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Relevant bibliographies by topics / Decadent aesthetic

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Journal articles

Academic literature on the topic 'Decadent aesthetic'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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Journal articles on the topic "Decadent aesthetic"

1

Rainwater, Crescent. "Netta Syrett, Nobody’s Fault, and Female Decadence: The Story of a Wagnerite." Journal of Victorian Culture 25, no. 2 (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 con

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2

Maltz, Diana. "PRACTICAL AESTHETICS AND DECADENT RATIONALE IN GEORGE GISSING." Victorian Literature and Culture 28, no. 1 (2000): 55–71. http://dx.doi.org/10.1017/s1060150300281047.

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A YOUNG MAN living on a meager tutor’s salary skimps on his expenses to attend an 1882 commemorative exhibit of D. G. Rossetti’s work at the Royal Academy; he then purchases a volume of Rossetti’s sonnets, and makes a pilgrimage to Cheyne Walk where Rossetti had lived. He adopts Aesthetic style more concretely when he moves into a new flat and furnishes it with a dado and a cabinet papered in a Japanese print. In 1886, he subscribes to the library of the Grosvenor Gallery, the institutional center of British Aestheticism. He is tickled by Oscar Wilde’s public performances as an aesthete in 188

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3

Amedegnato, Ozouf Sénamin. "L’Afrique à rebours: la décadence dans un corpus de littérature Togolaise." Nordlit 15, no. 2 (2012): 89. http://dx.doi.org/10.7557/13.2046.

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During the past fifteen years, the West African country of Togo has witnessed the emergence of a new generation of writers - a third generation since independence from colonisation - working in the French language. Born around 1960, these writers have been making their way onto the literary scene since approximately 1990. A certain number of distinctive traits, which have attracted the attention of critics, unequivocally delineate this generation from the two that preceded it. Among these is a new literary aesthetic that resonates with the fin de siècle - with the end of the twentieth century,

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4

Downing, L. "Beyond Reasonable Doubt: Aesthetic Violence and Motiveless Murder in French Decadent Fiction." French Studies 58, no. 2 (2004): 189–203. http://dx.doi.org/10.1093/fs/58.2.189.

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5

Guan, Bei, and Jian Xie. "Morality and Evil in Baudelaire’s The Flowers of Evil." English Language and Literature Studies 7, no. 4 (2017): 73. http://dx.doi.org/10.5539/ells.v7n4p73.

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Dandyism reflected the social reality and the rebellious spirit of resistance within 19th century Western Europe. As an aesthetic dandy, Baudelaire combined form, spirit and rebellion. He forever sought beauty with passion and sincerity. His work was about a decadent spirit and wild ideas, he displayed to his world the evil flowers of aestheticism, and thus fulfilled the last flash of light of an aesthetic heroism. The article investigates the dandyism of Baudelaire and his aesthetic revolt, and how his works represented rebellion towards the bourgeois authority.

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6

Curtin, Mary Elizabeth. "“LIKE BOTTLED WASPS”: BEERBOHM, HUYSMANS, AND THE DECADENTS’ SUBURBAN RETREAT." Victorian Literature and Culture 39, no. 1 (2010): 183–200. http://dx.doi.org/10.1017/s1060150310000331.

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Such was George Orwell's vision of suburban life in his 1939 novel Coming Up for Air – a vision of mindless, middle-class consumerism teetering always on the edge of financial ruin – a domestic life-in-death. Over the course of the twentieth century, suburbia has become the topos of bourgeois complacency, the locus of psychic decline. Strange, then, to think that at the end of the nineteenth century, two of Europe's Decadent writers – Max Beerbohm and Joris-Karl Huysmans – could find in the suburbs of London and Paris an aesthetic retreat from the snares of bourgeois urban life. In 1884, Huysm

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7

Merello, Ida. "Lisa Downing, Beyond Reasonable Doubt: Aesthetic Violence and Motiveless Murder in French Decadent Fiction." Studi Francesi, no. 147 (XLX | III) (December 1, 2005): 670. http://dx.doi.org/10.4000/studifrancesi.33527.

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8

Simpson, Juliet. "From Exquisite to Transgressive Moderns? The Goncourt's "Decadent" Eighteenth-Century Art Revival." Nordlit 15, no. 2 (2012): 159. http://dx.doi.org/10.7557/13.2052.

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As avid collectors of French eighteenth-century art, the Goncourts' contribution to its nineteenth-century history is well-known. This article, however, explores a less welldocumented aspect of their L'Art du dix-huitième siècle (1858-1875): that is, its articulation of an art of latency and decadence prior to the term's fin-de-siècle association with explicitly transgressive cultures of modernity. Indeed, the paper argues that the Goncourts were amongst the first writers of their age to use the art of an age linked with political and cultural decay, to foreground latently decadent tendencies

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9

Daly, Tavish. "The English Catholic Dream of Gerontius: An Aesthetic Synthesis of Newman and Elgar." Nota Bene: Canadian Undergraduate Journal of Musicology 14, no. 1 (2021): 39–63. http://dx.doi.org/10.5206/notabene.v14i1.13398.

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Due to inherent paradoxy and limited sample size, fin-de-siècle English Catholic aesthetics are difficult to define, especially in the case of music. At the turn of the nineteenth century, English music and Catholic theology underwent a period of intense development and reconstruction, yet the intersection of theology and musical aesthetics in this era is largely under-researched. This paper identifies one such intersection using two monumental figures in theology and music: John Henry Cardinal Newman (1801-1890) and composer Edward Elgar (1857-1934). Newman’s theology provided a basis on whic

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10

Escudero, Xavier. "La décadence à la fin du XIXe siècle espagnol: une esthétique de la provocation." Nordlit 15, no. 2 (2012): 107. http://dx.doi.org/10.7557/13.2047.

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Talking about Decadence in fin-de-siècle Hispanic literature involves delving into the great movement of modernism, and notably one of its expressions, literary bohemianism. In what way(s) do these concepts both make use of and take part in an aesthetic of transgression, or a provocative pose? What does Spanish decadentism really mean, and what are its expressions?In order to answer these questions, we shall first look at the concept of decadentism as applied to the sociocultural phenomenon of Spanish literary bohemianism, which gathers writers and artists defined by constant failure, loose mo

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