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Journal articles on the topic 'Decadence'
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1
Volpicelli, Robert. "Countee Cullen's Harlem Decadence." PMLA/Publications of the Modern Language Association of America 138, no. 5 (October 2023): 1078–93. http://dx.doi.org/10.1632/s0030812923000974.
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AbstractThis essay responds to Countee Cullen's reputation within Harlem Renaissance studies as an out-of-date poet who had little concern for the “new” by reassessing his career under the sign of an older, nineteenth-century decadence. In so doing, it stages a larger exploration of the intersection between decadence and the Harlem Renaissance. I begin by sketching a genealogy of African American decadence that extends from W. E. B. Du Bois to second-generation Harlem writers like Richard Bruce Nugent and Wallace Thurman. I highlight Cullen's place within this lineage by examining the poetry from his 1927 Copper Sun in relationship to Charles Cullen's decadent illustrations for that volume. I conclude by showing how Cullen distinguishes himself among other Harlem writers in the way he uses decadence's investments in decay and afterlife to complicate the progressive views of history inherent to both the Harlem Renaissance and the New Negro movement.
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Lyytikäinen, Pirjo. "Decadence in the Wilderness. Will to Transgression or the Strange Bird of Finnish Decadence." Nordlit 15, no. 2 (March 26, 2012): 245. http://dx.doi.org/10.7557/13.2062.
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The decadence that the Decadents identified in their own civilization was recognized through the model of Roman Empire, although they thought that the Romans were, even in their decadence, much more vigorous than the modern "cerebral" decadents. The figures of the late Empire, which fused the over-ripeness of culture with barbarism, were great even in their decline; the ancient uninhibited transgressions and vices fascinated the decadents although even the imagined debaucheries exhausted the modern decadents. Des Esseintes is, of course, a paradigmatic figure, connecting extreme weakness and fragility of the nervous system with wild sadistic dreams. He is capable of producing vigorous mental images, imagining sublimely horrible figures and emblems of disease, which fell on a fertile ground in later decadent writings.At the same time, the idea of the savage and the primitive which had underwent a radical change, when the romantic idea of the noble savage was replaced by the primitive as the lowest order of humanity, became fashionable even among many Decadents. This debauched barbarian or savage (whose representatives or relics the survived "primitive cultures" were) marked the beginnings of human culture and was the suppressed foundation of all developed cultures. The danger of the return of this primitive side of man could threaten even the most civilized individuals or nations if the ties and restraints of culture were loosened (Joseph Conrad's Heart of Darkness represents this perfectly). For the decadents, who did not see their own civilization in the terms of progress any more, and embraced ideas of entropy, dissolution and return to a state of new barbarism, the idea of the decline of their culture, thus, could become connected with the idea of the primitive "in us", the primitive lurking in the psyche of every individual and the primitive that was built in the culture itself. As the primitive became, increasingly, identified not only with "primitive peoples" or "primitive races" mostly inhabiting in the colonies or far-out regions, but with groups within the civilized society, like workers, paupers, lower classes, Jews or even women, it was easy to find seeds and forces of the foreseen and, at the same time, feared development. When these ideas were connected with Nietzscheanism, like in the early novels by the Finnish author Joel Lehtonen, they produced a provocative form of Dionysian Decadence; a manic form of decadence combining primitive energies with provocative questioning of traditional cultural values. It was Nietzsche himself who suggested the idea that the "tropical man" or the primitive seen as the evil to be eradicated by the moralists should be recognized as a potentially positive force (Beyond Good and Evil, 197). Lehtonen's decadent figures (especially in his novel Mataleena 1905) find their roots in the primitive life of the Finnish "wilderness" and connect this primitiveness to a provocative decadence, which is à rebours, against all recognized cultural values but has power only as a form of deconstruction and destruction.
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Kwok, Cherrie. "Decadence Today: Volutes, Unfurling Flowers, and Decolonial Excesses in Shola von Reinhold’s LOTE and Thuy On’s Decadence." Zeitschrift für Anglistik und Amerikanistik 73, no. 1 (March 1, 2025): 91–105. https://doi.org/10.1515/zaa-2025-2009.
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Abstract This essay examines contemporary depictions of decadent aesthetic excess in Shola von Reinhold’s LOTE (2020) and Thuy On’s Decadence (2021). It posits decolonial motifs of excess as a response to male fin de siècle decadence, motifs which also serve as a new departure for contemporary decadent studies. Shola von Reinhold’s novel undermines both fin de siècle male models of decadence and contemporary forms of white, heteronormative forms of oppression by reclaiming adornment and beauty from a perspective that engages with Blackness, queerness, and transness, embodied particularly in the non-linear figure of the volute. In On’s case, her playful poetics also offer a vision of excess that challenges inherited models. The decadence of Decadence is one in which the woman of color is not an exoticized object of poetic fascination but instead able to define excess and beauty on her own terms. Granting these writers the same space in decadence studies is part of the undisciplining of the field.
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Hurrell, David. "Herbert Spencer: A Case History of Nietzsche’s Conception of Decadence." Nietzsche-Studien 49, no. 1 (October 27, 2020): 171–96. http://dx.doi.org/10.1515/nietzstu-2020-0008.
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AbstractNietzsche characterises some influential individuals – such as Socrates and Wagner – as “decadents” because they promote life-inhibiting values that potentially undermine the flourishing of humanity. A clearly stated but less prominent example of such a decadent is Herbert Spencer. While Nietzsche’s observations concerning Spencer are far fewer than those on Socrates and Wagner, they still have considerably significance for understanding Nietzsche’s philosophy – particularly his views on morality and science – and consequently their role in his conception of decadence. This article argues that Nietzsche considers Spencer to be a decadent not just because of the latter’s advocating of a morality based on altruism, but also the projection of the decadent values of this morality as inevitable, as part of his belief in objective, scientific and sociological truths.
