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Neil Cornwell

slightly lesser extent, as well as Hodgson), but he also makes fleeting appearances elsewhere, under music and seer. He might also be a ‘seer’ in other senses as well; commonly regarded as a ‘prophet’, he was acclaimed, in a famous study of 1902 by the decadent writer D.S. Merezhkovsky, as ‘the “seer” of a transcendental spiritual world, whose works were prophetic and revelatory in that they penetrated “the illusoriness of the real” ‘. 4 The French decadent, J.-K. Huysmans (or at least his protagonist Durtal), in 1891, for that matter, looking for ‘the Spiritual

in Odoevsky’s four pathways into modern fiction
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Angela Carter and European Gothic
Rebecca Munford

femme fatale and her innocent victims’ ( 1986 : 22). This Gothic imagining of femininity anticipates the vilification of nature and idealisation of artificiality in the decadent Gothic of the fin de siècle – in, for example, J.-K. Huysmans’s À rebours (Against Nature) ( 1884 ) – as well as the sadistic violence and Gothic symbolism of Villiers de L’Isle-Adam’s, Contes Cruels ( Cruel Tales

in Decadent Daughters and Monstrous Mothers
Conflicting signifiers of vice in The Picture of Dorian Gray and The Mystery of Edwin Drood
Diane Mason

. Hallward tells him that ‘Something has changed you completely’, and these are changes he notably blames on ‘[Wotton’s] influence’ (p. 88). Among Wotton’s bad influences is his presentation to Gray of a ‘yellow book’ (p. 100) with which the latter becomes ‘fascinated’ (p. 101). The book, deemed by some critics to be J.K. Huysmans’ novel À Rebours (1884), translated as Against Nature , ‘features the intriguing figure of Des Esseintes, whose experiments in hedonistic excess made him into the ultimate icon of fin-de-siècle Decadence’ (p. 182, n. 72). Gray strongly

in The secret vice
Towards the absurd
Neil Cornwell

century 50 51 52 53 54 55 56 57 58 59 97 indeed, ‘the aspiring surrealist writer had only to follow where Lautréamont had dared to pass’ (ibid., 149). According to the existential thinker Roger Gilbert-Lecomte, a ‘new morality of perpetual negation emerges after the “death of art” heralded by Rimbaud’ (Fotiade, 192). J.-K. Huysmans, in his À Rebours (1884; translated as Against Nature) displays the mal du siècle absurdity and decadence of the archetypal dandy, accompanied by a regime of ascetic ennui. Breton’s idea of black humour may have been inspired by

in The absurd in literature
Neil Cornwell

as ‘the least “Irish” of [O’Brien’s] books’. 42 For ‘scientific’ readings of this novel see Charles Kemnitz, ‘Beyond the Zone of Middle Dimensions: A Relativistic Reading of The Third Policeman’, Irish University Review, 15:1 (1985), 56–72; and Mary A. O’Toole, ‘The Theory of Serialism in The Third Policeman’, Irish University Review, 18:2 (1988), 215–25. 43 Clissmann (352, n. 5) links de Selby with Des Esseintes, the protagonist of À Rebours (1884) by J.-K. Huysmans (see also Hopper, 96–7; 127–8). De Selby’s ‘ideology’ is compared with the ideas of J.W. Dunne

in The absurd in literature
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Effie Rentzou

, 1992 ). Healey , Kimberley , ‘ French literary modernism ’, in Ástráður Eysteinsson and Vivian Liska (eds) , Modernism , vol. 1 ( Amsterdam : John Benjamins , 2007 ), pp. 801–17 . Huysmans , Joris-Karl , ‘ Le Salon de 1897 ’, in J.-K. Huysmans , L’Art moderne ( Paris : P.-V. Stock , 1903 ), pp. 9–95 . Joyeux-Prunel , Béatrice , Les Avant-gardes artistiques: une histoire transnationale, 1918–1945 ( Paris : Gallimard , 2017 ). Latham , Sean , and Gayle Rogers , Modernism: Evolution of an Idea ( London : Bloomsbury Academic

in 1913: The year of French modernism
Rebecca Munford

. Representing the limits of evil, Gilles de Rais was a source of fascination in decadent art and literature (see Birkett, 1986 : 86–8) and famously provides the focus of J.-K. Huysmans’s Là-bas (The Damned), published in 1891, a copy of which from ‘some over-exquisite private press’ is displayed in the Marquis’s library (‘BC’ 16). 9 ‘The Bloody Chamber’ is thoroughly saturated with literary

in Decadent Daughters and Monstrous Mothers
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The rise of the psychic detective
Neil Cornwell

seems commonly to have been thought a great help. J.-K. Huysmans, it has been suggested by Terry Hale, particularly with his novel Là-Bas (The Damned , 1891), although this was not translated into English until 1924, may also have left an almost ‘immediate legacy’ in the development of the ‘distinctive subgenre within the detective story’ of the psychic sleuth, particularly in the fiction of such writers as Machen, Blackwood and, a bit later, Aleister Crowley (Hale’s Introduction to Huysmans, 2001, xxi). This would have come largely through

in Odoevsky’s four pathways into modern fiction