Fairies in Nineteenth-Century Art and Literature. Nicola Bown.

2006 ◽  
Vol 37 (4) ◽  
pp. 224-225
Author(s):  
Christine Gallant
Keyword(s):  
Nineteenth Century ◽  
Art And Literature

Fairies in Nineteenth‐Century Art and Literature

2003 ◽  
Vol 50 (1) ◽  
pp. 139-141
Author(s):  
Lucy Hartley
Keyword(s):  
Nineteenth Century ◽  
Art And Literature

Courtesan

2017 ◽  
Author(s):  
Felicity Chaplin
Keyword(s):  
Nineteenth Century ◽  
Visual Culture ◽  
Real Life ◽  
Second Empire ◽  
Narrow Sense ◽  
General Sense ◽  
High Class ◽  
Art And Literature ◽  
French Art ◽  
The Way

La Parisienne is frequently associated with prostitution, whether in the narrow sense of the streetwalker or courtesan or the general sense of the object and subject of consumption. Tracing her development in nineteenth-century art and literature, this chapter examines the way the Parisienne as courtesan is re-presented in cinema in Charles Chaplin’s A Woman of Paris (1923), Alain Cavalier’s La Chamade (1968), and Baz Luhrmann’s Moulin Rouge! (2001). Cinematic courtesans have their prefigurations in both real life courtesans of the Second Empire, as well as in representations in French art, literature, and visual culture (Manet, Degas, Toulouse-Lautrec, Balzac, Zola, Dumas fils). Motifs associated with the Parisienne courtesan include the familiar tropes associated with Paris as a demimonde: desire, pleasure, and consumption. Alongside these tropes are the visual and narrative motifs on which the iconography of the Parisienne courtesan is based: fashion or style (often conceived to denote luxury and leisure), transformation (usually from provincial to high class), ambiguity (insofar as her class origins, motivations, and emotional allegiances are generally obscure), and the ménage à trois (films featuring Parisienne courtesans often involve the choice between an earnest but poor lover and a rich benefactor).

Time Bombs: Terrorism as a Political Modernism in Europe and Russia

2020 ◽  
Author(s):  
Claudia Verhoeven
Keyword(s):  
Nineteenth Century ◽  
Temporal Orientation ◽  
Historical Time ◽  
Art And Literature

The chapter argues that terrorism, at least in Russia and Europe during the nineteenth century, may be understood as a political modernism. Terrorism is thus not only modern, but self-consciously so. Predicated on a particularly modern understanding of historical time, terrorism is perpetrated by people who are historically hyperconscious and who seek, via violence, either to move history forward faster; to reroute, derail, or demolish it; or, finally, to break free of it entirely. The chapter proposes this idea as an extension of the argument that terrorism is modern, aims to expose terrorism’s temporal orientation, and establishes links with related phenomena in art and literature.

Anna Brenko and the Pushkin Theatre: Moscow's First art Theatre?

1992 ◽  
Vol 33 (1) ◽  
pp. 85-105
Author(s):  
Catherine Schuler
Keyword(s):  
Nineteenth Century ◽  
Theatre History ◽  
Popular Theatre ◽  
Soviet Art ◽  
Art And Literature ◽  
Western Scholarship ◽  
Moscow Art Theatre

Western scholarship on Russian theatre has been so dominated by a few prominent figures that the casual student of theatre history might justifiably be left with the impression that Russian theatre began in 1898 with the founding of the Moscow Art Theatre and ended in the 1930s with Stalin's “purification” of Soviet art and literature and the untimely disappearance of Meierhold. The absence of a significant body of research further reinforces the notion that a small gaggle of men—most notably, those associated with the MAT—were solitary beacons of progress in the otherwise barren landscape of nineteenth-century popular theatre.

NON-EVOLUTIONARY DEGENERATION IN ARTHUR MACHEN'S SUPERNATURAL TALES

2013 ◽  
Vol 41 (1) ◽  
pp. 125-135 ◽  
Author(s):  
Kimberly Jackson
Keyword(s):  
Nineteenth Century ◽  
Human Nature ◽  
Psychological Treatment ◽  
Human Mind ◽  
Contemporary Society ◽  
Modern Conception ◽  
Art And Literature ◽  
European Culture ◽  
Critical Attention ◽  
Picture Of Dorian Gray

Welsh author Arthur Machen (1863–1947) wrote his most popular supernatural tales between 1890 and 1900, a period in which European culture felt itself to be on the decline and in which “decadent” art and literature rose up both as a reflection of and a contribution to this perceived cultural deterioration. While Machen's works have received little critical attention, a recent revival of interest in fin-de-siècle decadence has brought his supernatural tales into the literary limelight. Noteworthy examples of this interest include Julian North's treatment of The Great God Pan in Michael St. John's Romancing Decay: Ideas of Decadence in European Culture and Christine Ferguson's analysis of the same work in her PMLA article “Decadence as Scientific Fulfillment.” Indeed, Machen's supernatural tales could enhance and complicate any exposition of decadent literature and culture; they offer a unique vision of descent into the primordial that differs from the moral and psychological treatment of decadence in other popular works of the time, such as Wilde's The Picture of Dorian Gray and Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde. Like Stevenson and Wilde, Machen employs themes of transgression and metamorphosis to illustrate his characters’ deviations from human nature. However, the forces at work in Machen's tales do not arise from the recesses of the human mind in its modern conception, nor do his protagonists sin primarily against society and the arbitrary nature of its morals and values. Instead, Machen locates mythic forces at work within his contemporary society to highlight a much older form of transgression and to challenge notions of degeneration that held currency at the end of the nineteenth century.

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