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Journal articles on the topic 'Fin de Siècle Literature'

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Published: 10 December 2022
Last updated: 10 March 2023

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1

Potolsky, Matthew. "Fin de Siècle." Victorian Literature and Culture 46, no. 3-4 (2018): 697–700. http://dx.doi.org/10.1017/s1060150318000591.

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2

Griffin, Susan M. "Fin-de-Siècle James." Henry James Review 20, no. 3 (1999): 215–16. http://dx.doi.org/10.1353/hjr.1999.0026.

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3

Lowrie, Michèle. "Horace, Fin de Siècle." Classical Review 49, no. 2 (October 1999): 386–88. http://dx.doi.org/10.1093/cr/49.2.386.

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4

Brix, Michel. "L'idéalisme fin-de-siècle." Romantisme 34, no. 124 (2004): 141–54. http://dx.doi.org/10.3406/roman.2004.1263.

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5

Brix, Michel. "L'idéalisme fin-de-siècle." Romantisme 124, no. 2 (2004): 141. http://dx.doi.org/10.3917/rom.124.0141.

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6

Neubauer, John. "The Fin de Siècles in literature." European Review 2, no. 3 (July 1994): 221–31. http://dx.doi.org/10.1017/s1062798700001125.

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Jacques Derrida's remark, ‘What is proper to a culture is to not be identical to itself,’ serves as a point of departure for a discussion of artistic and ethnic identities in late-19th and late 20th century literatures. The first part of this paper studies the images of the European and the colonized ‘Other’ in Joseph Conrad's The Heart of Darkness and J. M. Coetzee's Waiting for the Barbarians. The second part examines notions of artistic and ethnic identity in the culture of fin de siècle Vienna. The ‘crisis of liberalism’, which plays a pivotal role in Carl Schorske's study of that culture, gains new and urgent meaning through the ethnic conflicts that arose in the wake of the dissolution of the Soviet empire. Studying artistic identity today, we must distinguish between notions of diffuse identity in post-modern culture and the ethnic identity that writers not infrequently assume in Middle-and Eastern Europe.
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7

Georgieva, Tsvetana. "Pan in the Bulgarian literature of Fin de siècle." Bulgarski Ezik i Literatura-Bulgarian Language and Literature 64, no. 1 (February 9, 2022): 17–28. http://dx.doi.org/10.53656/bel2022-2-tg.

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In the age of the Fin de siècle, the mythological Pan was the subject of numerous interpretations in painting, literature, and the performing arts. The article examines for the first time how the image of Pan fits into the modern Bulgarian literature of the early 20th century - in the works of Emanuil Popdimitrov, Trifon Kunev, Hristo Yassenov and Lyudmil Stoyanov. As an expression of the ideas of the epoch (in the Jugendstil and Secession currents), both in Europe and in Bulgaria, Pan and pantheism apologize for nature, the vegetative principle, youth and childhood, love fire, music and intoxication. The original in the Bulgarian interpretation is the sentimental, sensitive autumn Pan, the parodied Pan / Faun and the old wise man, master of music, and devoid of passion Pan.
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8

Calè, Luisa, and Stefano Evangelista. "Introduction: literature and sculpture at the fin de siècle." Word & Image 34, no. 1 (January 2, 2018): 1–6. http://dx.doi.org/10.1080/02666286.2017.1330092.

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9

Mercier, Franck. "Les gens de savoir en Bretagne à la fin du Moyen Âge (fin xiiie siècle-xve siècle)." Annales de Bretagne et des pays de l'Ouest, no. 129 (December 14, 2022): 210–11. http://dx.doi.org/10.4000/abpo.8033.

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10

Cousseau, Anne. "Ophélie : histoire d'un mythe fin de siècle." Revue d'histoire littéraire de la France 101, no. 1 (2001): 105. http://dx.doi.org/10.3917/rhlf.011.0105.

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11

Pflitsch, Andreas. "Staging the Orient. Fin de Siècle Popular Visions / Représentations de l'Orient. Imagerie Populaire Fin de Siècle." Die Welt des Islams 50, no. 1 (2010): 178–80. http://dx.doi.org/10.1163/004325309x12451617965296.

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12

Curopos, Fernando. "La lesbienne fin-de-siècle : une fiction portugaise." Moderna Språk 112, no. 2 (December 31, 2018): 47–62. http://dx.doi.org/10.58221/mosp.v112i2.7678.

