Search results

1

Die stille Sprache der Stadt: Prag in Paul Leppins Roman Severins Gang in die Finsternis

100%

Derham C.

Slovo a smysl - Word & Sense

|

2018

|

vol. 15

|

issue 29

99-114

EN

The novel Severins Gang in die Finsternis (1914) by the Prague author Paul Leppin (1878–1945) is explicitly created as a city novel by the subheading Ein Prager Gespensterroman. In fact, the novel refers to specific places in Prague. The hero Severin roams the city, past Prague sights or by well-known neighbourhoods. The reader perceives the city from Severin’s perspective, mediated by his subjectively coloured gaze. The portrayal of the city in the novel is not an end in itself, but conveys a network of cultural meanings — such as the allocation of sub-areas of the city to certain social or ethnic groups, the interweaving of places with historical events and the linking of spaces with emotions and memories, thus showing the city as a complex place of ambivalences. At the same time, the susceptibility of Severin for sensory impressions, which are then transformed into inner moods and ultimately lead to the indistinguishability of the inner and outer world, makes him a typical hero of literary décadence.

2

Poetika druhého básnického období Jiřího Karáska ze Lvovic

88%

Kolařík K.

Česká literatura (Czech Literature)

|

2005

|

vol. 53

|

issue 3

324-361

EN

The article considers works from Jiří Karásek ze Lvovic’s second period of writing verse – namely the collections Endymion (1909) and Ostrov vyhnanců (Isle of the Banished, 1912). It aims primarily to describe his style in this period and compare it with his style from the previous one. In his second period, Karásek (1871–1951) turned completely away from the verse libre that had been typical of his first period and his style became fully harmonized. The harmonizing tendency influenced his return to the brilliantly conceived sonnet, which predominated mainly in Endymion. In this period his style also shifted to the use of stylization approaches. His poems from the first period considered the theme of the “unknown brothers,” kindred spirits of the persona, of a being proclaiming the same ideals as he did. In the second period these persona were made strikingly concrete by means of poems stylized as the characters’ own utterances. In these utterances, moreover, a relationship began, nearly of self-identification (or self-stylization), with an unspecified lyrical subject. These new poems are distinguished chiefly by a clear dramatic quality and are reminiscent of monologues for the stage. An important shift took place in his echoes of Antiquity. Whereas in his first period everyday life in Antiquity predominated in a chronotopical stylization, in Karásek’s second period Classical mythology predominates. A shift also took place in his general perception of historical periods. Compared to his earlier adoration of historical chronotopes, his work in this period (particularly in Ostrov vyhnanců) expresses a striking antagonism between the individual and the milieu. Apart from this complex description the article also concentrates on several topics stemming directly from the shifts in Karásek’s style, which took place in the second period. It presents a broad picture of the motif of the androgyne in his work, and suggests several analogies between his style and androgyny. It describes in detail two of Karásek’s central conceptions of Classical Antiquity – everyday Antiquity and mythological Antiquity – and compares them. Since the influence of Jaroslav Vrchlický (1853–1912) is often emphasized in assessments of Karásek’s second period as a poet, the article also compares the styles of the two writers, pointing out certain similarities and differences.

3

Kasna antika: dekadencija ili „demokratizacija“ kulture?

88%

Milinović D.

Poznańskie Studia Slawistyczne

|

2019

|

issue 17

145-158

EN

In our age “without the emperor”, fascination with empires and with the emperor mystique continues. Take for witness Tolkien and his Return of the King, the third sequel of The Lord of the Rings, or the television serial Game of Thrones. In the background, of course, is the lingering memory of the decline and fall of the Roman Empire, “a revolution which is still felt by all nations of the world”, to quote Edward Gibbon. It comes as a surprise that in this dramatic moment of its history, in times marked by political, economic and spiritual crisis that shook the very foundations of the Empire during the 3rd century, historians and art historians have recognized the revival of plebeian culture (arte plebea, kleinbürgerliche Kultur). It was the Italian historian Santo Mazzarino, talking at the XI International Congress of the Historical Sciences in Stockholm in 1960, who introduced a new paradigm: the “democratization of culture”. In the light of the historical process in the late Roman Empire, when growing autocracy, bureaucracy, militarization and social tensions leave no doubt as to the real political character of the government, the new paradigm opened up fresh approaches to the phenomenon of decadence and decline of the Roman world. As such, it stands against traditional scenario of the “triumph of barbarism and Christianity”, which was made responsible for the fall of the Roman Empire and the eclipse of the classical civilization of ancient Greece and Rome. It is not by accident that the new paradigm appeared around the middle of the 20th century, at the time when European society itself underwent a kind of “democratization of culture”, faced with the phenomenon of mass culture and the need to find new ways of evaluating popular art. Today, more than anything else, the notion of “democratization of culture” in late Roman Empire forces us to acknowledge a disturbing correspondence between autocratic and populist forms of government. It may come as a shock to learn that the very emperors who went down in Roman history as villains and culprits (such as Caligula, Nero or Commodus), were sometimes considered the most “democratic” among Roman rulers. Do we need to feel certain unease at this historical parallel?

