent imagination by studying the genesis of monsters in the literary and artistic outpout of france, britain, germany, italy and belgium. The thread leads from the decline of the monster of mythology and from a perception of feminine monstrosity, through the grotesque and physiological monster, exemplified by showman freaks, up to pathological hybrids, provoked by crossing the means of nature with those of the artist, and finally arrives at abnormal genetic and anti-maieutic practices, under the influence of evolutionary theories and embryology. The thesis purports to show how this thematic preoccupation is closely related to the esthetics and writing of the decadence. It underscores the antithesis "genesis of monsters versus decline of the gods" and the collapse of a system which until then was anchored in the book of genesis. It recasts creation which now takes place in the author's study and the artist's studio, figures on parade or parodied as monsters themselves, whereafter the thematic study raises questions concerning esthetics and writing by examining the use of language grafts, the importance of the ugly and the grotesque, yet again the denial of the canon ars simia naturae. Through it one discovers the beginnings of a debate of astonishing modernity and plasticity, nevertheless sealed within a self-referential system ultimately sterile and spiraling backwards. The thesis draws on more than one thousand five hundred references, both bibliographic and iconographic, examined at first hand
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Robbins, Catherine Ruth. "Decadence and sexual politics in three fin-de-siècle writers : Oscar Wilde, Arthur Symons and Vernon Lee." Thesis, University of Warwick, 1996. http://wrap.warwick.ac.uk/36344/.
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An understanding of the concept of decadence in the late nineteenth century is not dependent on a purely linguistic approach to the various forms of literary language in which it might be manifested. Rather, the label of decadence invokes (and deliberately flouts) perceptions of normality in a number of cultural spaces, not all of them strictly textual. Importantly, the personality of the artist figure is also a part of the definition of decadence. Decadence, that is, is not limited to a particular mode of textual performance; it is also a matter of how the artist's personality is interpreted through a critical assumption current throughout the nineteenth century, that the text acts as an index of the moral status of the writer. Decadence, then, is about reception, as well as conception. Given that meaning accrues to the figure of the artist in the definition of decadence, and given that the late nineteenth century was a period of conflicting discourses of sexual politics, the definition of decadence is bound up with the matrix of associations around such concepts as sex, gender and sexuality. The three writers at the centre of this study all demonstrate decadent potential in their refusals to respect the conventions of gender — both in terms of the subjects and forms they each chose for literary representation, and for the choices they made about the living of their lives. In his poetry Wilde took up a series of dramatic poses, inconsistent with each other, inconsistent even within single poems. In doing so, he called into question prevailing standards and ideals of masculinity — sincerity and purposiveness — and he was attacked for doing so even before he was tried for gross indecency in 1895. Symons's subject matter — the preponderance in his poetry of the liminal figures of the dancer and the actress, and the liminal spaces of the music-hall and deserted city streets at night — explicitly courted a decadent label, and, indeed, Symons helped to defme the term. Contemporary audiences read his poetic persona back onto his personality. And his decadence, like Wilde's, also came from his flouting of the rules of masculinity, in his case, his exposure of the gender and class ideology of the gentleman, by speaking aloud of its implications. That decadence has an importance for sexual politics is signalled by the fact that there are very few women writers who seem to 'suit' the label. Vernon Lee provides a test case here of the argument that decadence is to be defmed primarily as a falling away from an idealised standard of masculinity. Lee wrote impeccably decadent fiction, but is not generally thought of as a decadent writer, perhaps precisely because she was a woman writer for whom a term that resides in conventions of the masculine is inappropriate. Decadence is a notoriously difficult term to define, and this thesis attempts to show a range of definitions of the word in terms of its favoured themes, forms and and their relation to ideas of artistic personality; it shows that the label is inextricably bound up in the sexuality debtes of the 1890s.
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Shaw, Michael. "The fin-de-siècle Scots Renascence : the roles of decadence in the development of Scottish cultural nationalism, c.1880-1914." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6395/.
