A cultural icon of the fin de siècle, the New Woman was not one figure, but several. In the guise of a bicycling, cigarette-smoking Amazon, the New Woman romped through the pages of Punch and popular fiction; as a neurasthenic victim of social oppression, she suffered in the pages of New Woman novels such as Sarah Grand's hugely successful The Heavenly Twins. The New Woman in Fiction and Fact marks a radically new departure in nineteenth-century scholarship to explore the polyvocal (...) nature of the late Victorian debates around gender, motherhood, class, race and imperialism which converged in the name of the New Woman. (shrink)

This article illuminates Henry Irving’s production of Shakespeare’s Cymbeline (1896) as a major contribution to fin-de-siècle Gothic culture. Cymbeline (1896) was one of the most popular Victorian Shakespeare productions, running to wild acclaim for more than seventy-two performances. In Cymbeline’s sexually-charged bedroom scene, Imogen, played by beloved Victorian actress Ellen Terry, was preyed upon by Henry Irving’s villainous Iachimo. Terry and Irving were at the zenith of a twenty-year partnership at London’s Lyceum theatre, and Victorian Britain’s greatest star actors. Ellen (...) Terry’s Imogen became an ideally desirable heroine for both audiences and critics of Victorian Shakespeare. Simultaneously, Cymbeline, and the acclaimed performances of Terry and Irving, became a source for literature’s most famous Gothic vampire novel: Dracula, published by Bram Stoker in 1897. Bram Stoker was Henry Irving’s business manager, and intimately involved with Irving and Terry’s professional lives at the Lyceum theatre. This article reveals the relationship between Shakespeare and Dracula, especially Ellen Terry’s Imogen as an inspiration for Lucy Westenra. Textual evidence includes Terry’s correspondence and unpublished promptbooks, as well as Stoker’s biography of Henry Irving, and facsimile notes on Dracula. Examining Cymbeline (1896) and Dracula (1897) offers a new reading of Dracula, given Cymbeline’s obsession with liminal states and female vulnerability. Moreover, Victorian responses to Ellen Terry’s Imogen in the bedchamber scene highlight fin-de-siècle eroticisations of the sleeping woman, and Victorian fantasies of sexual access to the actress. Examining Terry’s reception illuminates the disjunction between performed female passivity as Imogen, and the professional, creative activity that underlined Terry’s stage practice and agency as a Victorian actress. (shrink)

How far from the optimism of eighteenth-century philosophes and their nineteenth-century heirs ought we to let the disasters of twentieth-century European history push us? An encounter with the profoundly pessimistic socio-political theoretician Georges Sorel can help us gauge that. But in assessing Sorelian thought, we ought to adopt the same analytical strategy he himself prescribed when approaching complex and multi-faceted subjects: a deliberately partial, indirect approach he called 'diremption'. This diremption of Sorelian morality addresses his concepts of 'work' and 'love' (...) specifically; and it accesses them not directly, through his own works, but indirectly, through fictional works he found particularly meaningful: Daniel Halevy's science-fiction novel History of Four Years and Paul Claudel's verse drama The Hostage. (shrink)

Using this bit of dialogue from Oscar Wilde as introduction, we propose to demonstrate the pertinence of the hostess’ remark and to show that the “Fin de siècle” really did mark a certain “Fin du globe”, connoting as it does the decline of art, the end of an era and of the eras in which artistic experience, and even experience of the world, was realized in a specific style. It was indeed the end of what we will here call “globe (...) style”.For a long time the notion of style had a very general significance. The origin of the word can no doubt be traced back to the term stilus, designating the punch that monks used for writing, and also probably an Egyptian etymon signifying a pillar. Through metonymic extensions the name of the instrument (an instrument, nevertheless, used in a highly intellectual activity) and the name of the individual work (but a work of cultural and artistic nature) have been subject to generalization and ultimately designate the specific quality of a phenomenon. Obviously it was necessary that this phenomenon be confirmed and made official through imitation and tradition. As for generalization of the phenomenon of style, its scope has become almost unlimited, taking in all forms of creative activity whether artistic or not, and ultimately almost all beings as long as they have assumed a form hallowed by tradition. (shrink)

