By Charles Bernheimer
Charles Bernheimer defined decadence as a "stimulant that bends suggestion out of form, deforming conventional conceptual molds." during this posthumously released paintings, Bernheimer succeeds in creating a severe notion out of this perennially trendy, hardly ever understood term.
Decadent Subjects is a coherent and relocating photograph of fin de siècle decadence. Mature, ironic, iconoclastic, and considerate, this amazing number of essays exhibits the contradictions of the phenomenon, that is either a and a mind set. In looking to express why humans have did not provide a passable account of the time period decadence, Bernheimer argues that we frequently mistakenly take decadence to symbolize whatever concrete, that we see as a few type of agent. His salutary reaction is to come back to these authors and artists whose paintings constitutes the topos of decadence, rereading key past due nineteenth-century authors akin to Nietzsche, Zola, Hardy, Wilde, Moreau, and Freud to rediscover the very dynamics of the decadent. via cautious research of the literature, artwork, and track of the fin de siècle together with a riveting dialogue of the various faces of Salome, Bernheimer leaves us with a desirable and multidimensional examine decadence, all of the extra very important as we emerge from our personal fin de siècle.
Effortlessly integrating his impressive archival examine, Bernheimer supplies readers the feel of being in a collegial seminar with him.
Charlie had many neighbors, admirers and highbrow interlocutors within the box, and the ebook will locate a massive position with them, either as a homage to his reminiscence, and as a testimonial to the type of literary-historical-psychoanalytical scholarship he represented in literary studies.
(Emily S. Apter, collage of California l. a. 2005)
An very good publication by way of a well known authority within the components of eu literature, tradition, and psychoanalysis.
(Christopher S. Nassaar Pre-Raphaelite Studies)
From the Publisher
"Charlie had many associates, admirers and highbrow interlocutors within the box, and the e-book will locate an enormous position with them, either as a homage to his reminiscence, and as a testimonial to the type of literary-historical-psychoanalytical scholarship he represented in literary studies."
~ Emily S. Apter, college of California Los Angeles
Charles Bernheimer was once a trendy pupil within the parts of eu literature, tradition, and psychoanalysis. He taught Romance languages and comparative literature on the college of Pennsylvania and authored and edited numerous books, together with Comparative Literature within the Age of Multiculturalism, a part of Johns Hopkins' Parallax sequence.
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Additional info for Decadent Subjects: The Idea of Decadence in Art, Literature, Philosophy, and Culture of the Fin de Siècle in Europe (Parallax: Re-visions of Culture and Society)
Unfortunately, this question cannot be precisely answered, since Nietzsche’s works became available in this period in a rather haphazard manner, and how Nietzsche was read had a lot to do with what was accessible to be read, in translation especially. 29 Despite the anti-Wagnerism of the latter book, early interest in Nietzsche came largely from the proWagner camp (represented, for instance, by Téodor de Wyzewa, who, inﬂuenced by Lombroso, considered Nietzsche’s critique of Wagner to be a self-destructive gesture typical of genius30) and, in the 1890–1895 period, from anarchist sympathizers.
Perhaps Nietzsche’s self-overcoming is driven in part by his “instinct of décadence” that divides the world into true and false parts. He distances himself so far from humanity that he identiﬁes with life as a whole and condemns the majority of mankind in its name. ” (WP, 389). Nietzsche as a spokesman for “life” arrogates the authority to distinguish between what is natural and what antinatural and to condemn decadent body parts and decadent individuals alike to be forcefully removed from the infected organism.
Sections are collected into larger units, labeled “parts” or “essays,” and the last book, Nietzsche contra Wagner, is composed entirely of selections from his previous writings. Ecce Homo contains chapters whose titles are those of Nietzsche’s previously published books, of which he gives critiques here. And, of course, there is the famous Will to Power, a book Nietzsche never wrote as such, which was constructed in various quite diﬀerent versions after his death, and that does not exist at all in the latest authoritative edition of his collected works.