Honors Project--Smith College, Northampton, Mass., 2009. / Includes bibliographical references (p. 73-75).

Uppsatsen behandlar målaren Olof Sager-Nelsons relation till den belgiska symbolismen. Med utgångspunkt i ett antal analyser, av verk skapade i Belgien somrarna 1894 och 1895, diskuteras kopplingar mellan Olof Sager-Nelson och de främsta belgiska konstnärerna och författarna inom den symbolistiska rörelsen. Slutsatsen är att Sager-Nelson var mycket starkt påverkad av Georges Rodenbach, och dennes roman Bruges-la-Morte, men att han i övrigt inte i någon större utsträckning var influerad av belgiska symbolister. / This paper deals with the painter Olof Sager-Nelson's relation to the symbolist movement in Belgium. Based on a number of analyses of paintings created in Belgium in the summers of 1894 and 1895, the links between Olof Sager-Nelson and the leading Belgian artists and writers of the symbolist movement are discussed. The conclusion is that Sager-Nelson was strongly influenced by Georges Rodenbach, and his novel Bruges-la-Morte, but that he wasn't otherwise influenced by Belgian symbolists to any great extent.

The thesis examines the relationship between (photographic) image and text in two novels accompanied by photographs: Georges Rodenbach's Bruges-la-Morte and The Rings of Saturn by W. G. Sebald. As in the essence of photographic image lies the question of its relation to reality, we decided to make from the theme of relation between reality and fiction, which differs according the type of representation, our central theme. The thesis is also concerned with the themes of passing, mourning and order, which connect examined novels. Our interpretation is based mainly on Roland Barthes' theoretical text Le message photographique in which he defines various types of photographic connotation that we search in analyzed phototexts. Concerning the partial theme of connection between photograph and death we base our analysis on Barthes' Camera Lucida, than we proceed mainly from the essays of the collection Co je to fotografie which concern with photographic pose (Thierry de Duve), photograph and remembering (André Bazin), photograph and mirror (Craig Owens).

A dissertação traz uma aproximação entre os poetas simbolistas Alphonsus de Guimaraens e Georges Rodenbach por meio da análise dos temas da cidade morta e da noiva morta. Inicialmente, é feita uma leitura panorâmica da obra em verso e prosa do poeta mineiro, em que se pontua a discussão acerca da religiosidade em sua produção, a fim de mostrar que a presença desse tema está a serviço de um projeto estético consciente e contribui com a criação de uma atmosfera de mistério comum às cidades mortas e de devoção à amada morta, da mesma forma como ocorre no romance Bruges-la-morte. Nesse romance de Georges Rodenbach, a cidade morta aparece como uma espécie de entidade mística, e sua imagem confunde-se com a imagem da mulher morta, num jogo de espelhamentos. Baseado, em especial, no conceito de espelhamento de Starobinski, este estudo pôde evidenciar nas obras de Alphonsus e Rodenbach a percepção das cidades como estados de alma e a imagem da noiva morta como consequência dessa condição anímica. Essa proximidade entre as obras dos dois autores é evidência de como Alphonsus poderia ter se apropriado de temas advindos da obra de Rodenbach, da qual ele era leitor. Isso deixa em aberto a possibilidade de certos temas conhecidos da obra de Alphonsus, normalmente associados à sua vida pessoal, advirem da influência que sofreu das tendências a ele contemporâneas da poesia e prosa europeia. / The dissertation brings an approximation between the Symbolist poets Alphonsus de Guimaraens and Georges Rodenbach through the analysis of the themes of the dead city and the dead bride. Initially, a panoramic reading of the works in verse and prose of the Brazilian poet is done, in which a discussion concerning religiousness in his work is pointed out with the intention of showing that the presence of such theme serves a conscious aesthetic project and contributes with the creation of a mysterious atmosphere, which appears both in the dead cities and in the devotion to the dead loved one, just like it happens in the novel Bruges-la-morte. In this novel by Georges Rodenbach, the dead city appears as a kind of mystical entity and its image mixes with that of the dead bride, in a mirroring game. Based mainly on Starobinskis concept of mirroring, this study was able to evidence the perception of the cities as states of mind and the image of the dead bride as a consequence of such psychic condition in the works of Guimaraens and Rodenbach. These proximities between the works of both authors is evidence of how Guimaraens could have appropriated themes from the works of Rodenbach, of whom he was a reader. That leaves open the possibility that certain themes known in the works of Guimaraens, which are usually associated with his personal life, may have come from the influence he suffered from the European poetry of his time.