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Hext, Kate. "Ben Hecht's Hard-Boiled Decadence: The Flaneur as Reporter." Modernist Cultures 13, no. 2 (May 2018): 235–54. http://dx.doi.org/10.3366/mod.2018.0207.
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This essay illustrates how Ben Hecht's short stories in The Little Review and the Chicago Daily News crucially expand the scope of burgeoning research into post-Wildean, American Decadence. These works (written between 1915 and 1921) have been over-shadowed by Hecht's later Hollywood career to the point where they have all-but eluded scholarly commentary. However, attention to these vignettes of sensual experience in downtown Chicago reveals that they develop Decadence in a unique direction, which fuses the backstreet Decadence of Arthur Machen and Arthur Symons with the pulp fiction published by Hecht's mentor, H. L. Mencken, in The Black Mask. The result, I argue, is that Hecht's short stories create a hard-boiled Decadence: a new form which uses Decadent language to explore the continuity of Decadent sensuality in the unlikely setting downtown Chicago, at the same time as it uses the emerging tropes of hard-boiled fiction to define the impediments to having a Decadent sensibility in such circumstances.
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Creasy, Kaitlyn. "Nietzschean Decadence as Psychic Disunity." Journal of Nietzsche Studies 55, no. 2 (November 2024): 127–57. http://dx.doi.org/10.5325/jnietstud.55.2.0127.
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Abstract This article offers an account of Nietzschean decadence as a psycho-physiological condition characterized by a failure of psychic integration—a failure Nietzsche thinks precludes genuine agency, since the psychic integration the decadent fails to achieve is necessary for agency. As part of this account, this article develops an interpretation of an underexplored but crucial form of decadence: repressed decadence. Exploring this variety of Nietzschean decadence both enables us to make sense of the case of Wagner’s alleged decadence and adds nuance to predominance models of Nietzschean unity. After developing this account, the article argues that Nietzsche finds decadence especially problematic when it disempowers (or obstructs the empowerment of) the individual who suffers from it, even if only in the long run. The article concludes by demonstrating that in (rare) cases in which decadence facilitates individual empowerment, Nietzsche evaluates it positively, finding such a condition worthy of affirmation.
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MacLeod, Kirsten. "“Art for America's Sake”: Decadence and the Making of American Literary Culture in the Little Magazines of the 1890s." Prospects 30 (October 2005): 309–38. http://dx.doi.org/10.1017/s0361233300002064.
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Decadence — the literary and artistic movement that insisted on the autonomy of art, reveled in the bizarre, artificial, perverse, and arcane, and pitted the artist against bourgeois society — is most strongly associated with fin de siècle British and French culture. Rarely is it associated with America. And yet, its popularity in America may well have surpassed its popularity in either Britain or France. That decadence was among Europe's most successful cultural exports to America in the 1890s is indicated by the rash of decadent Anglophile and Francophile little magazines that emerged in America in this period. Whereas Britain and France had a handful of decadent periodicals between them, America had over one hundred and fifty little magazines in the period from 1894 to 1898, many of them inspired by European decadent periodicals. What Gelett Burgess, founder of the decadent little magazine the Lark called a “little riot of Decadence” (Epilark) erupted all over America, from major centers such as New York City, Chicago, and San Francisco to smaller centers such as Lansing, Michigan, and Portland, Maine. Described at the time variously as fadazines, fadlets, fad magazines, bibelots, ephemerals, decadents, brownie magazines, freak magazines, magazettes, dinkeys, and so on, these magazines were founded by those one contemporary, Arthur Stanwood Pier, labeled the “brilliant cognoscenti and sophisticates,” the “American Oscar Wildes and Aubrey Beardsleys” of the period (quoted in Kraus, 6).Despite the pervasiveness of the little-magazine phenomenon of the 1890s, these magazines have been all but ignored in recent scholarship. Interest in American periodical history of the late 19th and early 20th centuries has focused largely on mass-market periodicals and the development of consumer culture as in recent studies by David Reed, Ellen Gruber Garvey, Richard Ohmann, and Helen Damon-Moore.
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Clarke, Tim. "The Consolations of Decadence in John Fante's Ask the Dust." Journal of Modern Literature 47, no. 4 (June 2024): 126–43. http://dx.doi.org/10.2979/jml.00048.
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Abstract: Though fin de siècle decadence has seldom been recognized as a formative influence on John Fante's writing, the attitude toward modernity that Fante expresses in Ask the Dust is illegible without recourse to the decadent tradition. Tracing the novel's ideas about ethnicity, religion, and sexuality back to the fin de siècle , and reading Joris-Karl Huysmans's 1891 decadent novel Là-bas as its key intertext, we can see that Ask the Dust refashions decadence into an ambivalent survival strategy for transmuting alienation and suffering into a sense of personal consolation or power. Arturo Bandini, the novel's protagonist, poses as various decadent types, such as the dandy-flâneur, the diabolical apostate, and the impotent aesthete, as a means of transmuting the suffering he has endured as an ethnic other. At the same time, Fante himself employs decadence to critique the mutually implicative violences (ethnic, religious, sexual) that underlie judgments about social decay in the Depression-era United States. Fante's modernism ultimately amounts to an essaying of decadence—an asking of the dust for unsuspected consolations.
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Price, Matthew Burroughs. "A Genealogy of Queer Detachment." PMLA/Publications of the Modern Language Association of America 130, no. 3 (May 2015): 648–65. http://dx.doi.org/10.1632/pmla.2015.130.3.648.
