Against Nature: Joris-Karl Huysmans (Penguin Classics)

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Açıklamalar bölümünde görürüz ki Des Esseintes soylu bir ailenin çöküş döneminin son ferdidir. Soylu sınıfın çöküşünün miladı kapitalist üretim ilişkileri olsa da bu çöküş “ erkeklerin dişileşimi gittikçe daha bir belirginleşmişti” ile açıklanır. Konumuzun dışında olmakla birlikte bu dişileşim ya da efemine karakteri Tanzimat ve türk edebiyatının ilk döneminde de sık görürüz. Demek ki elimizde Dekadan bir karakter var, soylu kan bozulmuş buna toplumsal çürüme, yozlaşma da dahil olmuştur. Bu yoz ortamın bağrında iş tutan soylumuzun eh yeter dediği yerde kitabımız içe yani eve kapanır ve biz yaklaşık 200 sayfa boyunca evi ve evin olanaklarının el verdiği bir anlatıya maruz kalırız ki Tersine bu dekandanlığın kült metnidir, doğalcı gelenek sembolizme öncülük edecek bu esere ve yazarına bu payeyi hakkıyla vermiştir. public Wi-Fi - this extends to the majority of our public spaces including the Reading Rooms, as well as our study desks and galleries at St Pancras (you won't require a login) rebours ( French pronunciation: [a ʁ(ə).buʁ]; translated Against Nature or Against the Grain) is an 1884 novel by the French writer Joris-Karl Huysmans. The narrative centers on a single character: Jean des Esseintes, an eccentric, reclusive, ailing aesthete. The last scion of an aristocratic family, Des Esseintes loathes nineteenth-century bourgeois society and tries to retreat into an ideal artistic world of his own creation. The narrative is almost entirely a catalogue of the neurotic Des Esseintes's aesthetic tastes, musings on literature, painting, and religion, and hyperaesthesic sensory experiences. nowadays, nothing genuine exists, since the wine one drinks and the liberty one boldly proclaims are laughable and a sham...For what could [I] hope, if not new disillusionments...?

non poteva dirgli quando sarebbe stato di ritorno, se tra un anno, un mese, una settimana o anche prima. This week I read RL Stevenson’s Dr. Jekyll and Mr. Hyde, an unusual book that made me think a lot while I was reading and reviewing it, and afterwards while discussing it in the comments thread. One of the things that occurred to me in the course of those discussions was a possible parallel between Stevenson’s work and this book, Against Nature, or Against the Grain, as the title is translated in English. I felt sure I had found my unique angle, oblique as it seemed at first viewing. Her ne kadar iki sessiz uşağı ile beraber çekildiği bu izbede sanatsal( simgeciler, gerçeküstücüler ve ölü Latin dili incelemeleri) İsevi( ilk günah ve dünyaya atılmış olma) olaylar değil nesneler dünyası ve hatta Schopenhauer ( Yeryüzünde yaşamak gerçekten bir düşkünlük) gibi sağlam gerekçe ve referansları olsa da Des Esseintes son kertede dönemin zehirlediğ bir karakterdir ve içine kapandığı tecrit hali sağlık sorunlarına yol açmaya başlar. Başına koyduğu bavulları ile yaptığı Londra gezileri de derman olmaz derdine ve modern tıp teşhisini koyar; topluma karışın mösyö Des Esseintes. Chapter 1. [Ancestry, youth, and education of Duc Jean Des Esseintes; he sells the family chateau and moves to Fontenay-aux-Roses ]Highet, Gilbert (1957). "The Decadent." In: Talents and Geniuses. New York: Oxford University Press, pp.92–99. As such, it's a terribly useful record of cult Odilon Redon: Una maschera suona la campana funebre (litografia dedicata a Edgar Allan Poe). 1882, Art Institute di Chicago. Against Nature " - the title itself encompasses the infinity of this character's efforts to reshape reality, according to the principles of a " homo aestheticus ".

