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1

NIETZSCHE ON THE NECESSITY OF SOCIAL DECADENCE

100%
Jeong J.
Filozofia (Philosophy)
|
2021
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vol. 76
|
issue 3
209 – 222
EN
The aim of this article is to elucidate Nietzsche’s idea of the necessity of social decadence. It is discussed that the necessity indicates an inevitable or necessary historical process, on the one hand, and the decadent being necessarily produced in society, on the other. Nietzsche presents a seemingly contradictory idea regarding this necessity. While he describes decadence as a necessary part of life, he also demands disposing of a decadent part in society. This article suggests a solution to this problem and argues what should be fought is not decadence itself but its metastasis that risks the health of the whole. Christian morality of equality plays a key role in this metastasis.
2

Praise of Decadence

100%
Werner A.
Przegląd Filozoficzno-Literacki
|
2007
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vol. 6
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issue 3-4(18)
469-477
EN
The paper describes a dim and ambiguous figure of the decadent that emerges from the reflection on the historical phenomenon of modernity and postmodernity. This phenomenon is considered, inter alia, as (de)construction of literary and cultural subjectivity.
3

'FIN DE SIECLE' IN RURAL CHINA: A STUDY OF SHEN CONGWEN'S DECADENT STORY 'THE INN'

100%
Wong Y. W. a.
Asian and African Studies
|
2007
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vol. 16
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issue 1
102 - 113
EN
The aim of this article is to analyze some most important features in the short story 'The Inn' by the well-known modern Chinese writer Shen Congwen and its place in the 'fin de siecle' literary stream after the May Fourth Movement of the 1920s.
4

NIETZSCHE’S CONCEPT OF DECADENCE OF THE INDIVIDUAL

100%
Jeong J.
Filozofia (Philosophy)
|
2022
|
vol. 77
|
issue 5
325 – 338
EN
This article aims to analyse and elucidate Nietzsche’s concept of decadence, which has often been mentioned in Nietzsche studies and thus feels familiar, but in fact has not been thoroughly analysed. As Nietzsche describes many phenomena in terms of decadence and the extension of the term may be seen as too broad, some would think we cannot construct one picture of decadence from Nietzsche’s various descriptions and consider that it is sufficient to say it has a general meaning of decline or decay. However, this article seeks to combine Nietzsche’s scattered remarks on decadence together into a coherent picture. I argue that the essence or the fundamental principle of decadence is the lack of self in the sense of the loss of the fundamental instinct as the centre within the person. Grasping this principle, we can understand how the various phenomena Nietzsche describe as a decadence belong together; furthermore, we can understand why Nietzsche sees Christians or Socrates, despite their struggle for improvement, as decadents.
5
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Jinakost jako dekanonizace v poetice rané fáze české dekadentní poezii

75%
Bednaříková H.
Bohemistyka
|
2014
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vol. 14
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issue 2
101 - 114
EN
The study deals with the specific context of the Czech poetry in the period of the mid-1890´s when the aesthetical and artistic conceptions of decadence as one of the progressive modernistic movements are established. This is the frame in which Jiří Karásek ze Lvovic and Arnošt Procházka published their early collections of poems. The aim of our analyses is to study and consider to which extent the Czech decadent poetry of the mid-1890´s represents inovations in artistic methods, topics, themes as a kind of diference and otherness in a general process of decanonization comparable to the European movement of the fin de siècle modernism.
6