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This thesis offers a cultural history of the Scots Renascence, a revival of Scottish identity and culture between 1880 and 1914, and demonstrates how heavily Scottish cultural nationalism in this period drew from, and was defined by, fin-de-siècle Decadence. Few cultural historians have taken the notion of a Scots Renascence seriously and many literary critics have styled the period as low point in the health of Scottish culture – a narrative which is deeply flawed. Others have portrayed Decadence as antithetical to nationalism (and to Scotland itself). The thesis challenges these characterisations and argues that there was a revival of Scottish identity in the period which drew from, and contributed to, Decadent critiques of 'civilisation' and 'progress'. The thesis considers literature alongside visual art, which were so interdependent around the 1890s. It focuses on three main cultural groups in Scotland (the circle that surrounded Patrick Geddes, the Glasgow School and writers of the Scottish Romance Revival) but it speaks to an even wider cultural trend. Together, the various figures treated here formed a loose movement concerned with reviving Scottish identity by returning to the past and challenging notions of improvement, utilitarianism and stadialism. The first chapter considers the cultural and historical background to the Scots Renascence and reveals how the writings of the Scottish Romance Revival critiqued stadialist narratives in order to lay the ground for a more unified national self. The second chapter demonstrates how important japonisme and the Belgian cultural revival were to the Scots Renascence: Scottish cultural nationalists looked to Japan and Belgium, amongst other nations, to gain inspiration and form a particular counter- hegemony. The final three chapters of the thesis explore how a unifying myth of origin was developed through neo-Paganism, how connections to an ancestral self were activated through occultism, and how such ideas of mythic origin and continuation were disseminated to wide audiences through pageantry. In doing so, the thesis charts the origins, development and dissemination of the Scots Renascence, while situating it within its historical and international contexts.
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Calvert-Finn, John D. "The institution of modernism and the discourse of culture hellenism, decadence, and authority from Walter Pater to T. S Eliot /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1087584000.
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Thesis (Ph. D.)--Ohio State University, 2004.Document formatted into pages; contains viii, 403 p. Includes bibliographical references (p. 388-403). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 Jun. 18.
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Matilde, Braian Sanches. "Vida e valor na obra tardia de Nietzsche." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-01102014-151446/.
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Esta pesquisa consiste em investigar como se articulam as noções de vida e valor na filosofia nietzschiana tardia. A relação entre essas noções se faz visível em Crepúsculo dos ídolos, quando Nietzsche critica a decadência por avaliar negativamente o valor da vida: o filósofo defende que a vida é o critério de avaliação das avaliações e criadora de valores, de modo a ser incoerente estabelecer qualquer juízo acerca dela. Contudo, questionamos se essa filosofia não seria passível das mesmas críticas por entender que o critério avaliativo é ele próprio criador de valores: averiguaremos se seria possível uma mesma vida criar valores e avaliá-los. No limite, sendo a decadência um modo de vida, objetamos como poderia a filosofia nietzschiana avaliá-la. Faremos ver que apenas um tipo de vida poderá ser simultaneamente critério de avaliação das avaliações e criadora de valores e que, portanto, poderá avaliar outras formas de vida, como a decadenteThis researchs aim is to investigate how to articulate the notions of life and value in Nietzsche\'s late philosophy. The relation between these notions is visible in Twilight of idols, in which Nietzsche criticizes the decadence for negatively evaluating the value of life: the philosopher argues that life is the evaluation criterion of evaluation and creates values, so as to be incoherent to establish any judgment about it. However, we question whether this philosophy would not be liable to the same criticism for understanding the evaluative criteria is itself the creator of values: we will investigate whether it is possible for a same life to create values and evaluate them. If the decadence is a way of life, we question how Nietzschean philosophy could evaluate it. We will see that only one way of life can simultaneously be evaluation criteria of evaluation and create values and, therefore, can evaluate other forms of life, such as the decadent one
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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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Dullaghan, Melissa Faith. "“Pleasant Episodes” of Gastronomy: Food and Drink in F. Scott Fitzgerald’s The Beautiful and Damned." Scholar Commons, 2008. https://scholarcommons.usf.edu/etd/222.