4

Decadentes e modernidade

75%

Rodrigues E.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

|

2017

|

vol. Special Issue: O mundo da literatura

49-67

EN

The paper explores definitions of modernity, with a particular focus on the relationship between Baudelaire’s modern poetry and the Portuguese poetry of Decadentismo.

5

Contemporary Icarus: Gustav von Aschenbach’s Journey towards the Sun

75%

Sieradzan A.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

|

2020

|

issue 9

139-154

EN

The point of departure for the reflections contained in this article is the motif of the sun in Tomasz Mann’s Death in Venice. Analysing the presence of the sun in the work turns out to be fruitful for distinguishing and connecting several symbolic planes, on which the issues of Death in Venice and the drama of the main character are depicted: the relationship between contemporary times and antiquity, the cultural North-South axis, the destructive power of beauty as well as the individual fate of the artist marked by decadence. The figure of the sun seems to provide material for the interpretation of the figure of Gustav von Aschenbach as an incarnation of contemporary Icarus and allows the reader to see the path which the protagonist of Death in Venice follows in a new light.

6

Androgynes et gynandres: la relecture péladanienne du Banquet de Platon

63%

Voldřichová Beránková E.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

|

2015

|

vol. Special Issue: Le monde de la litérrature

107-116

EN

The Symposium alias The Banquet belongs to those hypotexts by Plato which have been constantly reread and reinterpreted by the authors of French decadence. This article is focused on the Péladan’s reinterpretation of one of its parts, the famous Aristophanes’s speech about love. It implies on one hand the masculine notion of “androgyne”, heavily valorised in the fin de siècle novels, and, on the other hand, the feminine concept of “gynandre”, perceived negatively, feared and mocked. Why in Péladan’s (1858–1918) eyes and according to many others decadent authors man is gorgeous and intelligent enough to realize on his own the platonic ideal of the union of the two sexes? And what about the woman, henceforth outmoded and “useless”? The decadent misogyny ties itself in knots over its fanciful theories which are reflective of the spirit of this historical period.

7

Od emblematycznej alegorii do symbolicznej hypotypozy — z przemian obrazowania śmierci w liryce czeskiej końca XIX wieku

63%

Gwóźdź-Szewczenko I.

Slavica Wratislaviensia

|

2019

|

vol. 168

263-274

EN

From emblematic allegory to symbolic hypotyposis: On the changes of depicting death in Czech poetry at the close of the 19th century The paper is devoted to the analysis of depictions of death in Czech poetry created at the end of the 19th century. The author starts her deliberations from the poetry of the 1890s which was created in the spirit of realism. Then, she moves on to the deliberations about modernist poetry which — in this paper — is not considered as a homogenous whole. Starting from decadence, chronologically the earliest, through impressionism to mature modernism manifesting itself in symbolism, the author analyses the manners of depicting death and the figures of speech, pointing to the transition of portraying death from the emblematic and allegoric images of death to the symbolic hypotyposis. The author stresses the deconstruction of the traditional topos in modernism. This deconstruction involved a lack of references to an established set of images and thus to this linguistic ritual which had been active for ages. The Grim Reaper with a scythe could no longer be a simple symbol of death. In the times of modernism, poetry finally freed itself from those types of allegoric depictions. The deconstruction of the topos in its basic frameworks and in the most traditional ritualised formula forced poets to look for their individual languages, to create symbols which would not repeat the conventionalised allegories.