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The figure of the lesbian has haunted erotic and pornographic literature long before homosexuality was ‘‘invented’’ (Foucault) by psychiatric medicine in the third quarter of the nineteenth century.This paper deals with the representation of the “lesbian” in Portuguese fin-de-siècle literature. Those lesbians, created by and intended for a male audience, are the result and the product of a ‘‘straight mind’’ (Wittig) that fantasizes the relations between women while obliterating reality: the possibility of a true love between women. Nevertheless, at the turn of the century, some of them will come out the closet, more or less forced, giving a ‘‘face’’ to the invisible Portuguese lesbian.
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13

Loesberg, Jonathan. "FIN-DE-SIÈCLE WORK ON VICTORIAN AESTHETICISM." Victorian Literature and Culture 29, no. 2 (September 2001): 521–34. http://dx.doi.org/10.1017/s1060150301002157.

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IN MASCULINE DESIRE:The Sexual Politics of Victorian Aestheticism, his study of the role of male same-sex attraction among Victorian aestheticist writers, Richard Dellamora refers to Elaine Showalter’s claim that Gerard Manley Hopkins was one of a series of writers who tried to reclaim male literary dominance from women writers in the wake of George Eliot’s death in 1880. Dellamora proposes instead what he thinks a more likely source of creative anxiety: “Insofar as he may appear at times to regard literary creativity as a male prerogative, his anxieties are better referred to a celibate homosocial environment than to the creative ascendancy of Victorian women writers” (56). But these two anxieties may not be entirely separate. Recent critical studies have shown that the mid-Victorian novel, whether written by women or men, was a form dominated by domestic and marriage plots, by the depiction of the bourgeois family and the construction of gender roles as principles of social regulation. Thus the emergence from the shadow of Eliot and the turning of aestheticist literature and art toward various alternative constructions of gender and desire — not merely new claims of masculine prerogative but also articulations by women writers of positions resistant to Victorian gender regularities — would be intimately connected.
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14

Melmoux-Montaubin, Marie-Françoise. "L'esthète fin-de-siècle : l'oeuvre interdite." Romantisme 26, no. 91 (1996): 89–98. http://dx.doi.org/10.3406/roman.1996.3075.

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15

Seillan, Jean-Marie. "Huysmans, un antisémite fin-de-siècle." Romantisme 27, no. 95 (1997): 113–26. http://dx.doi.org/10.3406/roman.1997.3187.

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16

Richter, Mario. "Yasuko Eshima, Le Christ fin de siècle." Studi Francesi, no. 146 (XLIX | II) (November 1, 2005): 444. http://dx.doi.org/10.4000/studifrancesi.35061.

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17

Womack, Peter. "Dialogue and Leisure at the Fin de Siècle." Cambridge Quarterly 42, no. 2 (June 1, 2013): 134–56. http://dx.doi.org/10.1093/camqtly/bft018.

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18

Starr, Peter. "Hysterical Communities: Reflections on Our Fin de Siècle." L'Esprit Créateur 32, no. 4 (1992): 83–92. http://dx.doi.org/10.1353/esp.1992.0010.

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19

Kalnačs, Benedikts, and Pauls Daija. "Nineteenth-Century Sentimental and Popular Trends and their Transformation in Fin-de-siècle Latvian Literature." Interlitteraria 23, no. 1 (August 5, 2018): 162–72. http://dx.doi.org/10.12697/il.2018.23.1.17.

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In this paper, the role of popular culture in fin-de-siècle Latvian literature has been explored by analysing the mid-nineteenth century Latvian translation of Christoph Schmid’s novel Genoveva (1846) by Ansis Leitāns, and unfinished drama Genoveva (1908) by Rūdolfs Blaumanis. While the first version of the Genoveva story was created according to the patterns of popular literature and played a significant role in the development of the Latvian reading public, the author of the second version attempted to turn the plot of popular fiction into a work of elite literature, elaborating the issue of female agency and adding psychological ambiguity to the plot. The mixture of popular melodramatic imagination and modernist themes, as observed in Blaumanis’s work, provides a deeper insight into fin-de-siècle literary techniques by turning attention to the conscious use of different literary styles and narrative levels and illuminating interactions between popular and elite culture. By comparing both works and interpreting their aesthetic innovations in terms of the relationship between idealism, realism and modernism, this paper traces the ways in which fin-de-siècle Latvian literature appropriated and reworked models of popular culture and developed new aesthetic insights by merging elements of low and high culture.
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20

Sapino, Roberta. "Fin-de-siècle: fin de l’art? Destins de l’art dans les discours de la fin des xixe et xxe siècles, C. Barde,." Studi Francesi, no. 188 (LXIII | II) (August 1, 2019): 411–12. http://dx.doi.org/10.4000/studifrancesi.20519.

