scholarly journals 'The Erotic Work of Art is Also Sacred'

2019 ◽  
Vol 10 (2) ◽  
Author(s):  
Sydni Zastre
Keyword(s):  
Sexual Pleasure ◽  
Fin De Siecle ◽  
Work Of Art ◽  
Gustav Klimt ◽  
Fin De Siècle ◽  
Egon Schiele ◽  
The Erotic

The Viennese obsession with sex at the fin-de-siècle was vividly expressed in the artworks of Gustav Klimt and Egon Schiele. Their depictions of women demonstrated their fascination with and fear of female sexual pleasure and desire, reflecting a wider societal anxiety and erotic fixation. This paper will analyse selected paintings and drawings by both Klimt and Schiele to explore this dynamic of 'erotic neurasthenia.'

scholarly journals Wittgenstein: la consciencia del límite. Una conversación con Carla Carmona

2020 ◽  
pp. 227-238
Author(s):  
Edimar Brígido
Keyword(s):  
Ludwig Wittgenstein ◽  
Fin De Siecle ◽  
Peter Sloterdijk ◽  
Fin De Siècle ◽  
Egon Schiele

Carla Carmona es una filósofa española. Doctora en Filosofía por la Universidad de Sevilla. Es profesora de filosofía en la Universidad de Sevilla. Especialista en estética, filosofía del lenguaje y Viena fin de siècle. Tiene una investigación internacionalmente reconocida sobre estética en el pensamiento de Ludwig Wittgenstein. Publicó numerosos artículos sobre los pensamientos de Egon Schiele y Ludwig Wittgenstein. Ha disfrutado de numerosas estancias de investigación en Austria, trabajando con expertos del contexto fin de siècle de Viena. En los últimos años, se ha dedicado al estudio del pensamiento estético y político de Peter Sloterdijk. En 2014 publicó Tributação voluntária e responsabilidade cidadã. Vale la pena mencionar sus libros A ideia pictórica de Egon Schiele: Um Ensaio sobre a lógica representacional  (Edições Genueve, 2012),  Tightrope do eterno: Na gramática alucinado Egon Schiele  (Cliff, 2013), Egon Schiele: Writings 1909-1918  (a Micro, 2014),  Ludwig Wittgenstein: La consciencia del límite (Biblioteca Discover filosofia,  El País , 2015).

Rinuccini the craftsman: A view of his L'Arianna

1999 ◽  
Vol 18 ◽  
pp. 75-117 ◽  
Author(s):  
Bojan Bujić
Keyword(s):  
Fin De Siecle ◽  
Work Of Art ◽  
Fin De Siècle ◽  
The Status ◽  
History Of ◽  
As If ◽  
The Craftsman

Like her crown, which according to the story shines in a constellation, L'Arianna as a work of art shimmers as a distant and mysterious object, and the loss of Monteverdi's score, apart from the famous lament, makes it one of the great ‘if onlys’ of the history of music. Artistic responses to L'Arianna range wide. In Gabrielle d'Annunzio's novel Il fuoco, Stellio Effrena and his group of aesthetes in fin de siècle Venice embrace Monteverdi, and Arianna's lament in particular, as a home-grown antidote to Wagner, elevating ‘Lasciatemi morire’ to the status of an Italian precursor of the ‘Liebestod’. Recently Alexander Goehr gave a new lease of life to Ottavio Rinuccini's libretto in his opera Arianna, first performed in September 1995, and, as if not to desecrate a hallowed object, he included in the opera a recording of the opening of Monteverdi's surviving fragment sung by Kathleen Ferrier.

Paris’ hjerte Johannes V. Jensen og rejsens erotik

2019 ◽  
Vol 49 (2) ◽  
pp. 337-355
Author(s):  
Anders Ehlers Dam
Keyword(s):  
Fin De Siecle ◽  
Constant Multiple ◽  
Modern City ◽  
Fin De Siècle ◽  
Vivid Description ◽  
The Erotic

Abstract This article highlights the link between travel and erotics as a literary trope, exemplified by Johannes V. Jensen’s story ”Louison” (1899). ”Louison” describes the short-lived affair between a male traveller and a loose woman. From their first encounter on a Parisian boulevard, loaded with baudelairian esthetics, to their sudden parting after a day and a night spent together, their relationship is made possible by the anonymity of the modern city and by the condition of modernity. The erotic encounter in Jensen’s story is inextricably connected — like in Baudelaire — to the modern urban backdrop against which it unfolds. In Jensen’s story, the erotics of travel feeds into the ”myth of Paris”: far from being merely the story of an erotic encounter, ”Louison” is also the vivid description of a fin-de-siècle Paris, swarming and buzzing with constant, multiple energies that unify in a totality elevated to the dimensions of ”myth” — a word charged with significance in Jensen’s work.