CS

Od emblematické alegorie k symbolické hypotypóze — proměny zobrazovánί smrti v české lyrice na sklonu 19. století Článek je věnován analýze zobrazování smrti v české poezii na sklonku 19. století. Autorka své úvahy otevírá poezií 80. let, která vznikala v duchu realismu, a následně přechází k pojednání o modernistické poezii, jíž však nevnímá jako monolitickou. Autorka chronologicky od nejranější dekadence, přes impresionismus až ke zralé moderně vyjadřující se symbolisticky analyzuje způsoby prezentace smrti a slovní figury poukazující na přechod od emblematicko-alegorických obrazů smrti k symbolickým hypotypózám v zobrazování smrti. Autorka ukazuje rozpad tradiční topiky v moderně, což s sebou nese skutečnost, že se básníci neodvolávají na ustálený soubor obrazů, tedy k takovému jazykovému uchopení, jež bylo po staletí živé. Smrtka s kosou již nemohla představovat jednoduchý symbol smrti. V době modernismu se poezie osvobozuje od tohoto druhu alegorických obrazů. Rozpad topiky v jejich základních rysech a jejích nejtradičnějších a ritualizovaných postav vybízel básníky k hledání individuálního jazyka, k vytváření takových symbolů, které nenásledovaly konvenční alegorii.

8

Nedostatečnost ve světle měšťanské epochy: Thomas Mann a Hugo von Hofmannsthal

63%

Sirovátka Š.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

|

2015

|

vol. 52

32-36

EN

The paper aims to compare two authors of the Fin-de-Siècle from the German-speaking area (Thomas Mann and Hugo von Hofmannsthal) and tries to offer a specific “German” interpretation of contemporary phenomena like dandyism or estheticism. For the German area, Mann’s concept of the bourgeoisie as a spiritual form of life appears to be relevant. It is the idea of the middle way denying any sort of excess and connected with moral obligation. Therefore, German “decadence” is lacking an explicit anti-social gesture (dandyism) and is merely the expression of the process of “Entbürgerlichung”.

9

Декадентські мотиви в українському романі fin de siècle: Агатангел Кримський та Михайло Яцків

63%

Rewakowicz M.

Slavica Wratislaviensia

|

2011

|

vol. 154

21-34

EN

This paper examines to what extent the paradigm of the decadent hero in French literature can be applied to two Ukrainian novels written at the turn of the century, namely Andrii Lahovs’kyi (1905) by Ahatanhel Kryms’kyi and Blyskavytsi (1912) by Mykhailo Yatskiv. In my analysis of these two novels I do not limit myself to the discussion of the decadent sensibility and worldview but I also pinpoint elements of technical innovation introduced by these two writers. I argue that these novels (considered marginal by some critics) exemplify the most consistent synthesis of decadent traits in Ukrainian fin de siècle literature.

10

Zmierzch bezpieczeństwa oświeceniowych paradygmatów i jutrzenka stereotypu popkultury: gotycyzm i preromantyzm

63%

Nawrocki R.

Świat i Słowo

|

2013

|

vol. 11

|

issue 2(21)

83-94

EN

The article aims to depict the phenomenon of cultural changes at the turn of the 18th and 19th century. Gothicism characterized by that time is widely considered as a herald of Romanticism. However, the article approaches Gothicism as a decadent form of Classicism. The reason behind the appearance of Gothicism was in fact Enlightenment paradigms having become inefficient, and more precisely – as discussed in the article: - the end of seeking security in nature, - the end of trust in human mind, - the change of the position of women in society, - the change in perception of literature. The conclusion of the article links the first appearances of Gothicism with the later development of pop culture.

11

"Pembroke": A Script of Decadence

63%

Wilczyński M.

Tematy i Konteksty

|

2023

|

vol. 18

|

issue 13

370-377

PL

Artykuł dotyczy powieści Mary E. Wilkins Freeman Pembroke (1894). Powieść jest interpretowana w kontekście wielopłaszczyznowego kryzysu Nowej Anglii po wojnie secesyjnej, obejmującego nie tylko demografię (straty wojenne w populacji męskiej) czy gospodarkę (bankructwo fabryk tekstylnych w regionie, przejęcie handlu morskiego przez Nowy Jork), lecz także kultury opartej na tradycji purytanskiej sięgającej XVII wieku. Autorka umieściła wprawdzie akcję w latach 1830-tych, jednak zarówno data publikacji książki, jak i realia miasteczka na nowoangielskiej prowincji wskazują na okres znacznie późniejszy. Wilkins Freeman kontynuuje w Pembroke realistyczną konwencję przedstawieniową tzw. "powieści domowej", sięgającą roku 1822, łącząc ją zarazem z elementami gotyckimi bliskimi romantycznej prozie Nathaniela Hawthorne'a. Konkluzja opiera się na rozumieniu kultury przez Jacquesa Lacana (Realne - Wyobrażeniowe - Symboliczne). Porządek symboliczny ufundowany na patriarchalnie zdefiniowanym "Imieniu Ojca" ulega w Pembroke rozpadowi poprzez regresję do wyobrażeniowej relacji dziecka z matką, kwestionujacej tradycyjną pozycję ojca. Innym kluczowym symptomem upadku spuścizny purytańskiej jest utrata zdolności komunikowania się przez postaci męskie i kobiece, co stawia pod znakiem zapytania przyszłość wspólnoty.