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This thesis explores the motif of gastronomy in Fitzgerald's critically undertreated second novel, The Beautiful and Damned. Within the discussion of the leisure class, Fitzgerald scholars often focus on Jay Gatsby's parties, but they seem to neglect Anthony Patch and company's fancy for food and drink in Ivy League supper clubs of Manhattan, vaudeville theaters, and houses of languor in Upstate New York. Building upon George J. Searles's article "The Symbolic Function of Food and Eating in F. Scott Fitzgerald's The Beautiful and Damned," this thesis examines the meaning of Fitzgerald's pervasive "prandial allusions" and character psychology with regard to dining.
Whereas Searles posits that Fitzgerald "employed depictions of food and eating as symbols of his characters' shallowness and frivolity" (14), this thesis explores the possibility that Anthony Patch craves "pleasant episodes" of dining and specific culinary combinations because he interprets them as the essence of social ritual and corporeal comfort. Because many critics hold that The Beautiful and Damned lacks coherence and sputters as a pre-Gatsby creation, this thesis suggests that the novel can be read as Anthony's quest to assert and cling to his own brand of decadence, which is tragically distinct from that of his wife Gloria's.
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Cabiati, Alessandro. "Baudelairism and modernity in the poetry of Scapigliatura." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25764.
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In the 1860s, the Italian Scapigliati (literally ‘the dishevelled ones’) promoted a systematic refusal of traditional literary and artistic values, coupled with a nonconformist and rebellious lifestyle. The Scapigliatura movement is still understudied, particularly outside Italy, but it plays a pivotal role in the transition from Italian Romanticism to Decadentism. One of the authors most frequently associated with Scapigliatura in terms of literary influence as well as eccentric Bohemianism is the French poet Charles Baudelaire, certainly amongst the most innovative and pioneering figures of nineteenth-century European poetry. Studies on the relationship between Baudelaire and Scapigliatura have commonly taken into account only the most explicit and superficial Baudelairian aspects of Scapigliatura’s poetry, such as the notion of aesthetic revolt against a conventional idea of beauty, which led the Scapigliati to introduce into their poetry morally shocking and unconventional subjects. Furthermore, these studies have not focused on drawing a detailed and systematic picture that portrays the connections not only between Baudelaire and the poets of Scapigliatura, but also among the Scapigliati themselves. As a result, the true extent of Baudelaire’s influence has not been acknowledged. This study strives to fill the gaps in the existing scholarship. My thesis posits that Baudelaire’s influence on the poetry of Scapigliatura, almost exclusively related to the first two editions of the verse collection Les Fleurs du Mal, is more profound and substantial than scholarship has heretofore recognised. The thesis consists of three chapters, each dedicated to one of the three most important poets of Scapigliatura, namely Arrigo Boito, Emilio Praga, and Giovanni Camerana. The investigation of Baudelaire’s influence on the Scapigliati is conducted both individually, searching for Baudelairian features in their work, and comparatively, contrasting differences and aiming to locate similarities. The main focus is on the major poetic works that are strictly related to the phases in these poets’ careers when they were associated with Scapigliatura: Boito’s Il libro dei versi and Re Orso; Praga’s Tavolozza and Penombre; and Camerana’s poems written between 1863 and 1869. My aim is to establish if there was what can be called a ‘Baudelairian school’ within Scapigliatura. Ultimately, I argue that the relationship between Baudelaire and the poetry of Scapigliatura is more complex than has previously been understood. I demonstrate a vast and wide-ranging influence – on a conceptual, lexical, and stylistic level – on the three poets discussed in this work, which can be traced back to the very beginning of their careers in the early 1860s. Far from being simply an element of aesthetic and moral rebellion in order to épater le bourgeois, the Baudelairism of Boito, Praga, and Camerana in their Scapigliatura years accomplished two ends: on the one hand, it preserved some of the more traditional aspects of Baudelaire’s poetry, which have been largely overlooked by Italian literary scholarship on Scapigliatura; on the other hand, it introduced a thematic and formal modernity into Italian poetry, paving the way for the Decadent movement as well as the twentieth-century avant-gardes.
