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During his sojourn in England during the 1870s, a young Cavafy found himself enthralled by the aesthetic movement of cosmopolitan London. It was during these years that he encountered the canvases and personalities of Pre-Raphaelite painters, including Burne-Jones and Whistler, as well as works of aesthetic writers who were effecting a revolution in British literary culture and channeling influences from France that would gradually coalesce into an international decadent movement. In Reframing Decadence, Peter Jeffreys returns us to this critical period of Cavafy’s life, showing the poet’s creative indebtedness to British and French avant-garde aesthetes whose collective impact on his poetry proved to be profound. In the process, Jeffreys offers a critical reappraisal of Cavafy’s relation to Victorian aestheticism and French literary decadence. Foremost among the tropes of decadence that captivated Cavafy were the decline of imperial Rome, the rise of Christianity, and the lingering twilight of Byzantium. The influence of Walter Pater on Cavafy’s view of classical and late-antique history was immense, inflected as it was with an unapologetic homoerotic aesthetic that Cavafy would adopt as his own, making Pater’s imaginary portraits an important touchstone for his own historicizing poetry. Cavafy would move beyond Pater to explore a more openly homoerotic sensuality but he never quite abandoned this rich Victorian legacy, one that contributed greatly to his emergence as a global poet. Jeffreys concludes by considering Cavafy’s current popularity as a gay poet and his curious relation to kitsch as manifest in his ongoing popularity via translation and visual media.
Modernist Idealism develops a framework for understanding modernist production as the artistic realization of philosophical concepts elaborated in German idealism.
This collection of essays explores the hotel as a site of modernity, a space of mobility and transience that shaped the transnational and transcultural modernist activity of the first half of the twentieth century. As a trope for social and cultural mobility, transitory and precarious modes of living, and experiences of personal and political transformation, the hotel space in modernist writing complicates binaries such as public and private, risk and rootedness, and convention and experimentation. It is also a prime location for modernist production and the cross-fertilization of heterogeneous, inter- and trans- literary, cultural, national, and affective modes. The study of the hotel in the work of authors such as E. M. Forster, Katherine Mansfield, Kay Boyle, and Joseph Roth reveals the ways in which the hotel nuances the notions of mobilities, networks, and communities in terms of gender, nation, and class. Whereas Mary Butts, Djuna Barnes, Anaïs Nin, and Denton Welch negotiate affective and bodily states which arise from the alienation experienced at liminal hotel spaces and which lead to new poetics of space, Vicki Baum, Georg Lukács, James Joyce, and Elizabeth Bishop explore the socio-political and cultural conflicts which are manifested in and by the hotel. This volume invites us to think of “hotel modernisms” as situated in or enabled by this dynamic space. Including chapters which traverse the boundaries of nation and class, it regards the hotel as the transcultural space of modernity par excellence.
This is the first biography to tell the fascinating story of Eva Palmer Sikelianos (1874-1952), an American actor, director, composer, and weaver best known for reviving the Delphic Festivals. Yet, as Artemis Leontis reveals, Palmer's most spectacular performance was her daily revival of ancient Greek life. For almost half a century, dressed in handmade Greek tunics and sandals, she sought to make modern life freer and more beautiful through a creative engagement with the ancients. Along the way, she crossed paths with other seminal modern artists such as Natalie Clifford Barney, Renée Vivien, Isadora Duncan, Susan Glaspell, George Cram Cook, Richard Strauss, Dimitri Mitropoulos, Nikos Kazantzakis, George Seferis, Henry Miller, Paul Robeson, and Ted Shawn. 0Brilliant and gorgeous, with floor-length auburn hair, Palmer was a wealthy New York debutante who studied Greek at Bryn Mawr College before turning her back on conventional society to live a lesbian life in Paris. She later followed Raymond Duncan (brother of Isadora) and his wife to Greece and married the Greek poet Angelos Sikelianos in 1907. With single-minded purpose, Palmer re-created ancient art forms, staging Greek tragedy with her own choreography, costumes, and even music. Having exhausted her inheritance, she returned to the United States in 1933, was blacklisted for criticizing American imperialism during the Cold War, and was barred from returning to Greece until just before her death. 0Drawing on hundreds of newly discovered letters and featuring many previously unpublished photographs, this biography vividly re-creates the unforgettable story of a remarkable nonconformist whom one contemporary described as "the only ancient Greek I ever knew."