EN

The article is an interpretation of Mary E. Wilkins Freeman’s novel Pembroke (1994). Even though it is set in the third decade of the 19th century, the year of publication suggests that it just as well refers to the condition of New England after the Civil War. Hit by a complex crisis, concerning demography, economy, and mores, after 1865 the region entered a stage of decadence. Wilkins Freeman diagnosed its symptoms, such as the collapse of interpersonal communication and the hypertrophy of individual will, showing that the portents of the decline of Puritan heritage had its roots in the first half of the century. With time, the symbolic system of New England culture collapsed and gave way to a new social order.

12

Экзістэнцыйнае падарожжа Эдзіка Мазько

51%

Брусевіч А.

Białorutenistyka Białostocka

|

2014

|

vol. 6

UK

Анатоль Брусевiч - Гродна

PL

W artykule zwrócono uwagę na szereg pierwiastków artystycznych w poezji jednego z niedocenionych współczesnych poetów białoruskich Edzika Maźko (1970–2011). Spuścizna literacka przedwcześnie zmarłego poety jest z pogranicza estetyki surrealizmu i dekadentyzmu.

EN

In the article the attention is concentrated on the specific art of Edick Mazko’s poems (1970–2011). He is one of the underestimated modern Belarusian poets whose heritage is located in the esthetic area of surrealism and decadence.

13

Motiv sfingy v české poezii druhé poloviny 19. století

51%

Šinclová S.

Česká literatura (Czech Literature)

|

2019

|

vol. 67

|

issue 4

467-496

EN

The sphynx has been one of the most prominent motifs in human history over the past five thousand years albeit with various meanings and degrees of frequency. The aim of this study is to present an examination of the various forms of the sphynx in Czech poetry during the latter half of the 19th century, when it began to expand from Western European culture into other national literatures as an attractive motif at that time. The first appearances of the sphynx took place in Czech literature in romantic works during the 1840s, when under the influence of Orientalism it was part of a dream space in which it emerged in the role of a symbol of eternity. From the 1870s until the First World War we can trace divergent developments in the use of the sphynx motif inspired by the Western European cultural environment, in which the sphynx emerged on the one hand in connection with reflections of human history (Victor Hugo: The Legend of the Ages), while on the other hand from the end of the 1830s it was a prototype for the femme fatale (Heinrich Heine: Preface to the third edition of the Book of Songs). In the context of Czech literature we focus on the form of the sphynx in the works of Václav Bolemír Nebeský, František V. Kvapil, Jaroslav Vrchlický, Adolf Heyduk, Jiří Karásek ze Lvovic, Emanuel z Lešehrad, Karel Dostál- Lutinov and others.

14

À rebours et L’oblat de Joris-Karl Huysmans: entre décadence et spiritualité

51%

Staroń A.

Hereditas Monasteriorium

|

2014

|

vol. 4

107-123

EN

Like many other French writers at the turn of the 20th century Joris-Karl Huysmans was part of the wave of conversions to Catholicism that spread through France at the time. His case stands out, however, because it is documented in exceptional detail. The writer devoted a cycle of four novels to the topic: Là-bas (1891), En route (1895), La Cathédrale (1898) and L’oblat (1903). Their main protagonist, Durtal, gradually finds faith. Yet already in Huysmans’ previous and best known novel, À rebours (Against the Grain, 1884), we find the first manifestations of his interest in religion, particularly in monastic life. The first aim of the present article is to compare two stages – the initial and the final – of a process of rediscovery of one’s spirituality presented in À rebours and L’oblat (The Oblate). Another important issue is the vision of the Benedictine Order emerging from the latter. The author’s description of the order, the material and spiritual manifestations of its existence, is presented against the background of unrest associated with the introduction of laws concerning religious congregations in the early 20th century. The whole is filtered through the protagonist’s consciousness. Huysmans enumerates the tasks facing the Benedictines, largely relating to renovation of religious art and preservation of its existing works. At the same time he emphasises the special role that could be played in this process by oblates like Durtal, his alter ego. However, these aspirations are constantly confronted with reality, which appears increasingly dark and in the end prevents the protagonist from achieving his noble visions. This has a big influence on his pessimistic view of the world and spread of decadent elements to the spiritual sphere, which – one would think – should be free of them. On the other hand, it is clear that regardless of the external circumstances Durtal will always carry some part of des Esseintes’ personality: the decadent continues to live in the oblat.