Medical Humanism or Scientia Sexualis? Building a Sexological Concept in Fécondité

2021 ◽  
Vol 60 (3) ◽  
pp. 317-333
Author(s):  
Larry Duffy
Keyword(s):  
Medical Humanities ◽  
Medical Literature ◽  
Sexual Pleasure ◽  
Fin De Siecle ◽  
Female Characters ◽  
Ideal Object ◽  
Pathological Conditions ◽  
Fin De Siècle ◽  
Desire To Conceive ◽  
Experience Of Illness

This article argues that Zola's late novel Fécondité, while on the surface a transparently didactic roman à thèse articulating populationist concerns, is in fact at the same time a roman de mœurs implicated genealogically in a broader range of issues than pro-natalist ethics and various behavioural and therapeutic bêtes noires, containing identifiable traces of other contemporary pathological concerns, contingently marshalled for pro-natalist ends. Exploiting the terminological flexibility of what Peter Cryle and Alison Moore have referred to as a long-established ‘constellation of themes’ constituted by ‘impotence, frigidity and sterility’, Fécondité participates in the fin-de-siècle production of a key sexological concept. It does so through relentless deployment of the malleable motif of female sexual coldness – a signifier of pathological conditions named in contemporary medical and pseudo-medical literature as ‘frigidité’, ‘froideur’, and so on – and its polyvalent application to distinct pathologies manifesting in a variety of its female characters, in particular inabilities to desire, to conceive, and, significantly, to climax. Zola's novel appears at a moment where women's sexual pleasure was becoming normalised, to the extent that its absence now counted as a pathological disorder; Fécondité deploys tropes of coldness – consequential upon anti-reproductive practices – to suggest that it is attempted disruption of the natural reproductive order that ensures such disordered absence. Ultimately, while Fécondité is readable as didactic expression of a ‘humanitarian’ natalist ethics and representation of doctor-patient encounters, treatment, experience of illness and other ‘medical humanities’ concerns, it is however important not to overlook this representation's discursive contingencies, particularly the coalescence of sexological and populationist concerns at a moment when both were of considerable significance. Fécondité in this sense straddles two major fin-de-siècle discursive economies, offering an ideal object for a critical medical humanities valuing the pathological as well as the pathographical.

scholarly journals Jurgis Savickis: Fin de siècle ir jugendo parodijos ar žaidimas literatūrine tradicija

Literatūra ◽  
2011 ◽  
Vol 53 (1) ◽  
pp. 82
Author(s):  
Rita Tūtlytė
Keyword(s):  
Fin De Siecle ◽  
Gustav Klimt ◽  
Fin De Siècle

Straipsnyje svarstomas Jurgio Savickio prozos ir ankstyvojo Europos modernizmo reiškinių santykis, labiausiai – su jugendo menu ir gyvenimo filosofijos idėjomis. Minėtu pagrindu pristatoma ir austrų dailininko Gustavo Klimto kūryba. Šiuo pagrindu tiesiama ir abiejų autorių kūrybos paralelė. Laikantis komparatyvistinės perspektyvos tiriami bendri idėjų ir meninės vaizdinijos šaltiniai. Stebima, kaip skirtingų kultūrų autorių kūryba susisiekia gyvenimo iracionalumo, gyvybės instinkto sklaidos, erotikos tematikos požiūriu. Savickio prozoje matomas jugendo motyvų žaismingas citatiškumas bei diskusija su jugendo menu.Jurgis Savickis: Fin de siècle und die Parodie des Jugendstils oder das Spiel mit der literarischen Tradition Rita Tūtlytė Zusammenfassung In diesem Beitrag wird die Beziehung der Prosa von Jurgis Savickis zu der europäischen Frühmoderne, vor allem zu der bildenden Kunst des Jugendstils und den Ideen der Lebensphilosophie, behandelt. In diesem Kontext wird auch das Schaffen des österrei­chischen Malers Gustav Klimt vorgestellt und eine Paralele zwischen den Werken der beiden Autoren gezogen. Aus komparatistischer Sicht werden ge­meinsame Quellen der Ideen und der künstlerischen Vorstellungskraft untersucht. Es wird veranschau­licht, auf welche Weise sich die Vertreter von zwei unterschiedlichen Kulturen hinsichtlich solcher The­men wie die Irrationalität des Lebens, die Dominanz der Lebenstriebe oder die Erotik, einander nähern. Es wird die Schlussfolgerung gezogen, dass Sa­vickis den Jugendstil und die Dekadenz als litera­rische Traditionen „zitiert“ und ihre Topoi demons­trativ und spielerisch verwendet. Wichtig ist für ihn die Idee der Provozierung und der Herabsetzung der Embleme, Topoi und Klischees des Jugendstils. Das Gemeinsame des Schaffens von Klimt und Savickis sind die künstlerischen Interpretationen der Irratio­nalität des Lebens. Die lebensphilosophischen Ideen von Freud, Schopenhauer und Nietzsche entfaltet Klimt auf der Grundlage der Sinne und der sinnli­chen Phantasie, während Savickis sie auf die vita­len sowie sozialen „Gesetze“ und Zufälligkeiten hin überprüft. Für die Darstellung des Vitalismus wählt der Schriftsteller die Sphäre der Mann-Frau-Bezie­hungen (den erotischen und sozialen Aspekt). Für Klimt ist der soziale Aspekt nicht wichtig, dagegen ist er für Savickis von Bedeutung und bestimmt sein ironisches Verhältnis zu der jugendstilhaften Adora­tion der Lebenstriebe.