This two-volume co-authored study explores the history of the concept ‘barbarism’ from the 18th century to the present and illuminates its foundational role in modern European and Western identity. It constitutes an original comparative, interdisciplinary exploration of the concept’s modern European and Western history, with emphasis on the role of literature in the concept’s shifting functions. The study contributes to a historically grounded understanding of this figure’s past and contemporary uses. It combines overviews with detailed analyses of representative works of literature, art, film, philosophy, political and cultural theory, in which “barbarism” figures prominently. Diese auf 2 Bände konzipierte komparatistische und interdisziplinäre Studie in englischer Sprache geht der Geschichte des Barbarenbegriffs vom 18. Jahrhundert bis zur Gegenwart nach. Seit der griechischen Antike spielen Bild und Begriff des Barbarischen eine eminente Rolle für das abendländische Selbstverständnis. Die Studie verbindet Epochenüberblicke mit der Analyse herausragender literarischer, philosophischer, politik- und kulturtheoretischer, aber auch bildkünstlerischer und kinematographischer Werke und legt einen besonderen Akzent auf den Beitrag ästhetischer Verfahren zur Aufdeckung der Herkunft und der Implikationen des Barbarenbegriffs.
This book reinterprets C. P. Cavafy’s historical and archaeological poetics by correlating his work to major cultural, political and sexualized receptions of antiquity that marked the turn of the 20th century. Focusing on selected poems which stage readings of Hellenistic and late ancient texts and material objects, this study probes the poet's personal library and archive to trace his scholarly sources and scrutinize their contribution to his creative practice. A new understanding of Cavafy's historicism emerges by comparing his poetics to a broad array of discourses and intellectual pursuits of his time; these range from antiquarianism, physiognomy and Egyptomania to cultural appropriations of the classics which sought to legitimate British colonial rule as well as homoerotic desire. As this volume demonstrates, Cavafy embraced antiquarianism as an empathetic and passionate way of relating to the past and shaped it into a method that allowed his poetry to render modern meanings to Hellenistic antiquities.
The Cambridge Critical Guide to Latin Literature offers a critical overview of work on Latin literature. Where are we? How did we get here? Where to next? Fifteen commissioned chapters, along with an extensive introduction and Mary Beard's postscript, approach these questions from a range of angles. They aim not to codify the field, but to give snapshots of the discipline from different perspectives, and to offer provocations for future development. The Critical Guide aims to stimulate reflection on how we engage with Latin literature. Texts, tools and territories are the three areas of focus. The Guide situates the study of classical Latin literature within its global context from late antiquity to Neo-Latin, moving away from an exclusive focus on the pre-200 CE corpus. It recalibrates links with adjoining disciplines (history, philosophy, material culture, linguistics, political thought, Greek), and takes a fresh look at key tools (editing, reception, intertextuality, theory).
Following a spectacular surge in interest for Egyptian masters, Modern Art in Egypt fills the void in Egyptian art history, chronicling the lives and legacies of six pioneering artists working under the British occupation. Using Western-style academic art as a starting point, these artists championed cultural progress, re-appropriating Egyptian visual culture from European orientalists to found a neo-Pharaonic School of Realism. Modern Art in Egypt charts the years from Muhammad Ali's educational reforms to the mass influx of foreigners during the nineteenth-century. With a focus on the al-Nahda thought movement, this book provides an overview of the key policy-makers, reformists and feminists who founded the first School of Fine Arts in Egypt, as well as cultural salons, museums and arts collectives. By combining political and aesthetic histories, Fatenn Mostafa breaks the prevailing understanding that has preferred to see non-Western art as derivatives of Western art movements. Modern Art in Egypt re-establishes Egypt's presence within the global Modernist canon.
A collection of stories and novels from fin-de-si cle France that celebrate decline, decay, and deviance.In France at the end of the nineteenth century, progress and material prosperity coincided with widespread alarm about disease and decay. The obsessions of our own culture as the twentieth century came to a close resonate strikingly with those of the last fin-de-si cle: crime, pollution, sexually transmitted diseases, gender confusion, moral depravity, alcoholism, and tobacco and drug use were topics of popular discussion then as now.The Decadent Reader is a collection of novels and stories from fin-de-si cle France that celebrate decline, aestheticize decay, and take pleasure in perversity. By embracing the marginal, the unhealthy, and the deviant, the decadent writers attacked bourgeois life, which they perceived to be the chief enemy of art. Barbey d'Aurevilly, Joris-Karl Huysmans, Jean Lorrain, Guy de Maupassant, Villiers de l'Isle-Adam, Catulle Mend s, Rachilde, Jean Mor as, Octave Mirbeau, Jos phin P ladan, and Remy de Gourmont looted the riches of their culture for their own purposes. In an age of medicine, they borrowed its occult mysteries rather than its positivism. From its social Darwinism, they found their monsters: sadists, murderers, transvestites, fetishists, prostitutes, nymphomaniacs, and hysterics. And they reveled in them, completely upending the conventions of romance and sentimentality. The Decadent Reader, which includes critical essays on all of the authors, many novels and stories that have never before appeared in English, and familiar works set in a new context, offers a compelling portrait of fin-de-si cle France.