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Figueiredo, Angela Cristina Sarvat de. "Ecos da fé na alma e na obra de Eça de Queiróz:uma visão crítica da Igreja e da Religião Católicas no século XIX." Universidade do Estado do Rio de Janeiro, 2008. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4432.
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Esta dissertação, inserida na linha de pesquisa de Política e Cultura, trata da visão crítica de Eça de Queiroz sobre a Igreja Católica, sobre o catolicismo popular e a relação Igreja-Estado em Portugal do século XIX. O trabalho aprofunda as idéias do autor estabelecidas no momento histórico do chamado movimento da Regeneração, na segunda metade do século, marcado por propostas de denúncias da decadência da sociedade e de mudanças e reformas modernizantes nas estruturas econômicas, sociais, políticas educacionais e culturais do país. Analisa questões relevantes ligadas à política da época como o liberalismo monárquico, a política do estado constitucional português, a política ultramontana do Vaticano e seus desdobramentos em Portugal, além do catolicismo institucionalizado nas práticas políticas e culturais. A partir de fontes primárias como os trabalhos jornalísticos do autor, publicados no Brasil e em Portugal, assim como cartas para seus amigos intelectuais da chamada Geração 70, aborda questões como o anticlericalismo, antijesuitismo, Padroado, regalismo e o projeto cultural português de secularização. Observando o extremo espírito perspicaz e sarcástico do autor, o trabalho conclui por entender o escritor como forte defensor de reformas nas práticas, discursos e preocupações da Igreja Católica de seu tempo, assim como voz exigente e consonante a outros intelectuais da época em prol de novo comprometimento e atuação dessa mesma Igreja. Por fim, estabelece o autor como um expoente entre a intelectualidade por ser protagonista de um movimento de renovação política e cultural, como catalisador da opinião pública de seu tempo, e acima de tudo, autor de uma obra de relevância literária e jornalística, capaz de impor-se como efetiva proposta inovadora para a modernidade portuguesa da época.This dissertation, insert on the research segment of Politics and Culture, talks about Eça de Queirozs critical vision about the Catholic Church, the popular catholicism and the Church-State relations in Portugal on the XIX century. The work deepens authors ideas determined in the historical moment named the movement of Regeneration, on the second half of that century, marked by propositions of denunciation concerning to societys decadence, the changes and modernizing reforms in the economic, social, political, educational and cultural structures of Portugal. It also analyses relevant issues relates to politics as the monarchical liberalism, the policy of the portuguese constitucional government, the policy taken by the ultramontanist Vatican and its developments in Portugal, beyond the catholicism established on cultural and political practices. From the use of original sources as journalisticals works wrotten by Eça, published in Brazil and in Portugal, and also examing his letters to his intellectual friends from the 70s Generation , the dissertation argues questions like anticlericalism, antijesuitism, portuguese padroado, regalism and the portuguese cultural project in order to convert Portugal in a secular state government. Observing the extraordinary, acute and sarcastic Eças intelligence, this work conclude for understanding the writer as a great protector of changes in the clerical customs, speechs and concerns of the Catholic Church at that time and also as an exacting voice connected with others intellectuals to the advance of a new performance and engagement of the Catholic Church. At last, this work determines the portuguese author as an great expert among the portuguese intellectuals because he was one of the fundamental protagonists in the cultural and political renovation movement of Portugal influencing its public opinion. He was, as well, a writer of an important and decisive literary and journalist work and, mainly, he was able to impose himself as a real promoter of the modernity in Portugal.
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Spandonis, Sophie. "L'imagination du monde interieur. Ecritures de la psychologie dans les recits de la decadence, de ludine (1883) a monsieur de phocas (1901)." Paris 3, 2000. http://www.theses.fr/2000PA030085.