" Au bas de la statue d'Auguste Comte, place de la Sorbonne, à Paris, on pouvait lire récemment - et peut-être le peut-on encore : "Ni Comte ni Sponville". Ce graffiti exprime à sa manière l'un des grands défis de la philosophie française de cette fin de siècle, à savoir celui de sa popularité. Car la philosophie est désormais au centre de la vie publique : elle trône dans les cafés, se fait une place dans l'entreprise et s'installe même dans (...) les cabinets privés. Mais ce qui ne laisse pas d'étonner, c'est l'écho qu'elle rencontre auprès d'un grand public avide de lectures philosophiques. Il convient de s'interroger sur cet engouement, ou plutôt d'interroger les philosophes à ce sujet, eux qui sont sans doute les mieux placés pour y répondre. " Précédés d'une introduction à l'œuvre des auteurs interviewés, les six entretiens réunis dans ce livre font le point à la fois sur la pensée de chacun d'eux et sur la situation générale de la philosophie française actuelle. Bien qu'on n'ait dans aucun sens affaire ici ni à une école ni à une improbable " pensée 98 ", il se dégage quand même de ces rencontres l'image d'une philosophie qui a renoué avec la vie, qui est arrivée à reformuler, à nouveaux frais, les questions de la philosophia perennis et qui a rétabli le dialogue avec son temps. (shrink)

I consider three conditions to explain the emergence of scientific philosophy in Austrian thought at the turn of the century, concentrating on Vienna and Graz as distinct centers of philosophical development: An outlook that seeks philosophical truth in sound reasoning, combined with a commitment to developing and practicing a methodology that is not essentially dependent on any particular culture's literary–philosophical traditions; The desire to transcend national boundaries in the pursuit of philosophical understanding, as manifested in international professional conferences, publications, and (...) training of international students; and Cultural infrastructure that sustains ambitious philosophical projects, including tangible assets like financial resources, established educational institutions and communication networks, but also less conspicuous elements, such as, among others, a political environment of open inquiry, a relatively free press, community support for the enhancement of learning, and participation in an international language of science. (shrink)

This book offers a comprehensive sociological study of the nature and dynamics of the modern world, through the use of a series of anthropological concepts, including the trickster, schismogenesis, imitation and liminality. Developing the view that with the theatre playing a central role, the modern world is conditioned as much by cultural processes as it is by economic, technological or scientific ones, the author contends the world is, to a considerable extent, theatrical - a phenomenon experienced as inauthenticity or a (...) loss of direction and meaning. As such the novel is revealed as a means for studying our theatricalised reality, not simply because novels can be understood to be likening the world to theatre, but because they effectively capture and present the reality of a world that has been thoroughly theatricalised - and they do so more effectively than the main instruments usually employed to analyse reality: philosophy and sociology. With analyses of some of the most important novelists and novels of modern culture, including Rilke, Hofmannsthal, Kafka, Mann, Blixen, Broch and Bulgakov, and focusing on fin-de-siecle Vienna as a crucial threshold chronotope of modernity, Permanent Liminality and Modernity demonstrates that all seek to investigate and unmask the theatricalisation of modern life, with its progressive loss of meaning and our deteriorating capacity to distinguish between what is meaningful and what is artificial. Drawing on the work of Nietzsche, Bakhtin and Girard to examine the ways in which novels explore the reduction of human existence to a state of permanent liminality, in the form of a sacrificial carnival, this book will appeal to scholars of social, anthropological and literary theory. ". (shrink)

Si la modernité consiste à trouver le nouveau radical, la fin de la postmodernité n’est pas la sortie de l’art, dans la culture de masse, le kitsch ou le silence mais bien le moment où la modernité trouve ses marges, repère la lisière de ses différences. La tâche de la pensée ne consiste pas à désespérer de l’art ou de la nouveauté mais à identifier les lieux et les fins de la différence dans ce que l’on peut nommer une « (...) en-différence » (in-difference) qui n’a rien de négatif. Ce que montre une série d’exemples artistiques tirés de la production contemporaine, y compris télévisée. (shrink)

