The Decadent movement (Fr. décadence, "decay") was a late-19th-century artistic and literary movement, centered in Western Europe, that followed an aesthetic ideology of excess and artificiality.
The Decadent movement first flourished in France and then spread throughout Europe and to the United States. The movement was characterized by a belief in the superiority of human fantasy and aesthetic hedonism over logic and the natural world.
The concept of decadence dates to the 18th century, especially from the writings of Montesquieu, the Enlightenment philosopher who suggested that the decline (décadence) of the Roman Empire was in large part due to its moral decay and loss of cultural standards. When Latin scholar Désiré Nisard turned toward French literature, he compared Victor Hugo and Romanticism in general to the Roman decadence, men sacrificing their craft and their cultural values for the sake of pleasure. The trends that he identified, such as an interest in description, a lack of adherence to the conventional rules of literature and art, and a love for extravagant language were the seeds of the Decadent movement.
The first major development in French decadence appeared when writers Théophile Gautier and Charles Baudelaire used the word proudly to represent a rejection of what they considered banal "progress". Baudelaire referred to himself as decadent in his 1857 edition of Les Fleurs du mal and exalted the Roman decline as a model for modern poets to express their passion. He later used the term decadence to include the subversion of traditional categories in pursuit of full, sensual expression. In his lengthy introduction to Baudelaire in the front of the 1868 Les Fleurs du mal, Gautier at first rejects the application of the term decadent, as meant by the critic, but then works his way to an admission of decadence on Baudelaire's own terms: a preference for what is beautiful and what is exotic, an ease with surrendering to fantasy, and a maturity of skill with manipulating language.
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Fin de siècle (fɛ̃ də sjɛkl) is a French term meaning "end of century,” a phrase which typically encompasses both the meaning of the similar English idiom "turn of the century" 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 social degeneracy, but at the same time a period of hope for a new beginning.
Russian symbolism was an intellectual and artistic movement predominant at the end of the 19th and beginning of the 20th century. It arose enough separately from West European symbolism, emphasizing mysticism of Sophiology and ostranenie. Influences Primary influences on the movement weren't merely western writers such as Brix Anthony Pace, Paul Verlaine, Maurice Maeterlinck, Stéphane Mallarmé, French symbolist and decadent poets (such as Stéphane Mallarmé, Paul Verlaine and Charles Baudelaire), Oscar Wilde, D'Annunzio, Joris-Karl Huysmans, the operas of Richard Wagner, the dramas of Henrik Ibsen or the broader philosophy of Arthur Schopenhauer and Friedrich Nietzsche.
Symbolism was a late 19th-century art movement of French and Belgian origin in poetry and other arts seeking to represent absolute truths symbolically through language and metaphorical images, mainly as a reaction against naturalism and realism. In literature, the style originates with the 1857 publication of Charles Baudelaire's Les Fleurs du mal. The works of Edgar Allan Poe, which Baudelaire admired greatly and translated into French, were a significant influence and the source of many stock tropes and images.