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994:. The first, which means delusions of grandeur, begins with a disproportionate sense of importance in one's own activities and results in a sense of alienation, as Nordau describes in Baudelaire, as well as the second characteristic of madness of doubt, which involves intense indecision and extreme preoccupation with minute detail. The difference between degenerate genius and degenerate madman become the extensive knowledge held by the genius in a few areas paired with a belief in one's own superiority as a result. Together, these psychological traits lend to originality, eccentricity, and a sense of alienation, all symptoms of
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upheaval ... The original French expression, meaning simply 'end of century', became a catch all phrase to describe everything from the architectural and artistic styles ... to the wider, often impassioned debates about the past, the present and the future on the eve of a new century. ... Much fin-de-siècle writing ... tended to assume that the passing of the nineteenth century would represent a fundamental historical discontinuity, a clear break with the past.
1052:? Those seem to be the only two fashionable religions left to us nowadays." Wilde's reflection on personal philosophy as more culturally significant than religion lends credence to degeneration theory, as applied to Baudelaire's influence on other nations. However, the optimistic Romanticism popular earlier in the century would also have affected the shifting ideological landscape. The newly fashionable pessimism appears again in Wilde's
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982:, but relied on traits exhibited to suggest how the mind works, as does symbolism. The concept of genius returned to popular consciousness around this period through Max Nordau's work with degeneration, prompting study of artists supposedly affected by social degeneration and what separates imbecility from genius. The genius and the imbecile were determined to have largely similar character traits, including
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1091:'s work demonstrates some of the pessimism expected of the time, and his work with modernity exemplified the decadence and decay with which turn-of-the-century French art is associated, while his work with symbolism promoted the mysticism Nordau associated with fin de siècle artists. Baudelaire's pioneering translations of Edgar Allan Poe's verse supports the
1157:(1897) all explore themes of change, development, evolution, mutation, corruption and decay in relation to the human body and mind. These literary conventions were a direct reflection of many evolutionary, scientific, social and medical theories and advancements that emerged toward the end of the 19th century.
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held that the two dominant traits of those degenerated in a society involve ego mania and mysticism. The former term was understood to mean a pathological degree of self-absorption and unreasonable attention to one's own sentiments and activities, as can be seen in the extremely descriptive nature of
1230:, a term similar to that of "egomania", meaning disproportionate attention placed on one's own endeavours. This can result in a type of alienation and anguish, as in Baudelaire's case, and demonstrates how aesthetic artists chose cityscapes over country as a result of their aversion to the natural.
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This belief in beauty in the abject leads to the obsession with artifice and symbolism, as artists rejected ineffable ideas of beauty in favour of the abstract. Through symbolism, aesthetes could evoke sentiments and ideas in their audience without relying on an infallible general understanding of
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works. Nordau's treatment of these traits as degenerative qualities lends to the perception of a world falling into decay through fin de siècle corruptions of thought, and influencing the pessimism growing in Europe's philosophical consciousness. As fin de siècle citizens, attitudes tended toward
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was a theory that held that although societies can progress, they can also remain static or even regress if influenced by a flawed environment, such as national conditions or outside cultural influences. This degeneration was described as being passed from generation to generation, resulting in
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Changes which are actually taking place at these junctures tend to acquire extra (sometimes mystical) layers of meaning. This was certainly the case in the 1890s, a decade of "semiotic arousal" when everything, it seemed, was a sign, a harbinger of some future radical disjuncture or cataclysmic
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The "new world of the twentieth century would need to be understood in its entirety, as an integrated global whole". Technology and global communication made the world "smaller" and turned it into a single system; the time was characterized by pan-ideas and a utopian "one-worldism," proceeding
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is commonly applied to French art and artists, as the traits of the culture first appeared there, but the movement affected many
European countries. The term becomes applicable to the sentiments and traits associated with the culture, as opposed to focusing solely on the movement's initial
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role of translation in fin de siècle culture, while his own works influenced French and
English artists through the use of modernity and symbolism. Baudelaire, Rimbaud, and their contemporaries became known as French decadents, a group that influenced its English counterpart, the
1034:'s work from before 1860 and gradually influencing artists internationally. R. H. Goodale identified 235 essays by British and American authors concerning pessimism, ranging from 1871 to 1900, showing the prominence of pessimism in conjunction with English ideology. Further,
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Lane is philosophically current as of 1895, reining in his master's optimism about the weather by reminding
Algernon of how the world typically operates. His pessimism gives satisfaction to Algernon; the perfect servant of a gentleman is one who is philosophically aware.