In fin-de-siècle France, we witness a strange circulation of concepts between philosophy, theoretical and experimental psychology, and the borderline realm of what we would now call meta- or parapsychology. This was a time characterized by a complex process of redefinition of the disciplinary frontiers between philosophy and psychology, which favoured the birth of hybrid conceptualities and stark oppositions as well. Furthermore, the great scientific advances in physics, physiology, and psychology fostered hope for a full rational explanation of reality, even of (...) its most unfathomable layers and seemingly bizarre phenomena. Focusing on the case of Émile Boirac’s research on what he termed ‘cryptopsychism’, notably in his book Our Hidden Forces, this article aims to show how Kantian notions and models of consciousness belonging to the canon of French spiritualist philosophical psychology were taken up by scientists such as Pierre Janet and ended up being assimilated and discussed in the more obscure and precarious realm of scientific inquiry into metapsychical phenomena. Far from being a mere historical curiosity, this quest for a scientific account of the latent and subconscious life of the mind sheds light on the intricate relationship between philosophy and the human sciences between the 19th and 20th centuries. (shrink)

Over time our understanding of the 'political' has been progressively shaped by the secular rational calculations of modern European political thought. This paper aims to critique these 'calculations' with reference to crucial moments of departure and flight within western philosophy itself. It concludes by reclaiming fin de siècle radicalism/philosophy as a forgotten instance of empirical-metaphysical hybridity: a form of politics or ethics capable of housing the imperatives of both desire and prayer.

En los _Principios de Psicología_ William James defiende una versión activa de la mente en donde el recorte del mundo es llevado a cabo por la atención selectiva. Este fenómeno que es entendido como esfuerzo de la voluntad, gravita entre lo psicológico y lo moral y es una apuesta vigorosa que viene a enfrentar tanto al determinismo propio del espíritu positivo de la época, como a las actitudes cínicas y pesimistas que de esta visión se siguen. Explicitaremos la psicología del (...) vigor, sus consecuencias prácticas, como esta propuesta se ubica en la crisis de _fin de siècle_ y las diferencias de matices que se da en relación con publicaciones posteriores con el objetivo de hacer un aporte tanto al entendimiento del concepto _strenuous mood_ como a la cuestión del heroísmo en la reflexión del filósofo norteamericano. (shrink)

Historical outlines of fin-de-siècle European criminology have typically focused on the debate between supporters of Lombrosian anatomical determinism on the one hand, and the more environmentalist (i.e. French) explanations of crime on the other. What has gone largely unnoticed, however, is how the basic tenets of the 'French school' were shaped by an implicit moral concern with mass consumption and indi vidualism, particularly in regard to juvenile crime. This paper examines the psychosocial conception of the juvenile criminal - within the (...) par ticular context of fin-de-siècle culture, social theory and political ideol ogy - to delineate how French criminologists encountered economic modernity and reconceptualized their understanding of the relationship between the child, the family and the state. (shrink)

The paper follows the discursive path of one of the dominant, and yet forgotten, terms in the history of ideas - that of?degeneration.? The richness of uses and various illuminations of the term, as well as its discursive dispersion and blurring, can be seen from the mid 19th until the first decades of the 20th century. The term was almost inescapable in studies of thinkers from various fields starting in the middle of the 19th century, it was successfully adopted from (...) French, Italian and British medical terminology into the art discourse of modern European societies. By focusing on music, the given term became permanently tied to thinking about relations of music and society in the German-speaking world. In a complex discursive development of the term, the author necessarily made certain choices, paying special attention to the Austro-Hungarian psychologists, Max Nordau who carried the concept of?degeneration? from the medical to the art sphere. The debate regarding the?degeneration of music,? was developed chronologically, starting from the Second Reich. While Wagner developed a theory of?degeneration? and its overcoming through?regeneration,? he was still considered?degenerated.? The given example reveals the complexity of the problem we face when we study the concept of?degeneration of music.? The consideration is completed with a glance at the life of?degenerated? musicians and music during the Weimar Republic, that is, their interpretation in the Third Reich. (shrink)