Another French text mentioned in Dorian Gray is Theophile Gautier's collection of poems 'Emaux et Camees' (Enamels and Cameos), and it was in Gautier's prefatory 'note' to the 1868 edition of Fleurs du mal that the phrase 'Decadence' was used to describe this literature of the later nineteenth century (it had been used earlier in the century by Desiré Nisard to describe, pejoratively, Latin poets of the late Roman Empire). Gautier described Decadence as a mode which 'endeavours to express the most inexpressible thoughts, the vaguest and most fleeting contours of form, that listens, with a view to rendering them, to the subtle confidences of neurosity, to the confessions of aging lust turning to depravity, and to the odd hallucinations of fixed ideas passing into mania.' Jordanova, L.J. (1996). "A Slap in the Face for Old Mother Nature: Disease, Debility, and Decay in Huysmans’s A Rebours," Literature & Medicine, Vol. 15 (1), pp. 112–128. Keeler, Sister Jerome (1950). "J.–K. Huysmans, Benedictine Oblate," American Benedictine Review, Vol. I, pp. 60–66. Perché prima, andare e essere controcorrente era considerato cosa buona e giusta. Era considerato fico. Des Esseintes in his study, by Arthur Zaidenberg ( Against the Grain, New York, Illustrated Editions, 1931)Chapt. 11) The hero readies for a trip to London, hoping that unlike a visit to Holland it will not be a disappointment. In Paris he buys a London guidebook. Then, onward to an English tavern where he sees Brit ladies with "teeth big as tombstones" and men with "pork-butcher faces." There are bisquits, stale cakes and plates of mincepie. He thinks of Little Dorrit and Bleak House. But he must hurry to catch the London boat-train. Gautier himself had significant 'decadent' credentials - just try his 1835 novel Mademoiselle de Maupin! Dopo un libro come questo al suo autore non resta altro che scegliere tra la bocca di una pistola e i piedi della croce. After such a book, it only remains for the author to choose between the muzzle of a pistol [and] the foot of the cross.'

Barbaric in its profusion, violent in its emphasis, wearying in its splendor, it is– especially in regard to things seen– extraordinarily expressive, with all the shades of a painter's palette. Elaborately and deliberately perverse, it is in its very perversity that Huysmans's work - so fascinating, so repellent, so instinctively artificial - comes to represent, as the work of no other writer can be said to do, the main tendencies, the chief results, of the Decadent movement in literature." ( Arthur Symons, The Decadent Movement in Literature) Satanism, Magic and Mysticism in Fin-de-siècle France, Robert Ziegler, Palgrave Macmillan, 2012, pp. 2, 7, 125 After his retirement from the Ministry in 1898, made possible by the commercial success of his novel, La cathédrale, Huysmans planned to leave Paris and move to Ligugé. He intended to set up a community of Catholic artists, including Charles-Marie Dulac (1862-1898). He had praised the young painter in La cathédrale. Dulac died a few months before Huysmans completed his arrangements for the move to Ligugé, and he decided to stay in Paris. Brian R. Banks (author) (2017) J.-K. Huysmans & the Belle Epoque: A Guided Tour of Paris. Paris, Deja Vu, introduction by Colin Wilson.During childhood, Huysmans turned away from the Roman Catholic Church. He was unhappy at school but completed his coursework and earned a baccalauréat. Already, he was dreaming of a refined solitude, a comfortable desert, a motionless ark in which to seek refuge from the unending deluge of human stupidity.” The Mirror of Divinity: The World and Creation in J.-K. Huysmans, Robert Ziegler, University of Delaware Press, 2004, p. 159 Des Esseintes conducts a survey of French and Latin literature, rejecting the works approved by the mainstream critics of his day. He rejects the academically respectable Latin authors of the " Golden Age" such as Virgil and Cicero, preferring later " Silver Age" writers such as Petronius (Des Esseintes praises the decadent Satyricon) and Apuleius ( Metamorphoses, commonly known as The Golden Ass) as well as works of early Christian literature, whose style was usually dismissed as the "barbarous" product of the Dark Ages. Among French authors, he shows nothing but contempt for the Romantics but adores the poetry of Baudelaire. [1] Gollner, Adam (12 November 2015). "What Houellebecq Learned from Huysmans". The New Yorker . Retrieved 18 November 2015.

Again and again, the text harps on these facts, repeats them, wallows in them. Each book Des Esseintes mentions is described by its color, the make of its binding, the type of dye used, the provenance of the ink within, the typeset, but all this detail is to no purpose. It is not like reading a treatise of William Morris' and coming to understand a particular aesthetic of how a book should be bound and why--it is a mere litany of excess, the dull and trashy kind of overspending which marks the parvenu. purified verb extracts, nouns that reek of incense, bizarre adjectives rough-hewn from gold, with the barbaric, charming appeal of Gothic jewels….] Huneker, James (1917). "The Opinions of J.–K. Huysmans." In: Unicorns. New York: Charles Scribner's Sons, pp.111–120. My words above are relatively plain, not even close to the style of Huysmans’s ornate, exaggerated language. As by way of example, here is Des Esseintes reflecting on two modern authors he enjoys: “Baudelaire and Poe, these two men who had often been compared because of their common poetic strain and predilection for the examination of mental maladies, differed radically in the affective conceptions which held such a large place in their works; Baudelaire with his iniquitous and debased loves – cruel loves which made one think of the reprisals of an inquisition; Poe with his chaste, aerial loves, in which the senses played no part, where only the mind functioned without corresponding to organs which, if they existed, remained forever frozen and virgin. This cerebral clinic where, vivisecting in a stifling atmosphere, that spiritual surgeon became, as soon as his attention flagged, a prey to an imagination which evoked, like delicious miasmas, somnambulistic and angelic apparitions, was to Des Esseintes a source of unwearying conjecture.”

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