A dissertação traz uma aproximação entre os poetas simbolistas Alphonsus de Guimaraens e Georges Rodenbach por meio da análise dos temas da cidade morta e da noiva morta. Inicialmente, é feita uma leitura panorâmica da obra em verso e prosa do poeta mineiro, em que se pontua a discussão acerca da religiosidade em sua produção, a fim de mostrar que a presença desse tema está a serviço de um projeto estético consciente e contribui com a criação de uma atmosfera de mistério comum às cidades mortas e de devoção à amada morta, da mesma forma como ocorre no romance Bruges-la-morte. Nesse romance de Georges Rodenbach, a cidade morta aparece como uma espécie de entidade mística, e sua imagem confunde-se com a imagem da mulher morta, num jogo de espelhamentos. Baseado, em especial, no conceito de espelhamento de Starobinski, este estudo pôde evidenciar nas obras de Alphonsus e Rodenbach a percepção das cidades como estados de alma e a imagem da noiva morta como consequência dessa condição anímica. Essa proximidade entre as obras dos dois autores é evidência de como Alphonsus poderia ter se apropriado de temas advindos da obra de Rodenbach, da qual ele era leitor. Isso deixa em aberto a possibilidade de certos temas conhecidos da obra de Alphonsus, normalmente associados à sua vida pessoal, advirem da influência que sofreu das tendências a ele contemporâneas da poesia e prosa europeia. / The dissertation brings an approximation between the Symbolist poets Alphonsus de Guimaraens and Georges Rodenbach through the analysis of the themes of the dead city and the dead bride. Initially, a panoramic reading of the works in verse and prose of the Brazilian poet is done, in which a discussion concerning religiousness in his work is pointed out with the intention of showing that the presence of such theme serves a conscious aesthetic project and contributes with the creation of a mysterious atmosphere, which appears both in the dead cities and in the devotion to the dead loved one, just like it happens in the novel Bruges-la-morte. In this novel by Georges Rodenbach, the dead city appears as a kind of mystical entity and its image mixes with that of the dead bride, in a mirroring game. Based mainly on Starobinskis concept of mirroring, this study was able to evidence the perception of the cities as states of mind and the image of the dead bride as a consequence of such psychic condition in the works of Guimaraens and Rodenbach. These proximities between the works of both authors is evidence of how Guimaraens could have appropriated themes from the works of Rodenbach, of whom he was a reader. That leaves open the possibility that certain themes known in the works of Guimaraens, which are usually associated with his personal life, may have come from the influence he suffered from the European poetry of his time.

