Artwork and literature in the course of the ecu fin-de-siècle interval usually manifested topics of degeneration and rot, either one of our bodies and civilizations, in addition to ailment, extraordinary sexuality, and normal morbidity. This assortment explores those issues relating to artists and writers as varied as Oscar Wilde, August Strindberg, and Aubrey Beardsley.
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Extra info for Decadence, Degeneration, and the End: Studies in the European Fin de Siècle
Who, operating as a gravedigger, usually took domestic corpses and physique components for sexual gratification. in a single case, he introduced domestic the pinnacle of a 13-yearold lady, which he usually kissed. whereas conversing of this pathology, Stekel feedback offhandedly in an endnote, “One thinks involuntarily of Oscar Wilde’s Salomé, who additionally kisses the prophet’s head. ”46 The leaps of organization that Stekel makes listed here are nearly extra inconceivable than his past account of Salome. whereas the circumstances percentage a few analogy, it's tough to take care of gravedigger utilizing the decapitated head of a 13-year-old for non-stop sexual gratification is the same to Wilde’s decadent drama; the previous being a grotesque truth and the latter a completely fictionalized account of a biblical tale. C Stekel’s conflation of fiction and fact speaks to the shut and complex interrelationship between sexology, racial technological know-how, and decadent literature. to make sure, Salome was once one of the demonic ladies, and those sexological texts are affected by related examples of merciless Cleopatras, treacherous Delilahs, and murderous Judiths. Wilde’s specific model of Salome was once possibly preeminent between those, and hence varieties a good instance of the afterlife of decadent literature and artwork in pseudoscientific racial and sexological theories. in reality, she is going to proceed to seem in works within the thirties and forties, notwithstanding no longer approximately with an analogous frequency. curiously, her appearances after the 1st global struggle are restricted to sexological works, whereas her functionality for racial theories was once restricted to the flip of the century. This divergence shouldn't be 178 JOHANNES HENDRIKUS BURGERS totally unsurprising. As Gilman issues out, anti-Semitic discourse considerably shifted after the 1st international warfare, and to nationwide Socialist racial theorists like Hans Günther, ladies like Salome didn't look really “Jewish,” simply because her female characteristics predominated over the Jewish ones. forty seven this isn't to assert that the Nazis didn't site visitors in lots of of an identical stereotypes approximately Jewish ladies as their latenineteenth-century forebears. to make sure, the Nazi regime actively solid Jewish ladies as competitive and lascivious in legal complaints relating to crimes of racial blending. forty eight really, the types of Jewishness and femininity had bifurcated into separate different types. Salomania, for this reason, represented a special second in heritage that observed the intersection of an rising sexology and race idea coalesce with decadent artwork. For a quick, yet targeted second, there has been a fluid trade of rules circulating among those varied discourses. Uncovering this alternate, and the interdependent histories that body those works, unearths the usually risky and capricious epistemological foundations of the early social and mental sciences. The porous partitions among those discourses made it demanding to split technological know-how from artwork and truth from fiction. N 1. C. Bernheimer (2002) Decadent matters: the assumption of Decadence in paintings, Literature, Philosophy, and tradition of the Fin-de-Siècle in Europe (Baltimore: Johns Hopkins collage Press), p.