This thesis {\clqq}The last paladin`` of czech decadence Jarmil Krecar from Ruzokvet. Erotic, stylization and inspiration in his life and creation tries to present the personality of Jarmil Krecar and tries to place him in to the cultural {--} historical context of Czech history at the end of the 19th century and the beginning of the 20th century. Than reflects the erotic themes in his literary works and his life attitude. And also concentrates how his life was pervaded by anachronism decadent stylizations, esthete and dandyism. The thesis is devided into five chapters. The first part of the introduction essay should outline the complex atmosphere of the end of the 19th century and the beginning of the 20th century and should deal circumstances, rise and progress of the important periodical organ of Czech decadent artists, Moderni revue. The second part of the introduction essay tries to describe the phenomenon of decadent stylizations and place it in to the larger Europe connections. The subject of the third part of the first chapter is the reflection of erotic and sex in Czech culture at the end of the 19th century and the beginning of the 20th century. The second chapter describes Jarmil´s life, emphasizes to the condition which Jarmil came from and the condition he was later living in. The third chapter analysis in literary way Krecar´s published and unpublished literary works with consideration to the substitution of erotic and pornography motives. The fourth chapter tries hard on the basis of the relation to Jarmil´s Muses and mistresses to understand his personality of a radical decadent artist. The fifth chapter want to present by using concrete example the selfpresentation of the decadent personage in his imaginary and his real world.

Esta pesquisa consiste em investigar como se articulam as noções de vida e valor na filosofia nietzschiana tardia. A relação entre essas noções se faz visível em Crepúsculo dos ídolos, quando Nietzsche critica a decadência por avaliar negativamente o valor da vida: o filósofo defende que a vida é o critério de avaliação das avaliações e criadora de valores, de modo a ser incoerente estabelecer qualquer juízo acerca dela. Contudo, questionamos se essa filosofia não seria passível das mesmas críticas por entender que o critério avaliativo é ele próprio criador de valores: averiguaremos se seria possível uma mesma vida criar valores e avaliá-los. No limite, sendo a decadência um modo de vida, objetamos como poderia a filosofia nietzschiana avaliá-la. Faremos ver que apenas um tipo de vida poderá ser simultaneamente critério de avaliação das avaliações e criadora de valores e que, portanto, poderá avaliar outras formas de vida, como a decadente / This researchs aim is to investigate how to articulate the notions of life and value in Nietzsche\'s late philosophy. The relation between these notions is visible in Twilight of idols, in which Nietzsche criticizes the decadence for negatively evaluating the value of life: the philosopher argues that life is the evaluation criterion of evaluation and creates values, so as to be incoherent to establish any judgment about it. However, we question whether this philosophy would not be liable to the same criticism for understanding the evaluative criteria is itself the creator of values: we will investigate whether it is possible for a same life to create values and evaluate them. If the decadence is a way of life, we question how Nietzschean philosophy could evaluate it. We will see that only one way of life can simultaneously be evaluation criteria of evaluation and create values and, therefore, can evaluate other forms of life, such as the decadent one

No description available.

The ephemeral life of the Pre-Raphaelite Brotherhood belies the importance of an organization that grows from and transcends its originally limited aesthetic principles and circumscribed credo. The founding of the Pre-Raphaelite Brotherhood in 1848 really marks the beginning of a movement that metamorphizes into Aestheticism/Decadence. It is the purpose of this dissertation to demonstrate that, from its inception, Pre-Raphaelitism is the first English manifestation of Aestheticism/Decadence. Although the connection between Pre- Raphaelitism and the Aesthete/Decadent movement is proposed or mentioned by several writers, none has written a coherent justification for the viewing of Pre-Raphaelitism as the starting point for English Decadence This dissertation attempts to establish the primacy of Pre-Raphaelitism in the development of Aestheticism/Decadence.

No description available.

No description available.

Version abrégée de Th. de doct. : Paris 4 : 1993. / Includes bibliographical references (p. [457]-474) and index.