À la fin du XIXe siècle, avec l’avancée de la pensée démocratique, le décadent fait l’expérience de la rupture ontologique d’avec l’ordre ancien dont les hiérarchies, sous la pression de l’égalité sociale, ont été ruinées. Du système hiérarchique de l'Ancien Régime, qui par définition est transcendant et garant de la volonté divine, l'individu passe à un système démocratique du nivellement et de l’indifférenciation de l’immanence. Consécutive au mal fin de siècle, la haine que voue le décadent à la démocratie se manifeste par la condamnation de tout son fondement idéologique. Ainsi les Lumières se trouvent être la cible privilégiée de sa critique, en particulier Rousseau et son hypothèse philosophique de « l'homme naturellement bon », mais aussi leur héritage direct à travers la notion de Progrès. Car le décadent ne saurait être en accord avec l’idée concernant le progrès indéfini qui ne peut qu’être néfaste pour l’âme humaine, un frein à son Salut. Devant l'avènement de la démocratie, le décadent voit également son statut de poète menacé. Car la désacralisation et le désenchantement du monde sont aussi synonymes de la dé poétisation du poète. Sous l'effet de l'uniformisation des masses, la pensée conformiste et contagieuse de la société démocratique met en péril la singularité, l'individualité et le caractère aristocratique du décadent. Face à cet état de fait, il se retrouve face à une alternative. Ou bien il se retranche dans sa tour d’ivoire, à l’abri des valeurs bourgeoises de la société, afin de préserver sa singularité et son unicité, ou bien, dorénavant sans auréole, poète maudit, il chante la modernité en prose, celle d’un monde en déréliction, dans une compassion fraternelle avec tous les déshérités, pour ainsi créer une nouvelle harmonie. / At the end of 19th century, as the democratic thought process was evolving, the decadent experienced an ontological break away from the old order, whose hierarchies were crushed under the pressure of social equality. From the hierarchical system of the Ancien Régime which, by definition, transcended and pledged the divine will, one adopted a democratic system of levelling and non differentiation of immanence. As a consequence of the end of century malaise, the hatred which the decadent had for democracy was apparent through the condemnation of its entire ideological basis. Hence, Rousseau and his philosophical premise of « man being naturally good » became the preferred target of his critique, which besides was directed at the entire legacy of the Enlightened, particularly their belief in the notion of Progress. Indeed, the decadent could not agree with the idea that indefinite progress could but be harmful to the human soul and hinder its Salvation. During the advent of democracy, the status of poet enjoyed by the decadent was also in jeopardy, because the deconsecration and disillusionment of the world also lead to the poet being depoetized. In view of the standardisation of the masses, the conformist and contagious reflection of the democratic society endangered the singularity, the individuality and the aristocratic character of the decadent. Faced with such a situation, he had a choice : he could retreat in his ivory tower, away from the bourgeois values of society, in order to preserve his singularity and uniqueness, or, like a damned and haloless poet, he could henceforth talk in prose about modernity, that of a world in a state of dereliction, within the compassionate brotherhood of all deprived people, in order to create a new harmony.

La thèse compare quelques romans suédois et français écrits entre 1884 et 1892 et comment ceux-ci sont imprégnés par les thèmes de la Décadence, et cela à partir de l’implication esthétique des portraits de femmes. Huit textes sont étudiés afin de comparer la littérature suédoise fin-de-siècle – en partie interprétée comme de la littérature de « percée moderne » – à la littérature française et la Décadence. L’étude est divisée en trois parties concernant : 1) la représentation de la femme indépendante ; 2) les nouveaux rôles des sexes ; 3) les rapports à l’esthétique et l’ontologie décadentes. Comme l’époque est concernée par de nouveaux rôles de sexes, l’attention attirée sur les figures féminines est fructueuse et originale, car la plupart des personnages principaux décadents sont masculins, un fait qui imprègne la recherche sur la Décadence littéraire. La première partie analyse aussi bien les apparences et les comportements, que l’approche de « la femme fatale » et le regard des femmes d’elles-mêmes. Dans la deuxième partie, des thèmes comme androgynie, sexualité et érotisme sont étudiés. Finalement, la thèse examine, dans la troisième partie, les relations entre les figures féminines et les idées liées à la sécularisation, à l’artifice et aux maladies fin-de-siècle. Plus les analyses évoluent, plus il devient clair que les œuvres suédoises sont marquées par les mêmes thèmes et idées que les œuvres françaises. Cependant, une différence est que les traits des figures féminines françaises sont plus souvent exagérés que ceux des figures suédoises – une différence que la thèse voit comme une influence du programme littérairement politique de la « percée moderne ». / This thesis compares Swedish and French literary prose fiction written between 1884 and1892 and its approach to Decadent themes, with focus on the female portraits and their aesthetic impact. Eight texts are analyzed in order to explore how the Swedish fin de siècle literature – partly interpreted as belonging to the political literary program of the ”Modern Breakthrough” – relates to the French literature and the Decadence. As the literary Decadence is concerned about the gender roles, the focus on the female characters is profitable and original; most main characters in Decadent literature are male, which has also influenced earlier research on this period’s literature. The study is divided into three major parts: 1) pictures of the independent woman; 2) gender roles and sexuality; 3) female characters and decadent ontology. In the first part, the analyses focus on features and behavior – as well as “la femme fatale” and the women’s look upon themselves. In the second part, themes such as androgyny, sexuality and eroticism are examined. In the third part, the study explores how the female figures relate to the ideas of degeneration and the feelings of loss: secularization, artifice and (non-)health. The more the analyses are developed, the clearer it becomes that the Swedish texts are influenced by the same decadent themes and ideas as the French texts. Nevertheless, a difference is that the French literature’s female characters more often are depicted with exaggerated traits than the Swedish characters, a difference that the thesis points out as connected to the Modern Breakthrough and its political program.