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Dans quelle mesure l'ecriture du personnage dans la litterature de decadence (romans et nouvelles) a-telle ete informee par l'invention de la psychologie scientifique dans la seconde moitie du xixe siecle ? telle est la question qui est a l'origine de ce travail. S'il est difficile de parler d'influence, on peut neanmoins postuler une impregnation de l'une par l'autre - impregnation paradoxale, puisque la litterature de decadence pretend se construire contre le modele naturaliste et sa double reference scientiste et positiviste. Ce sont pourtant bien les theories contemporaines du moi, elaborees par hippolyte taine ou theodule ribot que jean lorrain, josephin peladan, francis poictevin et marcel schwob (les quatre ecrivains constituant notre corpus) ont transcrites, transposees ou transformees, avec parfois un sens aigu de la denegation. Cette etude litteraire qui combine des approches thematique, stylistique et narratologique emprunte donc aussi a l'histoire des idees et a l'histoire des sciences. Elle comprend trois parties. La premiere s'intitule << determinismes >> et traite de la psychologie comme ecriture indicielle. La decadence invente une ecriture qui mele semiologie et symptomatologie, se nourrit d'intertextualite et d'interestheticite. Centre nerveux de la poetique naturaliste, le determinisme apparait aussi dans la litterature de decadence et convertit la causalite inherente a tout recit en une donnee ideologique, a laquelle cependant elle n'adhere pas toujours. La seconde partie, << relativismes >>, presente deux modeles romanesques antithetiques : le modele synthetique (le moi est un, typique et inscrit dans un systeme) et le modele analytique (le moi est unique, isole, construit par son rapport sensoriel au monde). Elle les rattache a certaines positions ideologiques (idealisme, relativisme, subjectivisme voire solipsisme). Enfin, la troisieme partie, << alienismes >>, s'interesse a la representation de la vie inconsciente (lexique utilise, procedes narratifs et motifs recurrents : hallucination, somnambulisme, reve, etc. ). Des << physiologies >> des annees 1820-1830 a la veille de l'invention de la psychanalyse, c'est un moment capital de l'histoire des sciences et du genre romanesque que nous proposons d'envisager ici, en racontant leur rencontre fructueuse mais o combien problematique. . .
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Hurst, Darin S. "El AMOR, LA BELLEZA, Y EL ARTE EN LA NOVELA DECADENTE HISPANOAMERICANA: LA DIALECTICA DE LA DECADENCIA." Miami University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=miami1051278715.
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Nencioni, Giuseppe. "Aspekter på den italienska fascismen : texter och tolkningar." Doctoral thesis, Umeå universitet, Humanistiska fakulteten, 1998. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-61310.
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Initially an attempt is made to present an overview of the interpretations of the meaning of Fascism. In a presentation of the views of Renzo De Felice and Zeev Sternhell the opinions of the latter are highlighted. It appears that Stemhell's conclusions better explain Italian Fascism, as well as Nazism, although Sternhell has not extensively described Nazism. His conclusions can also be used to illustrate the fact that most characteristics of Nazism and Fascism were identical, something which De Felice denies. This also applies to anti-Semitism. Then follows an analysis of the origin of the Fascist ideology, and it is stated that this ideology, both in Germany and in Italy originated in the "frn-de-siècle crisis", the anti-positive climate which existed at the end of the 19th century. This climate included a reaction against what was regarded as "decadence". It is maintained that amongst a number of Italian and German intellectuals there existed a number of similar ideas, such as for instance contempt for monetary economy, pacifism, intellectualism, the calm bourgeois life, liberalism, democracy and socialism. In the same environments violence and youth started to be glorified, and finally the modern world was accused of being egotistical and without ideals. It is in this environment that the core of Nazi- Fascism is to be found, a core to which other elements were later added. In later chapters Fascist agricultural policy is discussed in relation to earlier Italian cultural tendencies which had placed great importance on agricultural society. It is pointed out that agricultural policy was an important part of the Fascist ideology. Finally Mussolini's ideas on this subject are described, and it is maintained that the myth of the citizen/small scale farmer/soldier in ancient Rome became, in all important aspects, a part of the agricultural ideology of Fascism. It is shown here that this idea is in harmony with the general philosophy of Fascism. Subsequently, an overview of corporativism and its predecessors in Italian history are presented. Here it is stated that corporativism was a corner-stone of Fascist ideology. Thereafter the basic principals of corporativism are described as well as its tangible contents, and some important suggestions for interpretation are presented. The role of corporativism during the short period that the Italian Socialist Republic existed, is also a subject for discussion. Although this republic was scarcely of any military, economic or political importance, it was not without interest from an ideological point of view, taking into consideration the ideas it presented concerning working life. Finally, in a chapter describing the International University of Perugia, the manner in which Fascist ideology was implemented in concrete situations within the educational sector is investigated. The public support for Fascism appears to have been almost unanimous, but at the same time mostly of a formal nature. If a general conclusion can be drawn from this study, it is that Fascism and its ideology were in reality only of minor importance to education at the university level. In the conclusion it is stated that, despite the obvious contradictions, Fascism had a relatively complete; ideology, which was quite closely related to Nazism.digitalisering@umu
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Escobar, Simone Cristina Manso. "O Barão de Lavos: do belo ao grotesco: uma análise comparativista." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7071.