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21

Parrinder, Patrick. "Review: Cultural Politics at the Fin de Siècle." Literature & History 6, no. 2 (September 1997): 116–17. http://dx.doi.org/10.1177/030619739700600222.

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22

Beaumon, Jérôme. "Histoire de l’Anjou, tome 2 : L’Anjou des princes (fin ixe-fin xve siècle)." Annales de Bretagne et des pays de l'Ouest, no. 124-4 (December 20, 2017): 189–94. http://dx.doi.org/10.4000/abpo.3740.

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23

Forward, Stephanie. "The “new man” in fin-de-siècle fiction." Women's Writing 5, no. 3 (October 1, 1998): 437–55. http://dx.doi.org/10.1080/09699089800200070.

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24

Kestner, Joseph A. "Victorian Art History: At the fin-de-siècle." Victorian Literature and Culture 19 (March 1991): 337. http://dx.doi.org/10.1017/s1060150300003764.

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25

Masnari, Andrea. "Savants et savoirs à la fin-de-siècle." Studi Francesi, no. 196 (LXVI | I) (April 1, 2022): 39–53. http://dx.doi.org/10.4000/studifrancesi.47860.

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26

Delattre, Alexandra. "Proférations. Logique de l’oralité fin de siècle." Romantisme 192, no. 2 (June 8, 2021): 48–56. http://dx.doi.org/10.3917/rom.192.0048.

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27

Hughes, Linda K. "Vernon Lee: Slow Serialist and Journalist at the Fin de Siècle." Victorian Literature and Culture 50, no. 1 (October 18, 2021): 173–202. http://dx.doi.org/10.1017/s1060150320000157.

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To expand understanding of imbricated journalism and high aestheticism at the fin de siècle, this essay examines Vernon Lee's journalism and slow essay serials, a form spread over space (viz., different periodicals) and marked by irregular temporal issue of installments before finding new cohesion when retroactively constructed as a book. Lee's prolific periodical publication, especially her aesthetic criticism, is rarely approached as journalism. Newly available letters and Lee's negotiations with editors clarify the occluded history of Lee's journalism and her slow essay serials, a distinctive serial form at the fin de siècle, which this article conceptualizes in closing.
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28

Burin, Alexandre. "Décadence fin de siècle. Par Michel Winock." French Studies 73, no. 2 (February 4, 2019): 310. http://dx.doi.org/10.1093/fs/knz030.

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29

Legros, Sébastien. "Les prieurés de Château-Gontier et l’établissement d’une seigneurie châtelaine dans le comté d’Anjou (fin du Xe siècle-fin du XIe siècle)." Annales de Bretagne et des pays de l’Ouest, no. 113-3 (October 30, 2006): 33–59. http://dx.doi.org/10.4000/abpo.772.

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30

O'Callaghan, Joseph F. "Chroniques asturiennes (fin IXe siècle). Yves Bonnaz." Speculum 65, no. 2 (April 1990): 370–72. http://dx.doi.org/10.2307/2864301.

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31

Savoie, Chantal. "Femmes, chroniques et billets dans les années 1930." Dossier 39, no. 2 (May 22, 2014): 57–67. http://dx.doi.org/10.7202/1025188ar.

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Alors que les chroniques avaient incarné la voie d’accès au monde littéraire pour les femmes de lettres canadiennes-françaises de la génération des Françoise, Madeleine, Gaétane de Montreuil et Eva Circé au tournant du xxe siècle, elles deviennent de plus en plus marginales au sein d’un espace médiatico-littéraire en pleine transformation à la fin des années 1920 et au cours des années 1930. Ces chroniques et billets continuent néanmoins à se distinguer par leur double ancrage, littéraire et médiatique, qui en fait le baromètre de transformations de l’espace socioculturel. Les chroniques des années 1930 marquent ainsi la fin du cycle amorcé au tournant du xxe siècle, celui où la chronique littéraire joue un rôle médiatique de premier plan dans l’économie culturelle féminine.
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32

Oulton, Carolyn W. de la L. "“Making Literature Ridiculous”: Jerome K. Jerome and the New Humour." Dickens Studies Annual 48, no. 1 (September 1, 2017): 273–84. http://dx.doi.org/10.5325/dickstudannu.48.2017.0273.