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Despite their widespread attention to the conluence of queer sexualities and “decadence” in in- de- siècle writing, queer theorists have yet to overcome the two concepts' persistently destructive conlation. his essay explores the latent positive ainities of queerness and decadence in Walter Pater's Renaissance, which links them through what I call queer detachment. A balance of engagement with and withdrawal from history, this critical perspective anticipates queer theory's methodologies as well as other queer modernist productions. Examining Goodbye to Berlin, Christopher Isherwood's chronicle of decadent Weimar Germany, I demonstrate how queer detachment becomes an increasingly politicized method of literary and social world making, a means of reengaging the politics and aesthetics of queer history. hese works, and others like them, encourage scholars to realize decadence's positivity, to conceptualize a queer theory that refuses to acquiesce to residual historical narratives and philosophical systems—without, for all that, refusing their value entirely.
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Coste, Bénédicte, and Jane Desmarais. "Translating Decadence." LEA - Lingue e Letterature d'Oriente e d'Occidente 6 (April 18, 2024): 7–10. http://dx.doi.org/10.36253/lea-1824-484x-14818.
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This series of articles explores the aesthetics of translation of decadent texts into different languages. It shows how decadence and translation are closely linked and how each is redefined by the other.
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Bock, Oliver. "Decadent Artwork in the Sixties Counterculture Magazines International Times and Oz." Zeitschrift für Anglistik und Amerikanistik 73, no. 1 (March 1, 2025): 59–76. https://doi.org/10.1515/zaa-2025-2007.
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Abstract Leading magazines of 1960s counterculture in Britain made use of decadent aesthetics, yet the significance of this fin-de-siècle form of an artistic and ideological alternative for the counterculture of the Sixties has often been passed over in accounts of the aftermaths of Decadence. The paper examines the allusion to and the usage and assimilation of principles of decadent visual design as well as the visible incorporation of Beardsley-like style elements in selected pieces of artwork published in the magazines International Times (IT) and Oz. Discussing possible functions of these references to Decadence in the context of the 1960s, the article demonstrates the continuing countercultural significance of Decadence as a challenge to mainstream culture.
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Ólafsdóttir, Karólína Rós. "Black Feathers and Poison Wine Decadent Aesthetics in Davíð Stefánsson’s Poetry." LEA - Lingue e Letterature d'Oriente e d'Occidente 6 (April 18, 2024): 61–79. http://dx.doi.org/10.36253/lea-1824-484x-15114.
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Davíð Stefánsson (1895-1964) is a poet whose work marks a turning point in early twentieth-century Icelandic literature. This essay offers five new English translations from his first collection Black Feathers (Svartar Fjaðrir,1919) and introduces a new decadent perspective. Decadence is widely regarded as flourishing in emergent modern societies, but, as this essay shows, its influence extended beyond western Europe. Written in a remote place, Stefánsson’s decadence speaks to an aesthetic of emptiness and atemporality. These poems broaden our conception of decadence and evidence a rich cultural hybridity, showing the influence of various traditions including symbolism, the Gothic, folk-songs, and decadence.
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Rainwater, Crescent. "Netta Syrett, Nobody’s Fault, and Female Decadence: The Story of a Wagnerite." Journal of Victorian Culture 25, no. 2 (December 14, 2019): 185–99. http://dx.doi.org/10.1093/jvcult/vcz057.
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Abstract Scholars have traditionally associated decadence with misogyny, and therefore it has typically been perceived as antithetical to feminism. Nobody’s Fault (1896), Netta Syrett’s first novel, complicates this perception through the way in which the self-assertive protagonist, Bridget Ruan, finds in the decadent music of Richard Wagner a liberating form of aesthetic experience. In this essay, I argue that encountering Wagner’s music marks Bridget’s immersion into a form of decadent culture that affirms her aesthetic longings and awakens her erotic desires. At the same time, the novel condemns an antifeminist form of decadence that is associated with elitist male artists who indulge in a superficial manipulation of language and treat women as art objects. The novel’s resistance to exclusionary forms of aesthetic experience is modelled in its straightforward narrative style and strategic engagement with familiar New Woman themes. This middlebrow narrative thus made Syrett’s intervention into debates about women and decadence accessible to a middle-class female audience. When we recognize that the history of decadence includes its appeal to feminist writers such as Syrett rather than an exclusively antifeminist legacy, we can begin to uncover a more nuanced history of feminism and decadence in England at the fin de siècle.
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Clarke, Tim. "Ralph Waldo Emerson and the Logic of Decadence." J19: The Journal of Nineteenth-Century Americanists 11, no. 2 (September 2023): 333–60. http://dx.doi.org/10.1353/jnc.2023.a921884.
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Abstract: This essay argues that Ralph Waldo Emerson's thinking and style are governed by a hitherto unrecognized "logic of decadence" that manifests as a fascination with the philosophical and ethical functions of negativity, decay, and destruction. It discerns in Emersonianism a peculiarly American idiolect of decadence—an "alter-decadence"—that emerges from similar sources as that of the fin de siecle Decadent movement but evolves in a divergent direction, notably by valorizing the dialectical tension between the totality of nature and its parts instead of celebrating the breakdown of holistic unities. The first section argues that although critics have long invoked tropes of decadence to describe features of Emerson's work, they have generally misunderstood their functions. The second section excavates ideas about decadence that Emerson received in his reading of historians like Montesquieu and Edward Gibbon, arguing that even in his early thinking Emerson was adapting a historical logic of decadence in order to reconcile his alternately monistic and pluralistic views of the universe. The final section explores how the logic of decadence provides an infrastructure for Emerson to develop these metaphysical concerns into an ethic of relationality and contingency that eschews belief in absolute conceptions of the good.
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Nosenok, B. E. "DECADENCE-LITERATURE: THE IMAGERY SPECIFICITY." UKRAINIAN CULTURAL STUDIES, no. 1 (2017): 34–39. http://dx.doi.org/10.17721/ucs.2017.1.08.