'Altruism' was coined by the French sociologist Auguste Comte in the early 1850s as a theoretical term in his 'cerebral theory' and as the central ideal of his atheistic 'Religion of Humanity'. In The Invention of Altruism, Thomas Dixon traces this new language of 'altruism' as it spread through British culture between the 1850s and the 1900s, and in doing so provides a new portrait of Victorian moral thought. Drawing attention to the importance of Comtean positivism in setting the agenda (...) for debates about science and religion, this volume challenges received ideas about both Charles Darwin and Herbert Spencer as moral philosophers. Darwin saw sympathy and love, not only selfishness and competition, throughout the natural world. Spencer was the instigator of an Anti-Aggression League and an advocate of greater altruism in Britain's dealings with the 'lower races'. It also sheds light on the rise of popular socialism in the 1880s, on the creation of the idealist 'altruist' in novels of the 1890s, and on the individualistic philosophies of Friedrich Nietzsche, Oscar Wilde, and G. E. Moore - authors considered by some to be representative of fin de siècle 'egomania.' This wide-ranging study in the history of ideas is highly relevant to contemporary debates about altruism, evolution, religion, and ethics. (shrink)

The "Kinsey Report" suggests the existence of such a mentality. Of 142 women with much homosexual experience, 70 percent reported no regrets. This consciousness has manifested itself in literature in two ways. First, in lesbian romanticism: fusions of life and death, happiness and woe, natural imagery and supernatural strivings, neoclassical paganism with a ritualistic cult of Sappho, and modern beliefs in evolutionary progress with a cult of the rebel. At its worst an inadvertent parody of fin de siecle decadence, (...) at its best lesbian romanticism ruthlessly rejects a stifling dominant culture and asserts the value of psychological autonomy, women, art, and a European civilization of the sensuous, sensual, and voluptuous. Woolf's Orlando is its most elegant and inventive text, but its symbol is probably the career of Natalie Barney, the cosmopolitan American who was the prototype of Valerie Seymour.23· 23. See Rubin, introduction to Vivien's A Woman Appeared to Me, and George Wickes, The Amazon of Letters: The Life and Loves of Natalie Barney .Catherine R. Stimpson, professor of English at Rutgers University, is the former editor of Signs: Journal of Women in Culture and Society. The author of both critical essays and fiction, she recently co-edited, with Ethel Spector Person, Women, Sex and Sexuality. (shrink)

This article analyses the evolutionist discourses on the senses that emerged in the late 19th century, when theories on the evolution of species were in full sway. Drawing on newspapers, essays and medical literature, this article aims to set face to face the two currents of thought that I have identified regarding sensory evolution: the one that stressed the value of the progressive specialisation of the senses as evidence for human evolution mainly supported by Max Nordau, and the one which (...) regarded the sensory regrouping, exemplified by the phenomenon of synaesthesia, as the true symptom of evolution, strongly supported by Victor Segalen. A close examination of their arguments will provide clues concerning their relative position vis-à-vis the theory that stressed the exceptional nature of humankind among all living beings. Based on newspapers, essays and medical literature, this paper, which straddles several fields (history of science, philosophy, cultural history and aesthetics) aims to set both positions face to face, examining their arguments in detail and establishing their genealogies. This will lead to a better understanding of the scope and range of evolutionist discourses in the fin de siècle culture and on their impact upon artistic practices. (shrink)

Anatomical exhibitions, online atlases and televised dissections have recently attracted much attention and raised questions concerning the status of and the authority over the human body, the purpose of anatomical education within and outside medical schools and the methods of teaching in the digital age. I propose that for understanding the current public views of anatomy, we need to gain insight into their historical development. This article focuses on anatomies accessible to non-medical audiences in the capital of the Habsburg Empire, (...) Vienna, at the time when the city was the seat of a world-leading medical school. Anatomy at the University of Vienna was famous for its research, instruction and the abundant provision with dissectible corpses. Public anatomies were equally rich and ranged from exhibitions at the Präuscher’s Panoptikon und Anatomisches Museum , established in 1871 in the Prater amusement park, lectures on human and comparative anatomy by the university professor Carl Bernhard Brühl (1863–1890), to displays of anatomical objects at the World Exhibition in 1873. I finish by discussing a collection of letters written by the prospective ‘cadaver donors’, offering an insight into the ways in which medical encounters and anatomical knowledge informed the working-class views of their bodies. By looking at the kinds of anatomy in circulation, as well as at the participants in these exchanges, I want to illuminate the relationship between academic and public anatomies, as well as to reveal the purposes to which public anatomy served. (shrink)