15

« Une impression posthume des sensations d’autrefois » : le jeu nostalgique dans La Décadence latine de Joséphin Péladan

51%

Doherty R. A.

Quêtes littéraires

|

2023

|

issue 13

82-95

EN

For the psychoanalyst Donald Winnicott, playing constitutes a “positive value of illusion” which, for the adult as well as the child, allows access to reality in a way that is gradual and bearable. Although better known for his concept of the transitional object for children, Winnicott makes the claim for an essential role played by transitional phenomena at all stages of life, particularly in artistic creation. This article seeks to read together the psychology of Winnicott, especially Playing and Reality (1971) and Joséphin Péladan’s La Décadence latine (1884 & seq.), a little-known and poorly studied work of decadent literature. Through his use of a nostalgic gaze on history, Péladan transforms it into a counter-cultural fantasy, an act of resistance to the present. He creates for himself an alternative to history which acts as an “illusory experience” – a half game, half remaking of reality – allowing him to overcome the moral decadence that he laments. Thus, Péladan opposes his new arc of history to the fears he has about the end of the Latin race, effectively rewriting the world à rebours.

FR

Pour le psychanalyste Donald Winnicott, le jeu constitue une « valeur positive de l’illusion » qui, pour l’adulte, ainsi que pour l’enfant, permet d’accéder à la réalité de façon graduelle et supportable. Bien que connu plutôt pour son concept de l’objet transitionnel chez les enfants, Winnicott revendique pourtant le rôle essentiel des phénomènes transitionnels à toutes les étapes de la vie, à tout le moins celui de la création artistique. Cet article vise à mettre en jeu la psychologie de Winnicott, surtout de son livre Jeu et réalité (1971) et La Décadence latine (1884 & seq.) de Joséphin Péladan, œuvre méconnue et insuffisamment étudiée de la littérature décadente. S’appropriant un regard nostalgique sur l’histoire, Péladan la transforme en fantaisie contre-culturelle qui constitue un acte de résistance au présent. Il se crée une alternative à l’histoire, une « expérience illusoire » qui, moitié jeu, moitié reformulation de la réalité, lui fournit une façon de contourner la déchéance morale. Or, Péladan oppose à ses peurs de la fin de la latinité une nouvelle trajectoire historique de son innovation propre afin de réécrire le monde à rebours.

16

Wokół „Legend tęsknoty” Bolesława Leśmiana

38%

Filipek A.

Colloquia Litteraria

|

2023

|

vol. 34

|

issue 1

147-167

EN

Bolesław Leśmian enjoy unflagging popularity this days. Because of that, I tried to revalue Legends of longing, which appeared in researches as a rader modest, early works than valid mile stone in writing practise of Leśmian. To do so, I’ve read them mostly in hermeneutical way.

Refine search results

Die stille Sprache der Stadt: Prag in Paul Leppins Roman Severins Gang in die Finsternis

Poetika druhého básnického období Jiřího Karáska ze Lvovic

Kasna antika: dekadencija ili „demokratizacija“ kulture?

Decadentes e modernidade

Contemporary Icarus: Gustav von Aschenbach’s Journey towards the Sun

Androgynes et gynandres: la relecture péladanienne du Banquet de Platon

Od emblematycznej alegorii do symbolicznej hypotypozy — z przemian obrazowania śmierci w liryce czeskiej końca XIX wieku

Nedostatečnost ve světle měšťanské epochy: Thomas Mann a Hugo von Hofmannsthal

Декадентські мотиви в українському романі fin de siècle: Агатангел Кримський та Михайло Яцків

Zmierzch bezpieczeństwa oświeceniowych paradygmatów i jutrzenka stereotypu popkultury: gotycyzm i preromantyzm

"Pembroke": A Script of Decadence

Экзістэнцыйнае падарожжа Эдзіка Мазько

Motiv sfingy v české poezii druhé poloviny 19. století

À rebours et L’oblat de Joris-Karl Huysmans: entre décadence et spiritualité

« Une impression posthume des sensations d’autrefois » : le jeu nostalgique dans La Décadence latine de Joséphin Péladan

Wokół „Legend tęsknoty” Bolesława Leśmiana