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This article is devoted to the imagery problem of the decadence-literature (as a general phenomenon that periodically repeats itself) and of the literature of the decadency (as an oeuvre of crisis developments in art of the late 19th and early 20th century). The decadence-literatureis a manifestation of the irreducibility. It is proposed to analyze the imagery based on the context of the modernist interpretation of the image / icon. Before the image was considered together with its mimetic foundation – as an imitation of the external world. But here the image is freed from its mimetism, and it turns into a kind of "immediate ontology" (it is the Gaston Bachelard’s term). The classical structure of the image (plot, storyline, composition) ceases to play a leading role, and gives way to a writing. The decadence-literature image lets visual elements into literature. Therefore,there is a displacement from the ontology of the image to the image as an ontology in the research of imagery. It is also important to use the methodology proposed by Georges Didi-Huberman and Paul Virilio: the combination of the hermeneutic approach in the philosophy of image with elements of psychoanalysis, and the method of dromology, which is the connection of special aspects of the physics, mathematics and philosophy. The methodology of the School of Sociology of Imagination is also appropriate. The image of the decadence-literature is marked by symbolism, imaginism (it isalso known the same direction in literature – with the same name). There is also the "genres-werewolves" when a work is called, for example, poetry in prose. A personality of the writer-author plays a great role here: the decadence-literature is saturated with a psychology and a biography that is turned insideout. It is the expression of the world of unforgiven, restless personalities, which is explained by the principle of creation from an absence, emptiness, depressive and melancholic states (nostalgia, fatigue, sweet melancholy). It's interesting that decadent moods contribute to creation here. Distinctive features of the authors of decadence-literature: soreness, tenderness, hypersensitivity, a difficult life path and an unstable world. The imagery that is generated by creativity of these individuals is marked by a special attitude to time and space, it is also directed to the past in an attempt to find a lost paradise - that existed before the crash.
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Mahoney, Kristin. "Taking Wilde to Sri Lanka and Beardsley to Harlem: Decadent Practice, Race, and Orientalism." Victorian Literature and Culture 49, no. 4 (2021): 583–606. http://dx.doi.org/10.1017/s1060150320000273.
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This article examines the reworking of decadence by writers of color in the early twentieth century, focusing on the uses to which the Harlem Renaissance writer Richard Bruce Nugent and the Sri Lankan writer Lionel de Fonseka put decadent style while engaging in anticolonial critique and contesting rigid categories of power and identity. I read the implementation of decadent aesthetics by Nugent and de Fonseka as a form of criticism that teases out the troubles and potentialities of thinking race and empire through the lens of decadence.
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Van Puymbroeck, Birgit. "Among the Decadents: Nancy Cunard's Art of Imitation." Modernism/modernity 30, no. 3 (September 2023): 591–609. http://dx.doi.org/10.1353/mod.2023.a920258.
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Abstract: This article examines Nancy Cunard's early poetry in light of ongoing debates about the relationship between modernism and decadence. Rather than positioning Cunard as a 'dilettante', 'rebel' or 'muse', it suggests that she was a poet in her own right, adopting a modernist-decadent style. Through a close reading of her early poetry, published in the collections Outlaws and Sublunary , and her long poem Parallax , the article considers Cunard's poetry as an example of a continued decadence, showing how Cunard adopted decadent motifs and strategies in her work.
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Murray, Alex. "Decadent Experience: Conservatism and Modernity." Victorian Literature and Culture 49, no. 4 (2021): 667–87. http://dx.doi.org/10.1017/s1060150320000170.
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At the core of literary decadence is a conflicted relationship with modernity. For some decadent writers, the onset of rapid social and technological change could usher in possibilities for living and loving in hitherto unimagined ways, yet for others of a more conservative hue, modernization was to be rejected, tradition embraced. This essay argues that experience can be used as a framework for articulating these very different forms of decadence. The essay begins with an exploration of aesthetic modernity as an attempt to articulate the shock of the new, whereby the experience (present) or sensation becomes the ground for the erosion of collective tradition (experience past). Decadent and aestheticist writers such as Walter Pater, Arthur Symons, and Oscar Wilde embraced these new experiences, rejecting the “fruits of experience” as a ground for knowledge. In contradistinction to this valorization of sensation, I examine the “conservative” decadent aesthetic of Lionel Johnson and Michael Field. These writers’ embrace of nostalgia and jingoistic nationalism, I argue, demands we expand our current critical frameworks to more fully encompass the politics of decadence.
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Hext, Kate. "“Tired Hedonists” in Los Angeles: F. Scott Fitzgerald’s Last Tycoon." Zeitschrift für Anglistik und Amerikanistik 73, no. 1 (March 1, 2025): 47–58. https://doi.org/10.1515/zaa-2025-2006.
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Abstract This article focuses on F. Scott Fitzgerald’s final unfinished novel The Last Tycoon. It illustrates how the novel advances the tropes of the decadent movement as an ironic way to evoke Hollywood and, at its centre, the fictional movie mogul Monroe Stahr. In so doing, I situate the novel and its author in the context of American engagements with decadence in the early twentieth century, and show how Fitzgerald creates a distinctly modern American mode of the phenomenon. On this basis, I argue that The Last Tycoon illustrates Fitzgerald’s continued engagements with the concerns and aesthetics of the decadent movement, despite his own attempts to distance himself from it. Indeed, decadence provides a ready-made aesthetic framework in which to comprehend Hollywood in the 1920s and 1930s, at the same time as cinematic aesthetics, such as popular music, enable Fitzgerald to expand the imaginative scope of decadence.
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Rees, William D. J. "“Good Things Don’t Last Forever”: A Dalliance with Disco?" Zeitschrift für Anglistik und Amerikanistik 73, no. 1 (March 1, 2025): 77–90. https://doi.org/10.1515/zaa-2025-2008.