EMIL BOLESLAV LUKAC

75%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2009
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vol. 56
|
issue 5-6
381-394
EN
The aim of the paper is to determine basic semantically -aesthetic coordinates of the Emil Boleslav Lukac's debut 'Spoved' (Confession,1922) and to search 'topoi' of home in the context of his collections of poems 'Dunaj a Seina' (Danube and Seine,1925) and 'Spoved' (Confession, 1929). In the same year as the debut by E. B. Lukac 'Spoved' (Confession) a debut of Jan Smrek 'Odsudeny k vecite zizni' (Sentenced to Eternal Thirst) was published. Both collections of poems are influenced in significant measure by a poetics of symbolism and decadence. Similarity of them is not determined only by aesthetic, thematic, stylistic levels but it overlaps the level of composition. There are common semantic gestures in the cycles of both of the publications. They come through the similar transformation and vary identical authorial stylisations. In the second part of the paper the author deals with 'topoi' of home in the context of the collections of poems 'Dunaj a Seina' (Danube and Seine) and 'Spoved' (Confession). There is an evident shift from intimate borders to cultural, national and political borders. Both categories are connected through the category of regional and the co-part in complexness and compactness of Lukac's poetic world. In the centre of it there is an idea of home as a fundamental ethic value of his poetry. The last level of his poetic model of the world is always represented by theological, respectively cosmological level. It is true also for the collection of poems representing secular, respectively civil pole of Lukac's work. The paper contributed in primary identification of common starting points of two later periods characterized by two differently polarized poetic concepts of Smrek and Lukac, as well as in specification of several aesthetically semantic residua connected with 'topoi' of home in the context of chosen Lukac's collections of poems.
7

Dekadentni erotismus a vražda. Obraz fatalni ženy v romanu Miroslava Krleži Povratak Filipa Latinovicza

75%
Jensterle-Doležalová A.
Slavica Wratislaviensia
|
2010
|
vol. 152
43-52
EN
Miroslav Krleža (1893–1981) in his novel Povratak Filipa Latinovicza (1932) formed the myth of the femme fatale in the picture of two women: Regina and Bobočka. Women are the main obsession of the hero, the painter Filip, who returns home after twenty-three years to find lost sources of his identity and lost inspiration for his art. The novel – story of Filip’s life – regarding the problem that women are just objects of desire, is divided into two parts: the trauma of Regina belongs to his youth (first part of the novel) and affects his present; Bobočka is the frustration in his present. Women with no clear identity are mainly presented with the body, they represent the irrational world and mystery and they explore their body to use men and improve their position in society. Eroticism is the place of Evil. In this sense especially bizarre is Bobočka, with whom Filip falls desperately in love: she ruined men in the past and she does the same to present lovers. Filip plays the role of an observer: he experiences especially bizarre erotic scene in a threesome between Bobočka, her lover Kyriales and her man Baločanski. The grotesque, obscene scene is the place of modern hell, where the hero is punished by looking at his beloved with two other men. The end is very characteristic and amplifies the love by – connection death. Baločanski murders Bobočka, the solution of that decadent eroticism is Death. This figures also as a punishment for Bobočka in the sense of Christian philosophy: she was a vampire for the men and Baločanki murders her in the same grotesque manner. This novel was very modern in the literature of Central Europe at the beginning of the twentieth Century. Very modern is the theme of eroticism, its connection with the evil and death, even though the presentation of the woman follows the traditional stereotype of the prostitute. Eroticism in the broken mirror – in the schizophrenic perspective of sensible narrator – expresses the importance of Freud’s psychoanalysis.
8
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MEDZI ROMANTIZMOM A MODERNOU

75%
Tesařová J.
World Literature Studies
|
2012
|
vol. 4 (21)
|
issue 1
54 – 67
EN
The paper describes the theoretical and literary-historical aspects of European modernism. It focuses on the issue of neo-romanticism and modernism in Latvian literature, both artistic streams developed in it side by side from the turn of the 19th and 20th century to approximately the year 1914. The author places neo-romanticism and modernism into the wider literary context, attempts to define common features and differences between them and draws attention to updating of antique Greek literature and philosophy. The paper explores the character of Latvian neo-romanticism and modernism, describes Latvian modernism via the individual streams – decadence, impressionism, symbolism and secession. It deals with the question of contribution of neo-romanticism and modernism for the literary context of the times.
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