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Esta pesquisa tem por objetivo, em perspectiva comparada, analisar o encontro de duas artes: a literatura e a pintura, observado na obra O Barão de Lavos (1891), de Abel Botelho. O romance naturalista, com traços decadentistas, do escritor Abel Botelho que abre a série intiulada Patologia Social (1891) nos mostra, como diz José Carlos Seabra Pereira, um tempo em se convegiam o romantismo,o realismo e pretensões de modernidade baudealiriana (mais ou menos satanistas) (PEREIRA, 1995) e onde as diversas categorias das artes se encontram e se conjugam. Nesse cenário caótico, mas profícuo, temos este romance que estabelece a arte plástica como ponto focal dentro do texto. Analisa, sobretudo, o processo da escrita onde foi possível constatar a deformação do belo em grotesco ao longo do romance. Investiga a questão imagética encontrada no texto botelhiano, caracterizada através da gravura Rapto de Ganimedes; litografia de grande simbologia dentro dessa obra literária, pois representa o ideal estético idealizado pelo próprio Barão, e tudo de significativo que compõe a trajetória e as emoções de D. Sebastião ao longo de sua vida, portanto permeando e atravessando toda narrativaThe objective of the research presented is analysing in a compared perspective basis the combination of two types of art: literature and painting, observed in the book "The Baron of Lavos" (1891) by Abel Botelho. The naturalist romance, with decadent traces, of the writer Abel Botelho launches the series entitled Social Patology (1891) showing, as said by José Carlos Pereira (Pereira, 1995), "a time when the romantism, realism and baudealirian modern purpose (a bit satanic) would converge". The various range of art categories are joined as well. In the caotic but fruitful scenary a romance in which plastic art is the focus of the text is set. It is mainly analysed, as the romance unfolds, the writing process where it was possible to observe the deformation of beautiful in to grotesque. The image issue caractherized by the litograph Kdinapping of Ganimedes is investigated. The cited litograph plays an important role in this literary work as it represents not only the esthetic ideal idealized by the Baron himself but also the very meaning of the trajectory and emotions of D. Sebastian during his life
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Moore, Conner Furie. "Antinatalist Sexual Dissidence in Decadent Literature." Miami University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=miami1626867836253464.
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Barz, Christiane. "Weltflucht und Lebensglaube : Aspekte der Dekadenz in der skandinavischen und deutschen Literatur der Moderne um 1900 /." Leipzig [u.a.] : Edition Kirchhof & Franke, 2003. http://www.loc.gov/catdir/toc/fy0605/2005433040.html.
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Smirnova, Daria, and Daria Smirnova. "The Petersburg Text in Russian Literature of the 1990s." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12526.
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The image of Saint Petersburg has influenced the imagination of Russian writers since the establishment of this city in 1703. Today, it is common to speak about the Petersburg Text in Russian literature that has its own mythology, imagery, and stylistics. However, the research in this sphere is predominately concentrated on works written before the second half of the 20th century.
