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)

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)

" 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)

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)

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)

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)

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)

A la fin du XIXe siècle, l'image de la femme criminelle est devenue une obsession nationale en France. Partout on vendait des pamphlets et des gravures relatant ces crimes en détail. Même les journaux en parlaient à loisir. Tout en analysant la criminalité féminine de fin-de-siècle à Paris, Ann-Louise Shapiro raconte des histoires remplies de détails fascinants sur la vie quotidienne, le système judiciaire et la place des femmes dans la société. L'auteur explore plusieurs perspectives ..

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)

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.

This essay uses the case of the fin-de-siècle Vienna embryologist Samuel Leopold Schenk to analyze the factors at play in allegations of misconduct. In 1898, Schenk published a book titled Theorie Schenk. Einfluss auf das Geschlechtsverhältnis (Schenk’s theory. Influence on the sex ratio). The book argued that, by changing their diet, women trying to conceive could influence egg maturation and consequently select the sex of their offspring. This cross between a scientific monograph and a popular advice book received enormous (...) publicity but also spurred first the Vienna Medical Association and then the Senate of the University of Vienna to accuse Schenk of poor science, self-advertisement, quack medical practice, and wrong publisher choice. Formal proceedings against Schenk ended in 1900 with the unusually harsh punishment of early retirement. Schenk died two years later. I examine the elements of the case, from the science of sex determination and selection, to the growth of print media and advertising within the changing demographic and political landscape of Vienna. I argue that the influence of the public, via the growing media, upon science was the main driver of the case against Schenk, but also that the case would have had a more limited impact were it not for the volatile political moment rife with anti-Semitism, nationalism, and xenophobia. I draw the attention to the importance of setting cases of misconduct in the broader political history and against the key social concerns of the moment. (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)

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)

As the foundational contributions of the fin de si encounters with sexual science dialectically produced an anti-essentialist variant of feminism. This microscopic interpretation of historical context, it will be argued, provides a new vista from which to view the larger tableau of modern European, especially Austrian, intellectual history.

The art historian Alessandro Giovanardi has recently published a monograph on one of the important representatives of the Russian religious-philosophical renaissance of the beginning of 20th century – Vladimir Nikolayevich Zabugin. This volume, written in Italian, aims to provide a comprehensive overview of Zabugin's intellectual biography, philosophical and aesthetic ideas and opens up a completely unknown corpus of the author’s works as well as the history of the reception of his heritage. The monograph underlines the contribution of Vladimir Zabugin in (...) Italian and European humanitarian culture and defines his heritage as a rare synthesis of the finest erudition and Christian spirituality. (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)

With a view to discussing an important three-faceted example of marginality in literature whereby terror, the literary Fantastic and the fin de siècle period are understood as interconnected marginalia, this paper examines works such as Guy de Maupassant’s “Le Horla” and H. Rider Haggard’s She from an alternative critical perspective to that dominating current literary discourse. It demonstrates that in spite of the dominant associations of fantastic literature with horror, terror, as the marginal and marginalized fear of the unknown, (...) with its uncanny, sublime and suspenseful qualities, holds a definitive presence in fin de siècle fantastic texts. Literary analysis of the chosen texts registers significant examples of the importance of terror to fantastic writing, and as such functions to extract an “aesthetics of sublime terror” from the margins of critical studies of this often macabre literary mode. (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...

The popularity of films like Titanic betokens a massive shift in the nature of aesthetic spectatorship in our time. The contemplative, distanced viewer who is able to judge from afar the spectacle before him or her, has been replaced by a more proximate, involved "kinaesthetic" subject whose body is stimulated as much as his or her eye. This is evident not only in mass culture with amusement thrill rides and the return of what has been called the "cinema of attractions"; (...) this new spectator can also be discerned in avant-garde culture, as shown by the Sensation exhibition of Young British Artists which caused such a stir in London and New York. This spectator is especially attracted to simulacral scenes of destruction and catastrophe, in which he or she is virtually immersed. If aesthetic judgement is to be a model for its political counterpart, as has been argued by theorists like Lyotard and Arendt, it cannot do so on the basis of this aesthetics of violent immersion. (shrink)

Resumen El artículo revisa los discursos de viaje dentro de dos relatos escritos por mujeres durante el período imperialista del fin de siècle, quienes viajaron por espacios marginales a la modernidad. La primera autora es Florence Dixie, noble inglesa que escribe su relato de viaje a la Patagonia durante 1879, mientras que Iris, mujer igualmente aristócrata y chilena, escribe su periplo realizado por el lago Ranco en 1910. Independiente de la nacionalidad de origen de estas mujeres y sus diferencias (...) personales, en tanto el rol jugado por ellas en el grupo de expedición, ambas escritoras viajeras son depositarias de una mirada imperial, que se vuelca en la manera que se internan narrativamente por los espacios explorados.The article reviews the journey discourses in two narratives written by two women during the imperialist period of the fin de siècle, who traveled through marginal spaces to modernity. The first author is Florence Dixie, an English noblewoman who writes her travelogue to Patagonia during 1879, while Iris, an equally aristocratic, and Chilean woman, writes her journey made through Ranco lake in 1910. Independent of nationality of origin of these women and their personal differences, as long as the role played by them in the expedition group, both traveling writers are repositories of an imperial gaze, that shows in the way they go into theirs narrative through the spaces explored. (shrink)

In 1889, TheBritish Medical Journalpublished a piece titled, “Detective Medicine,” which describes feats of medical detection performed by physicians attending malingering prisoners. Though simulating illness had a long history, the medicalization of malingering at thefin de siècleled to a proliferation of such case histories and cheerful records of pathological feigners thwarted.

Volume 51, Issue 10, September 2019, Page 981-990.