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Abstract This article examines the idea of liminality in decadence and American disco; of living through a unique moment on the precipice of potential disaster. It discusses how this idea was envisioned through popular conceptions of 1970s disco in its own time, particularly in how Studio 54, the culture’s most famous if also atypically celebrity-driven club, embodied seventies conceptions of decadence in the USA. This article argues that embracing pleasure in the now, despite crisis, can be a decadent way of finding meaning amongst the uncertainties of society and individual lives. Disco is argued as one manifestation of decadence developed towards the cultural conditions of its own perceived time of upheaval.
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Evangelista, Stefano. "Translational Decadence: Versions of Gustave Flaubert, Walter Pater, and Lafcadio Hearn." Victorian Literature and Culture 49, no. 4 (2021): 807–29. http://dx.doi.org/10.1017/s1060150320000285.
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Literary decadence played an active role in promoting the increased circulation and critical scrutiny of literary translations in the second half of the nineteenth century. Building on Walter Benjamin's influential definition of translation as an autonomous literary form, this article examines Walter Pater's “Style” (1888) and Lafcadio Hearn's 1910 translation of Flaubert's Tentation de Saint Antoine (1874) in order to map a theory and practice of decadent translation founded on the aesthetic and ethical respect for the foreignness of the original. Paying closer attention to the aesthetics of decadent translation, as well as its social networks and material history, generates new insights on the cosmopolitan culture of decadence and Victorian literature more broadly.
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Minturn, Molly. "Decadence." Iowa Review 45, no. 2 (September 2015): 32. http://dx.doi.org/10.17077/0021-065x.7564.
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Thomas, Gavin, Music Projects, London, Bernas, BBCSO, and Wigglesworth. "Decadence." Musical Times 133, no. 1795 (September 1992): 466. http://dx.doi.org/10.2307/1002389.
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Mahoney, Kristin. "Decadence." Victorian Literature and Culture 46, no. 3-4 (2018): 636–40. http://dx.doi.org/10.1017/s106015031800044x.
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ALSTON, ADAM. "‘Burn the Witch’: Decadence and the Occult in Contemporary Feminist Performance." Theatre Research International 46, no. 3 (October 2021): 285–302. http://dx.doi.org/10.1017/s0307883321000274.
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This article introduces and theorizes ‘decadence’ as a key feature of Lauren Barri Holstein's performance Notorious (2017). The decadence of Holstein's work is approached in light of two main considerations: the spectacular presentation of witchcraft as an occult practice, and what Holstein ‘does’ with the staging of witches and witchcraft. Situated in light of performances associated with the neo-occult revival (Ivy Monteiro and Jex Blackmore), and a recent strand of feminist performance that revels in an aesthetics of trash, mess and excess (Ann Liv Young and Lucy McCormick), the article offers a close critical analysis of Notorious as a work that addresses and seeks to subvert gendered inequalities and forms of productivity in twenty-first-century capitalism. I argue that Holstein's overidentification with exertion and exhaustion as much as the subversive potentialities of witchcraft results in a decadent aesthetic, that her staging of the witch as a persecuted but powerful emblem of the occult sheds valuable light on the aesthetics and politics of decadence in performance, and that the subversive qualities of decadence emerge particularly strongly in its ‘doing’ as an embodied and enacted practice.
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Mindani, Mindani, Nova Asvio, and Asmara Yumarni. "Pancasila Student' Profile Project in Overcoming Characters Decadency in The Disruption Era." Islam Transformatif : Journal of Islamic Studies 8, no. 1 (August 7, 2024): 45–59. https://doi.org/10.30983/it.v8i1.8421.
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Pancasila Student Profile Strengthening Project, known as P5, is a new solution to build valuable students' characters. This study analyzes how P5 was implemented in schools to conquer character decadency in the disruptive era. This study used a qualitative research design to collect the data and a triangulation test to validate the data. The research data was collected in three elementary schools in Bengkulu City. The findings indicate that P5 is running well at the sample schools by looking at several indicators, such as the policy, program, and implementation of P5. Based on the data, the schools accepted and implemented P5 to swamped character decadence in the period of disruption well, allowing it to be socialized and applied as needed. However, every school has successfully utilized P5 techniques to overthrow character decadence in the disruptive era. Despite the challenges and limitations associated with its implementation, the principal has the ability to mitigate these issues. The principal and educators hope the school can best apply P5 to combating character decadence in the disruptive period, making it more advantageous for the larger community.
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Murray, Alex. "Decadent Constantinople: Symons, Flecker, and Nicolson." Victoriographies 13, no. 2 (July 2023): 151–73. http://dx.doi.org/10.3366/vic.2023.0490.
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This article examines the work of three British writers – Arthur Symons, James Elroy Flecker, and Harold Nicolson – who all spent time in Constantinople in the first two decades of the twentieth century. Drawing on the Decadent literary aesthetic, they registered their distaste for a city then synonymous with decline. In their poetry, impressionistic prose, and fiction they struggle to write about a city that seemed so amenable to a literature of exhaustion and decay. I argue that the work of Symons and Flecker reveals something like a limit point to the development of literary Decadence. Rather than be a vehicle for affective, cosmopolitan community, Decadence encouraged solipsism and melancholy, a legacy that lives on in literary modernism. Their exhausted Decadence is then satirised by Nicolson who sees late-Victorian aestheticism as ill-equipped to deal with the geopolitical complexities of the city by the Bosphorus.
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Lesińska, Aleksandra. "„Podłe życie miałem”. "Puszczyk" Stefana Grabińskiego wobec modernistycznego dekadentyzmu." Załącznik Kulturoznawczy, no. 10 (December 31, 2023): 535–55. http://dx.doi.org/10.21697/zk.2023.10.24.