This thesis addresses the revival of the Petersburg mythology in the 1990s in works by such authors as Mikhail Veller, Andrei Konstantinov, and Marusia Klimova. It illustrates how the reinvention of traditional Petersburg themes contributed to the representation of the "wild 1990s" reality. It also examines the influence of mass media and popular culture on the development of Petersburg narration in terms of genre, style, and the creation of an author's public persona. The cultural significance of the cityscape in these works is of particular interest.
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Souza, Eunice Prudenciano de. "O quixotesco em Fogo morto e O coronel e o lobisomen /." Araraquara : [s.n.], 2010. http://hdl.handle.net/11449/102362.
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Orientador: Luiz Gonzaga MarchezanBanca: Arnaldo Cortina
Banca: Rauer Ribeiro
Banca: Juliana Santini
Resumo: O presente estudo parte da narrativa arquetípica de Cervantes, Dom Quixote de la Mancha e por meio dela estabelece pontos de contato com dois romances brasileiros: O coronel e o lobisomem e Fogo morto. Tem em Dom Quixote o modelo do herói problemático, conforme definido por Lukács em Teoria do romance: um indivíduo em conflito com a sociedade. Dessa maneira, na visada cervantina, o herói deixa de representar o coletivo, como na epopeia, para revelar, no romance, sua solidão em um mundo decadente. Percorrendo algumas invariantes que definem o quixotesco no interior do perfil do herói problemático, estabelece, então, pontos de contato com os heróis da literatura brasileira. O tema do poder, universal, perpassa os dois romances do regionalismo brasileiro, particularizando-os e figurativizando-os nos espaços e nas performances dos protagonistas Ponciano e Vitorino. Os dois, como Dom Quixote, são tocados pela "loucura da vã presunção" - conforme tipologia de Foucault - que corresponde à relação imaginária que cada personagem estabelece consigo mesmo por meio de um delírio de autovalorização, atribuindo-se características irreais ou, pelo menos, que não estão em consonância com a realidade que os cerca. Tomados pela ideia fixa, criam uma espécie de redoma que os impede de traçar os limites da realidade e, a despeito de suas ações infundadas, continuam lutando para a concretização de seus respectivos projetos. Como consequência dessa dissonância entre ser e sociedade, instaura-se um conflito, uma ruptura insuperável. A loucura é a única forma encontrada para esses heróis sobreviverem na sociedade degradada que os cerca e, de alguma forma, cada herói, ao seu modo, afronta à ordem estabelecida. As ações desenvolvidas por eles são dissonantes com a realidade e, por meio de gestos e entoações exageradas, hiperbólicas, culminam em situações tragicômicas... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The present study starts with the archetypal Cervantes narrative Dom Quixote de la Mancha and by means of it establishes point of contact with two Brazilian novels O coronel e o lobisomen and Fogo morto. It exists in Dom Quixote the model of the problematic hero as it was defined by Lukács the Novel Theory: an individual in conflict with the society. In this way in the aimed of cervantina the hero stops representing the collective, like in epopee, to develop in the novel, his loneliness in a decadent world. Passing through some invariants that defined the quixotic inside the profile of the problematic hero, establishes, then points of contact with the heroes of the Brazilian literature. The theme of power, universal, goes through the two novels of the Brazilian regionalism, specifying them and making them figurative in the place and in the performing of the protagonists Ponciano and Vitorino. Both as Dom Quixote, are touched by-the "madness of vain conceit" - as Focault typology - that corresponds to the imaginary relationship that each character establishes with himself even, by means of a delusion of grandeur, attributing himself unreal characteristics or, at least, that are not in accordance with the reality that is around them. Taken by the fixed idea, they create a kind of bell-glass that prevents them from drawing the limits of the reality and, despite their unfounded actions, they keep on fighting for the specification of their respective projects. As a consequence of that dissonance between being and the society, it establishes a conflict, an insuperable break. The madness is the only way found by those heroes to survive in a degraded society that surrounds them and someway, each hero in his way, affronts the established order. The developed actions that they created are dissonant with the reality and by means of gestures and exaggerated intonation, hyperbolic, culminating... (Complete abstract click electronic access below)
Doutor
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Ryan, Natasha. "The poetics of glass in France, 1850-1900." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ad30dccb-4017-461d-8785-810ff3312d4d.