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In the
Victorian fin de siècle, the themes of degeneration and anxiety are expressed not only through the physical landscape which provided a backdrop for Gothic Literature, but also through the human body itself. Works such as Robert Louis Stevenson's
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like Oscar Wilde. Both groups believed the purpose of art was to evoke an emotional response and demonstrate the beauty inherent in the unnatural as opposed to trying to teach its audience an infallible sense of morality.
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encouraged audiences to view physical traits as indicative of one's inner self, whereas the fin de siècle artists accepted beauty as the basis of life, and so valued that which was not conventionally beautiful.
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and also makes reference to the closing of one era and onset of another. Without context, the term is typically used to refer to the end of the 19th century. This period was widely thought to be a period of
759:, but at the same time a period of hope for a new beginning. The "spirit" of fin de siècle often refers to the cultural hallmarks that were recognized as prominent in the 1880s and 1890s, including
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1000:(the evil of the century) that impacted French youth at the beginning of the 19th century until expanding outward and eventually influencing the rest of Europe approaching the turn of the century.
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Finally, curiosity is identifiable through diabolism and the exploration of the evil or immoral, focusing on the morbid and macabre, but without imposing any moral lessons on the audience.
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describes the characteristics of
English decadence, which are: perversity, artificiality, egoism, and curiosity. The first trait is the concern for the perverse, unclean, and unnatural.
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The idea that this project required a new name in 1899 reflected a widespread belief that the changes taking place in the global economic and political system were seismically important.
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minute details; the latter referred to the impaired ability to translate primary perceptions into fully developed ideas, largely noted in
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recognition in France. The ideas and concerns developed by fin de siècle artists provided the impetus for movements such as
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897:(2000) finds in the Christian world what he calls "the syndrome of fin de siècle". In 2000, this took the form of the
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term meaning 'end of century', a phrase which typically encompasses both the meaning of the similar
English idiom
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What we now think of geopolitics had its origins in fin de siècle Europe in response to technological change
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Maxwell, Catherine. "Theodore Watts-Dunton's 'Aylwin (1898)' and the
Reduplications of Romanticism".
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science in an attempt to decipher the world in which they lived. The focus on psycho-physiology, now
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Antropologi alla corte della bellezza. Decadenza ed economia simbolica nell'Europa fin de siècle
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The Coming Fin de Siecle: An
Application of Durkheim's Sociology to modernity and postmodernism
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Quintus, John Allen. "The Moral
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Michael Heffernan. "The Politics of the Map in the Early Twentieth Century".
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1635:'Lane, You're a Perfect Pessimist': Pessimism and the English 'Fin de siècle
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Symbolism, Decadence and the Fin de Siècle: French and European Perspectives
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Hambrook, Glyn. "Baudelaire, Degeneration Theory, and Literary Criticism".
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The major political theme of the era was that of revolt against
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Has-Ellison, J.Trygve. "Nobles, Modernism, and the Culture of
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Degeneration, Normativity and the Gothic at the Fin de Siècle
1438:(Massachusetts & London: Harvard University Press, 1983).
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International Fascism: Theories, Causes and the New Consensus
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Geopolitical Traditions: A Century of Geopolitical Thought
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Thain, Marion. "Modernist 'Homage' to the 'Fin de siècle
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Fin de Siecle: Art and Society in an Age of Uncertainty
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imbecility and senility due to hereditary influence.
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Sternhell, Zeev. "Crisis of Fin-de-siècle Thought".
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1783:. New York: The Metropolitan Museum of Art. 1982.
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1066:: I hope tomorrow will be a fine day, Lane.
1030:sweeping Europe, starting with philosopher
1081:: I do my best to give satisfaction, sir.
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1323:. Oxford; New York: Routledge (1992 : 2).
1113:The Strange Case of Dr Jekyll and Mr Hyde
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861:. The fin de siècle generation supported
1690:Texas Studies in Literature and Language
1425:. Oxford: Routledge (1995, 2005): 23–24.
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375:Strange Case of Dr Jekyll and Mr Hyde
1436:Culture of Time and Space, 1880–1918
1486:In Defense of Classical Geopolitics
1353:. Exeter University Press, 2000: 9.
1182:The works of the Decadents and the
1076:: Lane, you're a perfect pessimist.
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1666:The Yearbook of English Studies
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1055:The Importance of Being Earnest
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894:"Fin de Siècle, Fin du Monde?"
