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Titlebook: Seeds of Decadence in the Late Nineteenth-Century Novel; A Crisis in Values Suzanne Nalbantian Book 1984 Palgrave Macmillan, a division of

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书目名称Seeds of Decadence in the Late Nineteenth-Century Novel
副标题A Crisis in Values
编辑Suzanne Nalbantian
视频video
图书封面Titlebook: Seeds of Decadence in the Late Nineteenth-Century Novel; A Crisis in Values Suzanne Nalbantian Book 1984 Palgrave Macmillan, a division of
描述A comparative assessment of the transmutation of a decadent mentality into an identifiable narrative style. The author examines the work of five major novelists in the last quarter of the nineteenth century and attempts to trace perplexities, perversities and combinations of excess.
出版日期Book 1984
关键词crisis; fiction; history of literature; literary theory; literature; nineteenth century; novel
版次1
doihttps://doi.org/10.1007/978-1-349-10450-5
isbn_softcover978-0-333-47400-6
isbn_ebook978-1-349-10450-5
copyrightPalgrave Macmillan, a division of Macmillan Publishers Limited 1984
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Dostoevsky and the Gap of Insufficiency,ggle with ‘the idea’ of a beautiful individual in a letter to his niece Sofia Alexandrovna in 1868:.His doubts were indeed justified; for the Idiot character proves both an inadequate re-presentation of the Christ figure and an archetypal challenge to the very conception of Christ which attempts to unite perfection with humanity.
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Henry James and the Poetics of Postponement,nnocent American girl named after an uncultivated field flower (rather than the hothouse flowers of the Symbolists or the jaded orchids of the Aesthetes) being destroyed by the ‘Roman Fever’ representing a cultural sense of European decay.
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The Grammar of Decadence: Perversity, Paradox and Perplexity,ern world. Nor was this a conscious programme as fashioned by the literary schools of the time, for it emerged unconsciously in the texture of the prose of major novelists of the period extremely sensitive to the gruelling moral traumas over and above their literary allegiances.
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The Grammar of Decadence: Perversity, Paradox and Perplexity,of the 1890s is reductive because Decadence was not Aestheticism but an aesthetic of transition expressing a crisis in values and language in the Western world. Nor was this a conscious programme as fashioned by the literary schools of the time, for it emerged unconsciously in the texture of the pro
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