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This thesis examines the representation of glass in French and Belgian poetry associated with the Symbolist and Decadent movements. It incorporates a number of authors, particularly focussing on Baudelaire, Mallarmé, Laforgue, Rodenbach, and Maeterlinck, but also encompassing more minor writers where appropriate, as well as some writers on the periphery of Symbolism and Decadence. The thesis investigates how the growing use of glass in architecture, technology, and visual art influenced late-nineteenth-century poets, providing these writers with a means by which to understand their social context as well as a multi-faceted metaphor through which to interrogate their own poetic mechanisms. Glass, in its various manifestations - windows, lenses, hothouses, aquariums, Exhibition halls, Art Nouveau glasswork, and stained glass - prompts meditation on such questions as: the interaction between subject and object; the relationship between fiction and reality; the infinite; poetic form; nature and artifice; and aesthetic identity. Ultimately, I combat the traditional understanding of this poetry as being solely concerned with the pure realm of dreams, the soul, and the 'Idée'. Instead, I insist on the material world as a starting point for this poetry, demonstrating that it is not immune to environmental factors, but rather that it uses its environment as a route towards the elusive 'Idée'. Glass is key to this process because its very ambiguity makes it a suitable embodiment of the tension between the material and the unknown, invisible, or ideal.
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Ansel, Yves. "Stendhal et le temps ( l'intime, l'histoire, le romanesque)." Caen, 1995. http://www.theses.fr/1995CAEN1191.
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Ne en 1783, contemporain des bouleversements inouis qui ont decapite l'ancien ordre des choses, beyle est un homme profondement marque par le temps. Son oeuvre egalement. De quelque biais qu'on les aborde en effet, les ecrits stnedhaliens entretiennent une relation passionee avec le passe, le present et l'avenir , la posterite separant, precisement, les genies transcendant leur epoque des hommes de lettres prisonniers de leur siecle. Et dans le detail des recits fictifs, thematique (l'aristocratique blond oppose aux noir et rouge phebiens), construction de l'intrigue (la succession des evenements insidieusement minee par la repetition, la duree malmenee), distribution des roles (c'est l'energie , moteur de l'histoire et de ses contradictions , qui ordonne les personnages), etc. , apparaissent tributaires d'un chroniqueur ayant renonce a l'idee d'une causalite et d'une duree lineaire et lumineuse. Avec stendhal, c'est toute une philosophie de l'histoire qui s'acheve. Non superposables sont les temps. Ainsi va la vie, ainsi va le monde : les memoires d'outre-tombe ferment le ban des recits de vie classiques, la vie de henry brulard ouvre la voie des autobiographies modernes. Stendhal, notre contemporain. .Born in 1793 and a witness of the unprecedented upheaveals that decapited the former state of things, beyle appears as a man on whom time bore a deep influence. And so did it on his works. Indeed whichever way one considers them, stendhal's working keep up an impassioned relationship with the past, the present and the future , since posterity precisely divides the genius that will transcend his era from the man of letters that remains a prisoner of his time. So that in the detail of his narrative fiction, the themes (the fair-haired aristocrat versus the plebeian 'scarlet and black'), the construction of the plot (the succession of events insidiously undermined by repetition and the mistreatment of time), the attribution of roles (strength, which propels history, organizes the characters), etc. , seem to be the instruments of a chronicler that renounced the concepts of causality and a luminous flow of time. With stendhal, awhole philosophy of history is brought to an end. The patterns of time cannot be superposed. Such is the way of life, such is the way of world : the memoirs from beyond the tomb put an end to the
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Zheng, Ruiqin. "Chong gao yu tui fei : Wang Guowei, Lu Xun, Guo Moruo yu Yu Dafu = Sublime and decadence : Wang Guowei, Lu Xun, Guo Moruo and Yu Dafu /." click here to view the abstract and table of contents click here to view the fulltext, 2005. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b18843451a.pdf.
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