32:Fin de siècle (disambiguation)
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1308:. New York: Longman, 2007. 3.
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1774:. New York: Doubleday, 1990.
1475:, 29/3, (2002): p. 207.
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928:, German philosopher, whose
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188:Second Industrial Revolution
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1528:. 101.4 (2006): 1005–1024.
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368:She: A History of Adventure
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1526:The Modern Language Review
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1058:, written that same year:
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333:The Picture of Dorian Gray
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1826:Fin de siècle
1824:
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1806:Fin de Siècle
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1792:
1786:
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1722:on 2023-05-02
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952:B. A. Morel's
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867:irrationalism
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521:Cosmic horror
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488:Georges Sorel
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448:Sigmund Freud
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225:Will to power
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146:Irrationalism
144:
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131:Expressionism
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44:
43:
42:Fin de siècle
39:
38:
33:
19:
18:Fin-de-siècle
1805:
1779:
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1751:
1746:
1735:
1724:. Retrieved
1720:the original
1715:
1705:
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1371:
1363:
1358:
1350:
1345:
1337:
1328:
1320:
1313:
1305:
1300:
1276:Gay Nineties
1260:Belle Époque
1258:
1232:
1225:
1221:
1216:Edvard Munch
1202:
1187:
1181:
1169:
1152:
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1111:
1108:
1085:
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1073:
1068:
1063:
1062:
1053:
1039:
1022:
965:Degeneration
963:
950:
945:
910:
890:
871:subjectivism
863:emotionalism
840:
832:
827:
823:
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589:
473:Edvard Munch
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277:Degeneration
275:
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230:Yellow Peril
212:
203:Spiritualism
172:Race suicide
66:Aestheticism
41:
40:
1460:Klaus Dodds
1223:the world.
1207:(1893), an
1192:Romanticism
1148:(1897) and
1140:Bram Stoker
1130:H. G. Wells
1036:Oscar Wilde
1018:Oscar Wilde
980:Romanticism
847:rationalism
843:materialism
806:geopolitics
647:W. B. Yeats
632:Syndicalism
573:Jack London
493:Oscar Wilde
161:Orientalism
151:Medievalism
91:Bohemianism
86:Avant-garde
76:Art Nouveau
1820:Categories
1726:2016-12-10
1292:References
1204:The Scream
1154:The Beetle
976:psychology
960:Max Nordau
946:The Caress
930:philosophy
885:See also:
851:positivism
812:Lebensraum
718:Le Pèlerin
627:Surrealism
622:Ezra Pound
568:H.G. Wells
557:Ecofascism
483:Max Nordau
361:The Scream
214:Übermensch
1379:Munich".
1184:Aesthetes
1098:aesthetes
1093:aesthetic
1050:pessimist
1028:pessimism
1014:Aesthetic
1004:Pessimism
971:symbolist
791:modernism
787:symbolism
778:The term
773:decadence
769:pessimism
256:À rebours
208:Symbolism
178:Racialism
111:Dysgenics
101:Decadence
1698:40754628
1674:20479276
1649:20479277
1611:20494209
1585:20479275
1534:20467025
1498:44643038
1271:Futurism
1237:See also
1212:painting
1138:(1895),
1128:(1894),
1074:Algernon
1064:Algernon
1046:optimist
875:vitalism
765:cynicism
563:Futurism
121:Eugenics
1145:Dracula
1024:England
1016:writer
802:fascism
744:) is a
729:French:
553:Fascism
548:Fantasy
284:Dracula
81:Atheism
1787:
1696:
1672:
1647:
1609:
1583:
1564:427899
1562:
1532:
1496:
1228:egoism
1012:Irish
873:, and
857:, and
835:
746:French
720:(1900)
642:(1951)
600:Nazism
595:(1896)
583:poetry
412:People
354:Salomé
60:Themes
1694:JSTOR
1670:JSTOR
1645:JSTOR
1607:JSTOR
1581:JSTOR
1560:JSTOR
1530:JSTOR
1494:JSTOR
1458:(eds.
1048:or a
761:ennui
242:Works
1785:ISBN
1079:Lane
1069:Lane
988:and
789:and
605:Punk
538:Dada
1809:at
1664:".
1639:".
1488:,"
1385:doi
1214:by
1142:'s
962:'s
944:'s
775:".
1822::
1770:.
1714:.
1681:^
1618:^
1592:^
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1454:.
1443:^
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1396:^
1336:.
1132:'
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1500:.
1391:.
1387::
727:(
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555:(
174:"
170:"
34:.
20:)
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