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“I Had a Rough Life:” Stefan Grabiński’s Puszczyk and the Decadent Movement in Modernism The article is an attempt to analyze Puszczyk [Tawny Owl], Stefan Grabiński’s first fantastic horror novella, thus introducing this little-known work into the study of pessimistic attitudes prevailing during Modernism, i.e. at the turn of the 19th and 20th centuries. The research is placed in the context of selected approaches to decadence as one of the leading philosophical movements of the era and one which perfectly reflected the mood and melancholic attitudes of the time when the literary work was created. The novella is shown to have the most characteristic features of decadence and corresponds with the general atmosphere and poetics of Polish modernism. Decadence is understood here as an “attitude towards culture, society, civilization, and a certain way of thinking about them” that focuses on “fall, disintegration, or decline.”
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Jackson, Kimberly. "NON-EVOLUTIONARY DEGENERATION IN ARTHUR MACHEN'S SUPERNATURAL TALES." Victorian Literature and Culture 41, no. 1 (March 2013): 125–35. http://dx.doi.org/10.1017/s1060150312000253.
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Welsh author Arthur Machen (1863–1947) wrote his most popular supernatural tales between 1890 and 1900, a period in which European culture felt itself to be on the decline and in which “decadent” art and literature rose up both as a reflection of and a contribution to this perceived cultural deterioration. While Machen's works have received little critical attention, a recent revival of interest in fin-de-siècle decadence has brought his supernatural tales into the literary limelight. Noteworthy examples of this interest include Julian North's treatment of The Great God Pan in Michael St. John's Romancing Decay: Ideas of Decadence in European Culture and Christine Ferguson's analysis of the same work in her PMLA article “Decadence as Scientific Fulfillment.” Indeed, Machen's supernatural tales could enhance and complicate any exposition of decadent literature and culture; they offer a unique vision of descent into the primordial that differs from the moral and psychological treatment of decadence in other popular works of the time, such as Wilde's The Picture of Dorian Gray and Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde. Like Stevenson and Wilde, Machen employs themes of transgression and metamorphosis to illustrate his characters’ deviations from human nature. However, the forces at work in Machen's tales do not arise from the recesses of the human mind in its modern conception, nor do his protagonists sin primarily against society and the arbitrary nature of its morals and values. Instead, Machen locates mythic forces at work within his contemporary society to highlight a much older form of transgression and to challenge notions of degeneration that held currency at the end of the nineteenth century.
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Bikulčius, Vytautas. "Michel Houellebecq’s Submission – a novel of decadence." Literatūra 61, no. 4 (December 20, 2019): 94–100. http://dx.doi.org/10.15388/litera.2019.4.7.
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Michel Houellebecq’s Submission has been analysed as a novel of decadence in this paper. Referring to the works of Michel Winock, François Livi and Michel Onfray, it has been found that a decadent novel can be associated not only with the works of Joris-Karl Huysmans, Pierre Loűys, Jean Lorrain and others produced at the end of the 19th century but also at subsequent periods. Such characteristics of decadent writing as the threat of catastrophe, fundamental changes in society, nostalgia can be found in the analysed novel.François, the main character of the novel, an expert on Huysmans and a professor at Sorbonne University, supports Huysmans’ ideas to some extent trying to find the link between the end of the 19th century and the beginning of the 21st century by comparing processes in society. Huysmans sought an ideal in the Middle Ages, while François travels to Rocamadour, famous for the statue of the Black Madonna, with a hope to find a spiritual revelation but becomes aware that the world of the past has gone forever. Changes in society made Huysmans leave the monastery, similarly, François gets frustrated as he loses his job when the Muslim Fraternity comes into power.Using the dystopian genre, Houellebecq depicts unbelievable changes in society – the new government proclaims Islam an official religion of France. Society is governed by new rules, the authority is concerned about two things – demography and education. Those, who refuse to convert to Islam, lose their jobs. Changes in society are even linked with geopolitical changes. Meanwhile Houellebecq reveals significant differences between the decadence of the end of the 19th and of the 21st century. Huysmans’ decadence results in neuroses, a desire to seal himself off from the world in alcohol, drugs, etc., to surround himself with works of art, while François in Submission enjoys erotic pleasures, gradually becomes an alcoholic, he does not suffer like Huysmans’ protagonist Des Esseintes. It can be stated that Submission is a decadent novel only at thematic level since aesthetic values, characteristic of the decadence of the 19th century, are left in the background. The only justification of François is that he speaks about his conversion to Islam hypothetically, it shows that he has not made up his mind to take this step.
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Presto, Jenifer. "The Aesthetics of Disaster: Blok, Messina, and the Decadent Sublime." Slavic Review 70, no. 3 (2011): 569–90. http://dx.doi.org/10.5612/slavicreview.70.3.0569.
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In this article, Jenifer Presto argues that the 1908 Messina-Reggio Calabria earthquake had an impact on Aleksandr Blok no less significant than that which the 1755 Lisbon earthquake had on writers of the Enlightenment and proceeds to demonstrate how it shaped Blok's aesthetics of catastrophe. This aesthetics can best be termed the “decadent sublime, ” an inversion of the Kantian dynamic sublime with its emphasis on bourgeois optimism. Following Immanuel Kant, Blok acknowledges the fear and attraction that nature's forces can inspire; however, unlike Kant, he insists that modern man remains powerless in the face of nature, owing to his decadence—a decadence endemic to European civilization. The decadent sublime is manifested in a host of Blok's writings, ranging from “The Elements and Culture” to Lightning Flashes of Art and The Scythians; it is intensely visual and is indebted to images of ruin by artists such as Giovanni Battista Piranesi and Luca Signorelli.
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Hornby, Richard. "Southern Decadence." Hudson Review 57, no. 1 (2004): 111. http://dx.doi.org/10.2307/4151389.
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Duran, Jane. "On Decadence." Philosophy 65, no. 254 (October 1990): 455–64. http://dx.doi.org/10.1017/s0031819100064688.