Little Excursions Outside the Avant-Garde: the Pageant, the Parade and the Dome

2018 ◽  
pp. 186-219
Author(s):  
Koenraad Claes
Keyword(s):  
Integrated Design ◽  
Fin De Siecle ◽  
Small Scale ◽  
Total Work ◽  
Work Of Art ◽  
Avant Garde ◽  
Little Magazines ◽  
Fin De Siècle ◽  
Similar Content ◽  
Gift Book

Publicity for the British Fin-de-Siècle avant-garde peaked around the middle of the 1890s with the appearance of the Yellow Book and the Savoy (see Chapter 4), but even afterwards its integrated design aesthetic continued to exert an explicit influence. Significantly, it can be discerned in a number of periodicals that feature similar content and many of the same contributors as less compromising little magazines, but that had given up on the avant-garde position that these little magazines had so insistently claimed. Chapter 6 shows how the coterie responsible for the small-scale Dial (see Chapter 3) moved on to broadly marketed publications such as the Pageant (1896–97) and the children’s gift book Parade (1897) that both imported into the Aestheticist format aspects of the decidedly mainstream gift book genre, or the Dome (1897–1900) that presented itself as an insider’s alternative to the most commercially successful art magazines of its period. All three publications relativised the former vanguardist strategy of their producers through their contents as well as through their presentation, and even questioned the validity of the purist doctrines that only a few years before were deemed essential, including that of the Total Work of Art.

Wagner, Klimt, and the Metaphysics of Creativity in fin-de-siècle Vienna

2009 ◽  
Vol 62 (3) ◽  
pp. 647-697 ◽  
Author(s):  
Kevin C. Karnes
Keyword(s):  
Vital Role ◽  
Turn Of The Century ◽  
Richard Wagner ◽  
Fin De Siecle ◽  
Artistic Creativity ◽  
Gustav Klimt ◽  
Fin De Siècle

This article takes a close look at a pair of well-known works by Gustav Klimt, the Nuda Veritas (1898) and the Beethoven Frieze (1902), and argues that the Schopenhauerian worldview evident in them testifies to the underappreciated influence of Richard Wagner on the Viennese artistic scene circa 1900. I begin by isolating previously unnoticed strains of Schopenhauerian iconography evident in the Nuda Veritas pertaining to the source and value of artistic creativity. I proceed by demonstrating that Klimt's peculiar use of that iconography conflicts with Schopenhauer's own theories of art, although it hews closely to Wagner's idiosyncratic interpretation of Schopenhauer's ideas outlined in his Beethoven essay and enacted in Die Meistersinger von Nürnberg. After surveying evidence of Klimt's familiarity with Wagner's works, I turn to Die Meister singer, highlighting the unacknowledged ways in which that opera dramatically enacts Wagner's theories of creativity. I conclude by suggesting that some of those same theories underlie the imagery of Klimt's Beethoven Frieze, and by suggesting more broadly that the Beethoven Frieze and the Nuda Veritas testify to the vital role played by Wagner's music dramas in mediating and popularizing a quasi-Schopenhauerian worldview in the creative culture of the turn of the century.

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