<p>The starting point of this essay was the frustration I felt after having read the novel Nadja (1928) written by the French surrealist André Breton. The title promises the story of someone called Nadja but the promise stays unfulfilled. Recognition of this phenomenon, where a man writes a book about a woman, but the woman hardly is seen, made me want to examine it further.</p><p>Using the theories of the French psychoanalyst Jacques Lacan I analyze the relation between the male narrator and his female object. I also compare Nadja to a precursor: the novel Bruges-la-morte (1892) of the Belgian symbolist writer Georges Rodenbach. Their stories are, to a large degree, similar. The male main character meets a woman who becomes the center of his world for a short period of time, before he in Nadja rejects her, and in Bruges-la-morte kills her. What differentiates the two books mainly is, that whereas Breton uses Nadja as a tool to emancipate his unconscious in order to be able to create, Hugues tries to replace his dead wife with Jane in order to be able to desire a living object.</p><p>The setting for both stories is the City, which seems to be analogous to the Woman. I examine the possible interpretations of the notion of the City as it appears in the two novels.</p><p>The Lacanian notions of the Thing and objet petit a are essential for the understanding of the function of the Woman in these stories, I argue. Nadja is a femme-enfant, a muse, and the objet petit a for the male poet, i.e. the narrator of Nadja. Jane, the woman in Bruges-la-morte, is a femme fatale, and the Thing for the main character Hugues.</p>

The starting point of this essay was the frustration I felt after having read the novel Nadja (1928) written by the French surrealist André Breton. The title promises the story of someone called Nadja but the promise stays unfulfilled. Recognition of this phenomenon, where a man writes a book about a woman, but the woman hardly is seen, made me want to examine it further. Using the theories of the French psychoanalyst Jacques Lacan I analyze the relation between the male narrator and his female object. I also compare Nadja to a precursor: the novel Bruges-la-morte (1892) of the Belgian symbolist writer Georges Rodenbach. Their stories are, to a large degree, similar. The male main character meets a woman who becomes the center of his world for a short period of time, before he in Nadja rejects her, and in Bruges-la-morte kills her. What differentiates the two books mainly is, that whereas Breton uses Nadja as a tool to emancipate his unconscious in order to be able to create, Hugues tries to replace his dead wife with Jane in order to be able to desire a living object. The setting for both stories is the City, which seems to be analogous to the Woman. I examine the possible interpretations of the notion of the City as it appears in the two novels. The Lacanian notions of the Thing and objet petit a are essential for the understanding of the function of the Woman in these stories, I argue. Nadja is a femme-enfant, a muse, and the objet petit a for the male poet, i.e. the narrator of Nadja. Jane, the woman in Bruges-la-morte, is a femme fatale, and the Thing for the main character Hugues.