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When one visits Thailand, one is struck by the enormous number of temples in the urban Bangkok area, many of which are conspicuously absent from the more cherished art historical works on the art and architecture of south-east Asia. The Wat Po complex and Wat Reitmit, one discovers, whatever their virtues for the Western tourist, are not among the temples and archaeological sites mentioned in the text of such an authority as Benjamin Rowland. Nor are these temples—when cited at all—discussed in the same vein as, for example, the Konarak temples of Orissa (India), where at least some veneration is paid to the plasticity of the carving in its depiction of sexual variety, even if the depictions themselves were at one time held to possess little or no intrinsic merit as pieces of sculpture.
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Teukolsky, Rachel. "On the Politics of Decadent Rebellion: Beardsley, Japonisme, Rococo." Victorian Literature and Culture 49, no. 4 (2021): 643–66. http://dx.doi.org/10.1017/s1060150320000182.
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The graphic designer Aubrey Beardsley created perverse, grotesque illustrations that encapsulate our sense of decadent visuality. This essay explores Beardsley's use of foreign styles, specifically those of nineteenth-century Japan and eighteenth-century France. Looking at Beardsley's illustrations for Salomé (1893) and The Rape of the Lock (1895), the essay argues that the Japanese and French stylistic influences are actually connected, despite their diverse geographies and temporalities. Studying both styles together reveals the ways that decadence embraced hierarchy and the inequality of persons, wielding a surprisingly normative politics of racial and cultural otherness to produce a Victorian counterculture. Decadence harnessed these familiar imperial-era attitudes in strange ways, using models of taboo difference to create a transgressive aesthetics that moved toward both embodiment and abstraction.
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Dowthwaite, James. "Revisiting the Decadence of Edward Gibbon’s The History of the Decline and Fall of the Roman Empire (1776–1787)." Zeitschrift für Anglistik und Amerikanistik 73, no. 1 (March 1, 2025): 21–33. https://doi.org/10.1515/zaa-2025-2004.
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Abstract Edward Gibbon’s famous account of the slow ending of the Roman empire, The History of the Decline and Fall of the Roman Empire (1776–1787) has long been held to be central to the conception of what decadence is on a civilisational level. ‘Decadence’ as a concept, however, is not something that Gibbon himself ever outlined, and so his links to it were really applied retrospectively. In this article, I outline which aspects of Gibbon’s work were attractive to decadent writers, and what affordances – formal and conceptual – his Decline and Fall provided them. These, I argue, were the following: first, a paradigmatic narrative of civilisational decay: his history of Rome begins at its height and describes a millennium of waning. Second, and related to the first, is that even the zenith of a civilisation contains the seeds of its decay. Thus, the image of the so-called height of a culture is characterised by a pessimistic sense of eventual collapse. His decadence is one in which the perception of civilisation is cultivated by its ending. I look then at how two writers of the fin de siècle, Walter Pater and Michael Field, drew on these aspects of Gibbon’s work.
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Gryakalova, Nataliya. "THE POLEMIC CONTEXT OF THE “SICK CHILD” IMAGE BY A. A. BLOK." Проблемы исторической поэтики 19, no. 3 (September 2021): 222–37. http://dx.doi.org/10.15393/j9.art.2021.9902.
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This study examines the early phase of the self-defining process in Russian literary modernism, which demonstrated a desire to establish clear demarcation between “decadence” and “symbolism” on one hand and to be free from the psychopathological discourse in the evaluation of new artistic phenomena, thereby shifting the conventionally recognized border between “norm” and “pathology.” This paper analyses Aleksander Blok’s own views on “decadence” and “decadents” on the basis of his ego-documents (his diary and notebooks), discusses “decadents” and “symbolists” in the press, and, finally, the poet’s response to them and its literary embodiment — the poem “A. M. Dobrolyubov” (1903). In this poem Blok represents the image of one of the first Russian decadents A. Dobrolyubov, whose life became a legend, giving rise to a certain narrative. The basic concepts of the image created by Aleksander Blok in this poem are investigated, in particular, the image of a “sick child”: its sources, which date back to the polemics of the early 1900s and to a corpus of articles written by Z. Gippius, are identified along with a number of intertextual parallels (D. Merezhkovsky, F. Dostoevsky, A. Dobrolyubov). The article traces the poem’s textological history (from a note in the autograph book and the first publication to the inclusion in the “lyrical trilogy”) and reveals the functions of the epigraph as a marker of the “Petersburg text.”
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Obasola, Kehinde Emmanuel, and Ruth Adebola Oreweme. "The ‘Dekadent’ Distinctive in Nietzsche’s Amoral Philosophy and its Consequences for Nigerian Youths." Tropical Journal of Arts and Humanities 6, no. 2 (2024): 1–9. http://dx.doi.org/10.47524/tjah.v6i2.8.
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This paper briefly examines Nietzsche‟s conception of „dekadent‟ (decadent) and its implications for the youths in the Nigerian context. Fredrick Nietzsche was a German philosopher who was a strong proponent of moral ideology that stands in opposition against all pro-moral philosophies and the Christian morality in particular. He encourages super stars and demy-gods‟ lifestyles in his conception of moral decadence and his philosophy are highly regarded in scholarship as a strong foundational basis on which the postmodern moral ideology heavily rests. Nietzsche‟s philosophy on moral decadence advocates a dethronement of cultural, religious and ethical-moral structure of the society in favour of the enthronement of self. Nietzsche‟ conception of „dekadent‟ majorly has negative consequences on the youths. More so, that philosophy is the bedrock on which the foundation of post modernity rests.
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Kharitonova, Anna. "Falsification of content: decadence and simplification as the extreme forms of internal protest of the heroines of M. V. Krestovskaya’s novella “The Outcry”." Litera, no. 6 (June 2020): 56–74. http://dx.doi.org/10.25136/2409-8698.2020.6.33121.