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Abstract The New Humour of the 1890s was often depicted as a mania or disease attacking unreflecting or susceptible readers. However, like the figure of the New Woman (which it often attacked), New Humour both incurred and resisted simplistic definitions. As the most successful of the New Humourists, Jerome K. Jerome was uniquely placed to exploit the ambivalent status of fin de siècle comic fiction. His weekly journal To-day adroitly responds to press attacks, notably through provocative suggestions that he and his contributors are writing in the tradition of Dickens. Inviting readers to see themselves as loyal members of a club, Jerome surely had Household Words in mind when he said of To-day, “there can be few journals that have established so close and intimate a relationship with their readers.” In Jerome's account it is not the quality of modern fiction, but the snobbery of the critics themselves that is “making literature ridiculous.” Nonetheless, his writing from these years shows him asking serious questions about the relationship of a writer to his published work, while conflicted feelings about his own literary status haunt his fin de siècle writing.
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33

Oulton, Carolyn W. de la L. "“Making Literature Ridiculous”: Jerome K. Jerome and the New Humour." Dickens Studies Annual 48, no. 1 (September 1, 2017): 273–84. http://dx.doi.org/10.5325/dickstudannu.48.1.0273.

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Abstract The New Humour of the 1890s was often depicted as a mania or disease attacking unreflecting or susceptible readers. However, like the figure of the New Woman (which it often attacked), New Humour both incurred and resisted simplistic definitions. As the most successful of the New Humourists, Jerome K. Jerome was uniquely placed to exploit the ambivalent status of fin de siècle comic fiction. His weekly journal To-day adroitly responds to press attacks, notably through provocative suggestions that he and his contributors are writing in the tradition of Dickens. Inviting readers to see themselves as loyal members of a club, Jerome surely had Household Words in mind when he said of To-day, “there can be few journals that have established so close and intimate a relationship with their readers.” In Jerome's account it is not the quality of modern fiction, but the snobbery of the critics themselves that is “making literature ridiculous.” Nonetheless, his writing from these years shows him asking serious questions about the relationship of a writer to his published work, while conflicted feelings about his own literary status haunt his fin de siècle writing.
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34

MITCHIEVICI, ANGELO. "THE POSITION OF THE DECADENT NOVEL WITHIN ROMANIAN FIN-DE-SIÈCLE LITERATURE." Dacoromania litteraria 7 (2021): 22–35. http://dx.doi.org/10.33993/drl.2020.7.22.35.

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35

De Mul, Sarah. "The Congo as topos of dystopic transgression in fin-de-siècle literature." Tydskrif vir Letterkunde 46, no. 1 (November 9, 2017): 95–108. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i1.3468.

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In this essay, I compare the representation of the Congo as a topos of dystopic transgression in Conrad’s Heart of Darkness (1902), and in a lesser-known novel entitled Tropenwee (Tropical agony) by the Dutch author Henri van Booven, published in 1904. The idea of the Congo as a locus of degeneration will be read, not so much as a Conradian theme, but rather, as an idea that had gained wide currency throughout Europe during the fin-de-siècle period. Particular attention will be paid to some of the narrative techniques that shape this idea and the ideological assumptions it conveys. Moreover, I hope to show that degeneration as reflected by the writings under investigation is at once a colonial and anti-colonial theme, and therefore its significance requires moving beyond singular and clear-cut ideological labels.
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36

Denton, Nicholas Reid. "Dare Not Speak Its Name: Bisexuality in Victorian Fin de Siècle Literature." Journal of Bisexuality 12, no. 4 (October 2012): 461–83. http://dx.doi.org/10.1080/15299716.2012.729426.

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37

Beller, Steven. "Modern Owls Fly by Night: Recent Literature on Fin de Siècle Vienna." Historical Journal 31, no. 3 (September 1988): 665–83. http://dx.doi.org/10.1017/s0018246x00023542.

