The Fin-de-Siècle World (Routledge Worlds)

The Fin-de-Siècle World (Routledge Worlds)

Language: English

Pages: 1076

ISBN: 0415674131

Format: PDF / Kindle (mobi) / ePub

This comprehensive and beautifully illustrated collection of essays conveys a vivid picture of a fascinating and hugely significant period in history, the Fin de Siècle. Featuring contributions from over forty international scholars, this book takes a thematic approach to a period of huge upheaval across all walks of life, and is truly innovative in examining the Fin de Siècle from a global perspective. The volume includes pathbreaking essays on how the period was experienced not only in Europe and North America, but also in China, Japan, the Middle East, Latin America, Africa, India, and elsewhere across the globe.

Thematic topics covered include new concepts of time and space, globalization, the city, and new political movements including nationalism, the "New Liberalism", and socialism and communism. The volume also looks at the development of mass media over this period and emerging trends in culture, such as advertising and consumption, film and publishing, as well as the technological and scientific changes that shaped the world at the turn of the nineteenth century, such as the invention of the telephone, new transport systems, eugenics and physics. The Fin-de-Siècle World also considers issues such as selfhood through chapters looking at gender, sexuality, adolescence, race and class, and considers the importance of different religions, both old and new, at the turn of the century. Finally the volume examines significant and emerging trends in art, music and literature alongside movements such as realism and aestheticism.

This volume conveys a vivid picture of how politics, religion, popular and artistic culture, social practices and scientific endeavours fitted together in an exciting world of change. It will be invaluable reading for all students and scholars of the Fin-de-Siècle period.

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Baptist, and the blood from it spattered Poiret’s dresses and lacquered Dunand’s [art-deco] furniture” (Jullian 1967: 223). Such was the reception of exported Russian decadence. Stravinsky’s strikingly innovative Rite of Spring (1913), with the subtitle “Pictures of Pagan Russia,” was another example of self-orientalization for export, in this instance in a primitivist style. Figure 9.2 Fokine/Rubinstein/Nizhinsky, La Maison des Danseuses � akg-images If for no other reason than that it was

this opposition. After all, Martí’s political stance (the anxiety of Cuba’s delayed emancipation) is articulated from a definite literary, introspective gaze. By depicting Cuba as the evanescent image of a mourning widow tearing up a red carnation, Martí evokes the shadow of mother Spain.2 The same image conjures up the icon of the eternal feminine, which haunted the psyche of so many writers during the turn of the century,3 and evokes the poet’s experience of love in modern times: transient

arrival in the lair of Ayesha, the novel suggests that danger is external to Western civilisation. That in his encounter with the female vampires Harker succumbs to the temptation of alternative adventures, signalled by his desire of being penetrated, is problematised as a quest for the perverse and the unheimlich (the Freudian notion of the uncanny conjoining the familiar and the strange). When Dracula is cast as the repressed vampiric body that must be annihilated in order to stop the threat of

“gnostic” of Church history, who professed to know so much about the very things of which I was ignorant; and I took the earliest opportunity of parading it at our Society [the Metaphysical Society], to show that I, too, had a tail, like the other foxes. To my great satisfaction, the term took; and when the Spectator had stood godfather to it [that is, in Hutton’s essay of 1869], any suspicion in the minds of respectable people, that a knowledge of its parentage might have awakened was, of

easy reproduction of images and I therefore adopt etching as my chosen medium’ (quoted in Gillis 2002, 7). Ensor began print making in 1886, and depicted a wide range of subjects – life of Christ, land- and cityscapes, portraits, Dutch history, The Deadly Sins (1904) – but is best remembered for his fantastic, satirical, and socially critical images. For instance, The Gendarmes (1888) commemorated the murder of three protesting fishermen by government troops, while Hop-Frog’s Revenge (1898)

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