Initially an attempt is made to present an overview of the interpretations of the meaning of Fascism. In a presentation of the views of Renzo De Felice and Zeev Sternhell the opinions of the latter are highlighted. It appears that Stemhell's conclusions better explain Italian Fascism, as well as Nazism, although Sternhell has not extensively described Nazism. His conclusions can also be used to illustrate the fact that most characteristics of Nazism and Fascism were identical, something which De Felice denies. This also applies to anti-Semitism. Then follows an analysis of the origin of the Fascist ideology, and it is stated that this ideology, both in Germany and in Italy originated in the "frn-de-siècle crisis", the anti-positive climate which existed at the end of the 19th century. This climate included a reaction against what was regarded as "decadence". It is maintained that amongst a number of Italian and German intellectuals there existed a number of similar ideas, such as for instance contempt for monetary economy, pacifism, intellectualism, the calm bourgeois life, liberalism, democracy and socialism. In the same environments violence and youth started to be glorified, and finally the modern world was accused of being egotistical and without ideals. It is in this environment that the core of Nazi- Fascism is to be found, a core to which other elements were later added. In later chapters Fascist agricultural policy is discussed in relation to earlier Italian cultural tendencies which had placed great importance on agricultural society. It is pointed out that agricultural policy was an important part of the Fascist ideology. Finally Mussolini's ideas on this subject are described, and it is maintained that the myth of the citizen/small scale farmer/soldier in ancient Rome became, in all important aspects, a part of the agricultural ideology of Fascism. It is shown here that this idea is in harmony with the general philosophy of Fascism. Subsequently, an overview of corporativism and its predecessors in Italian history are presented. Here it is stated that corporativism was a corner-stone of Fascist ideology. Thereafter the basic principals of corporativism are described as well as its tangible contents, and some important suggestions for interpretation are presented. The role of corporativism during the short period that the Italian Socialist Republic existed, is also a subject for discussion. Although this republic was scarcely of any military, economic or political importance, it was not without interest from an ideological point of view, taking into consideration the ideas it presented concerning working life. Finally, in a chapter describing the International University of Perugia, the manner in which Fascist ideology was implemented in concrete situations within the educational sector is investigated. The public support for Fascism appears to have been almost unanimous, but at the same time mostly of a formal nature. If a general conclusion can be drawn from this study, it is that Fascism and its ideology were in reality only of minor importance to education at the university level. In the conclusion it is stated that, despite the obvious contradictions, Fascism had a relatively complete; ideology, which was quite closely related to Nazism. / digitalisering@umu

This M.A. thesis focuses on the problematic relationship between Henry James and Aestheticism and Decadence on the example of his two masterpieces-The Portrait of a Lady () and The Golden Bowl (). The main task is to document the evolution of this relationship and to point out that despite his lifelong preoccupation with these two artistic movements in his literary works, James refuses to assume a concrete stance toward them. Before the literary analysis of the two abovementioned novels, the author devotes the first chapter to a brief historical survey as to the nature and purpose of the work of art, to the development Aestheticism and Decadence in Europe and Britain, and to James's relationship with some of the proponents of British Aestheticism. The rest of the thesis is devoted to the literary analysis of the two novels through the optics of Aestheticism and Decadence. Keywords: James, Henry; Aestheticism; Decadence; literary analysis; transatlantic studies

ТITLE The Concept of Childhood in Fyodor Sologub's prose ABSTRACT: This Master thesis deals with the topic of childhood in prose works of the Russian writer, novelist and teacher Fyodor Sologub. The research presents his biography, traces the development of his personality, as well as his perception of the world and interests. It focuses on the events, which determined the extent and significance of the chosen topic for Sologub. There are also revealed lesser known facts of his childhood that influenced his choice of the topics and its embodiment in his literary works. The writer's biography is complemented by the views of critics and contemporaries who studied his works and shaped public opinion. The main topics of the analysis are: dualistic vision of the world, children's death, faith in God, children's patriotism. The ideal world of children is presented in the novel The Created Legend. The thesis also reveals the popularity of the topic of childhood in other 19th and 20th century writers' oeuvre in comparative analysis with Sologub's work. It also depicts the importance of two literary movements - symbolism and decadence, their representative Sologub was. The questions raised by Sologub remain relevant to the present day. KEY WORDS: Russian literature, F. Sologub, Symbolism, Decadence, Childhood