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This article examines novella by Maria Krestovskaya “The Outcry” (1900) in the context of reception of the phenomenon of decadence in Russian literature of turn of the XIX – XX centuries. This novella by the mostly forgotten writer, who in her works refers mostly to the female topics (love, family, and profession), is currently of particular interest from the perspective of reflection of cultural trends of that time. A “typical female story” about the unhappy marriage, aimed against the power of money, insincerity and lack of freedom, puts decadence to the forefront of narration as a cultural emblem of the era, revealing the inner motifs and mechanism, which led one of the heroines to an ostentatiously decadent behavior. A contrasts form of protest against the bourgeois world in the novella is the ideology of simplification. The scientific novelty of the conducted research is defined by paucity of research on the works of M. V. Krestovskaya, and absence of special works within the modern literary studies dedicated to her writing heritage. The author’s contribution consists in introduction of novella “The Outcry” into the extensive Russian-European cultural and historical-literary context, as well as its analysis from the perspective of worldview trends and aesthetic influences of the late XIX – early XX centuries. The research proves that this text, which is not the only resort of M. V. Krestovskaya to a new type of here of the “end of century”, can be justifiably attributed to the body of work devoted to the heroes-decadents.
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Stetz, Margaret D. "The Age of Decadence." Victorian Literature and Culture 50, no. 2 (2022): 417–29. http://dx.doi.org/10.1017/s1060150322000018.
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What does “decadence” mean? Does it mean anything at all? Is it sinister or irresistibly appealing? Regardless of the ambiguity that surrounds the word “decadence” (often with a small “d”), no one can deny that decadence (frequently with a capital “D,” especially when it alludes to the late nineteenth-century European cultural movement) has been sweeping the world of academic publishing. Seen from the perspective of 2022, the past few years appear to have been, at least among scholars, a decade of decadence. Joseph Bristow opens his chapter on “Female Decadence” for the 2016 volume The History of British Women's Writing, 1880–1920 by saying, “There is no question that by the mid-1890s one word had come to define avant-garde art and literature in Britain,” and that word was decadence. Judging by the recent proliferation of books and art exhibitions on both sides of the Atlantic, history appears to be repeating itself and on a broader scale. Decadence is now defining, or at least preoccupying, many of us.
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Valentine, Colton. "Domesticating Decadence: Joris-Karl Huysmans, Pierre Louÿs, and Their Invisible English Translators." Modern Language Quarterly 82, no. 4 (December 1, 2021): 441–72. http://dx.doi.org/10.1215/00267929-9365957.
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Abstract Decadence eludes definition, but critics tend to concur on the movement’s transgressive and uncommercial status in the British literary field. This essay questions those associations by exploring a current of archetypal decadent French novels translated by and marketed to a mainstream Anglophone audience: Joris-Karl Huysmans’s En Route (1895, trans. 1896) and La cathédrale (1898, trans. 1898) and Pierre Louÿs’s Aphrodite: Mœurs antiques (1896, trans. 1900 and 1906) and La femme et le pantin (1898, trans. 1908). By reading letters, memoirs, and prefaces alongside periodical reviews and a publisher’s archive, the essay sheds light on the novels’ invisible translators and reveals the fiscal and legal viability of “domesticated decadence.” Doing so models how translation studies and book-historical methods can revise deep-set tenets of literary history. These “poisonous” epitomes of the fin de siècle in fact circulated freely across the Channel, reaching more than the happy few.
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Talbot, Emile. "Nelligan and Decadence." Quebec Studies 11 (October 1990): 83–92. http://dx.doi.org/10.3828/qs.11.1.83.
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Kopelson, Kevin, and Ellis Hanson. "Decadence and Catholicism." SubStance 31, no. 1 (2002): 129. http://dx.doi.org/10.2307/3685815.
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Potolsky, Matthew. "Decadence and Realism." Victorian Literature and Culture 49, no. 4 (2021): 563–82. http://dx.doi.org/10.1017/s1060150320000248.
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This essay proposes a new understanding of the widely recognized disdain for realism and the realist novel among decadent writers, a disdain most critics have interpreted as a protomodernist celebration of artifice. Focusing on Oscar Wilde's dialogue “The Decay of Lying,” the essay argues instead that decadent antirealism is antimodern, embodying a repudiation of contemporary society. Decadent writers regard realism not as hidebound and traditional, as twentieth-century theorists would have it, but as terrifyingly modern. Wilde looks back to neoclassical theories of mimesis and classical Republican political theory to imagine a different, older world, one in which art improves upon brute reality and in which the artist stands apart from the social forces that realist novels make central to their literary universes.
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Denisoff, Dennis. "Feminist global decadence." Feminist Modernist Studies 4, no. 2 (May 4, 2021): 137–45. http://dx.doi.org/10.1080/24692921.2021.1950468.
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O’Flaherty, James C. "Dialectics and Decadence." International Studies in Philosophy 31, no. 4 (1999): 116–17. http://dx.doi.org/10.5840/intstudphil199931481.
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ROBINSON, HARLOW. "Flirting with Decadence." Opera Quarterly 8, no. 4 (1991): 1–7. http://dx.doi.org/10.1093/oq/8.4.1.
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Volpicelli, Robert. "The New Decadence." Modernism/modernity 26, no. 1 (2019): 213–18. http://dx.doi.org/10.1353/mod.2019.0009.
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BUSH, GLEN. "DECADENCE AND CHAOS." English Studies in Africa 36, no. 1 (January 1993): 57–72. http://dx.doi.org/10.1080/00138399308690899.
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Kopelson, Kevin. "Decadence and Catholicism." SubStance 31, no. 1 (2002): 129–32. http://dx.doi.org/10.1353/sub.2002.0011.
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Mohan, Brij. "Perils of Decadence." Journal of Humanities and Social Sciences Research 5, no. 1 (July 2023): 6–8. http://dx.doi.org/10.37534/bp.jhssr.2023.v5.n1.id1205.p6.
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