Timothy Verhoeven, de l’université de Monash en Australie, est spécialiste de l’histoire contemporaine de la France et des États-Unis. Son ouvrage Sexual Crime, Religion and Masculinity in Fin-de-Siècle France: the Flamidien affair se situe à la croisée de deux thématiques qu’il avait déjà étudiées auparavant, l’anticléricalisme et les relations entre Église et États d’un côté, et l’histoire des masculinités à partir des sexualités cléricales de l’autre. À partir d’un fait divers propice à me...

In lieu of an abstract, here is a brief excerpt of the content:Beyond the Aesthetic Garden: Politics and Culture on the Margins of Fin-de Siècle ViennaScott SpectorThe rhetorical structure supporting Carl E. Schorske’s seminal Fin-de-Siècle Vienna: Politics and Culture 1 is frankly exposed. The argument—which may have single-handedly changed the discipline of cultural history—is an apparently simple one, and it is reasserted in this series of essays on diverse areas of cultural activity through the use of recurring metaphors. Schorske’s famous (...) thesis (modern culture as political surrogate for a marginalized liberal bourgeoisie) is represented through constantly resurfacing dichotomies: liberal political engagement and (vs.) the aesthetic “garden” of modern art; history and (vs.) desire and “the psyche”; politics and (vs.) culture. All of this is well known. In this essay I want both to assess our necessary debt to Schorske’s powerful work and to suggest what lies beyond it. If at the end of our own century we want to rethink Schorske’s founding project of an interdisciplinary cultural history of Central Europe, we cannot limit this initiative to the obviously important question of extending the contents of cultural inquiry (from high culture to popular culture, from the hegemonic nationality to non-German-speaking cultures, from patriarchy to the voices of women). The formal question packed up in the image of refuge from the historico-political in the aesthetic garden or the fortress of the psyche may offer most productive access to rethinking the Schorskean paradigm, instead of merely expanding its scope. For these reasons I want to focus on the rhetorical structure of Schorske’s essay collection against that of aesthetic and critical works from the Central European turn of the century. 2 Schorske’s historical analysis seems to be at odds [End Page 691] with these projects seen on their own terms—but to utter this is ironically to reiterate the tension between history or politics and aesthetic modernism articulated in the essays.The question at hand is hence two-fold. First of all, what is ideologically at stake in a historiographical construction that identifies Central European modernist aesthetic innovation as an escape from history and politics? Schorske’s interdisciplinary project of contextualization (his significant subtitle “Politics and Culture” has become an unshakable legacy for cultural history) is peculiar insofar as his diagnosis is that culture became increasingly isolated from political life. I have chosen to focus on the rhetorical opposition of “center” and “margin” in this essay because of Schorske’s implicit claim that the very class which was central to nineteenth-century Austrian liberalism—the German-speaking bourgeoisie—was “marginalized” by the rise of hostile anti-liberal ideologies (the “culture-makers” were “alienated along with their class in its extrusion from political power”). 3 As I hope to show, this geometry of center and margins was at the heart of the most innovative and potentially explosive play within so-called aestheticist texts around 1900. This brings us to the second half of this two-fold question: how might the “aesthetic moment” of the Central European fin de siècle be seen if we wish to go beyond Schorske’s diagnosis of a forced retreat into the temple of art, the fortress of the psyche, or the aesthetic garden? To get at both sides of this question—the ideological valence of the aesthetic moment and of its histories—I will focus on literary products, in particular on essays, for several reasons. One of these is that Schorske’s synthetic work is, after all, itself a collection of essays published over two decades.The privileging of the essay genre in coming to terms with the problem of turn-of-the-century aestheticism was established long before Schorske’s work. If we can find early examples of this generic strategy in fin-de-siècle authors such as Musil and Broch, the paradigmatic instance—and the place where the function of the essay-critique within aestheticist criticism is worked through—is the collection of Georg Lukács, Soul and Forms. 4 Several positions are taken in that work which may be useful to an understanding of Schorske’s essay project: Lukács asserts the essay’s fragmentary nature at... (shrink)