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38

O’Keeffe, Brian. "Beauty Raises the Dead. Literature and Loss in the Fin de Siècle." Romanic Review 92, no. 4 (November 1, 2001): 514–17. http://dx.doi.org/10.1215/26885220-92.4.514.

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39

Kerr, Frances, and Cassandra Laity. "H.D. and the Victorian Fin de Siècle: Gender, Modernism, Decadence." American Literature 70, no. 2 (June 1998): 411. http://dx.doi.org/10.2307/2902854.

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40

Desmarais, Jane. "Late-Victorian Decadent Song Literature." Victorian Literature and Culture 49, no. 4 (2021): 689–710. http://dx.doi.org/10.1017/s1060150320000224.

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This article considers the Victorian and Edwardian vogue for setting late-Victorian decadent poetry to music. It examines the particular appeal of Ernest Dowson's and Arthur Symons's verse to the composers Cyril Scott and Frederick Delius, whose Songs of Sunset (1911) was regarded as the “quintessential expression of the fin-de-siècle spirit,” and discusses the contribution of women composers and musicians—particularly that of the Irish composer and translator Adela Maddison (1866–1929)—to the cross-continental tradition of decadent song literature and the musical legacy of decadence in the late-Victorian period and beyond.
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41

Merello, Ida. "Ecrivains fin-de-siècle, édition de Marie-Claire Bancquart." Studi Francesi, no. 163 (LV | I) (May 1, 2011): 203. http://dx.doi.org/10.4000/studifrancesi.6058.

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42

Miller, Nancy K. "Introduction: Extremities; or, Memoirs at the Fin de Siècle." a/b: Auto/Biography Studies 14, no. 1 (January 1999): 1–4. http://dx.doi.org/10.1080/08989575.1999.10846752.

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43

Beville, Maria. "The Macabre on the Margins: A Study of the Fantastic Terrors of the Fin de Siècle." Text Matters, no. 2 (December 4, 2012): 115–29. http://dx.doi.org/10.2478/v10231-012-0058-3.

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With a view to discussing an important three-faceted example of marginality in literature whereby terror, the literary Fantastic and the fin de siècle period are understood as interconnected marginalia, this paper examines works such as Guy de Maupassant’s “Le Horla” and H. Rider Haggard’s She from an alternative critical perspective to that dominating current literary discourse. It demonstrates that in spite of the dominant associations of fantastic literature with horror, terror, as the marginal and marginalized fear of the unknown, with its uncanny, sublime and suspenseful qualities, holds a definitive presence in fin de siècle fantastic texts. Literary analysis of the chosen texts registers significant examples of the importance of terror to fantastic writing, and as such functions to extract an “aesthetics of sublime terror” from the margins of critical studies of this often macabre literary mode.
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44

Bablon-Dubreuil, Monique. "Une fin de siècle neurasthénique : le cas Mirbeau." Romantisme 26, no. 94 (1996): 7–47. http://dx.doi.org/10.3406/roman.1996.3158.

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45

David-de-Palacio, Marie-France. "Les ciselures de l'amertume : Catulle fin de siècle." Romantisme 31, no. 113 (2001): 105–16. http://dx.doi.org/10.3406/roman.2001.1031.

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46

Levinger, Esther, Gábor Gyáni, and Thomas J. DeKorenfeld. "Identity and Urban Experience: Fin-de-Siècle Budapest." Slavic and East European Journal 50, no. 2 (July 1, 2006): 373. http://dx.doi.org/10.2307/20459291.

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47

Cabanès, Jean-Louis. "L'anti-kantisme dans les morales fin de siècle." Romantisme 142, no. 4 (2008): 53. http://dx.doi.org/10.3917/rom.142.0053.

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48

Phillips, John. "Casanova, fin de siècle: actes du colloque international." French Studies LX, no. 1 (January 1, 2006): 120–21. http://dx.doi.org/10.1093/fs/kni323.

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49

Brizay, François. "L’Intendance de La Rochelle à la fin du xviie siècle." Annales de Bretagne et des pays de l'Ouest, no. 129-2 (July 13, 2022): 196–97. http://dx.doi.org/10.4000/abpo.7622.

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50

Gray, F. Elizabeth. "Catholicism and Ideal Womanhood in Fin-de-Siècle Women's Poetry." English Literature in Transition, 1880-1920 50, no. 1 (2007): 50–72. http://dx.doi.org/10.2487/b155-3393-80n7-780m.

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