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The following paper deals with the treatment of colour in Rubén Darío's prose fiction, taking as examples two short stories by the Nicaraguan writer: "Un cuento para Jeanette" and "El año que viene siempre es azul". It also inquires into the motivations that led Darío to place special emphasis on the chromatic issues, thus shedding light on the links between modernismo and Parnassianism. [ABSTRACT FROM AUTHOR]

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Copyright of Co-herencia is the property of Universidad EAFIT and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Jan Lier published prose with an obvious salon theme in the periodical Lumír. Elements of several literary styles simultaneously dominated the prose at the time. The Parnassian features (ornamental descriptions, uniqueness of gems) coexisted with elements of conventional entertaining literature, which was dominated by the romantic plot. Even the educated middle-class readers considered Lier's prose attractive.

František Herites published a prose with clear signs of salon literature (a salon room, a salon speech, a romantic story) in the periodical Lumír. Further Herites's prose is dominated by decorative descriptions, floral ornaments associated especially with female heroes, these ornaments symbolize their beauty and uniqueness (the influence of Parnassian literature). And finally in his prose we find ever-colliding idyllic and anti-idyllic elements, for example topos of idyllic places and boats versus the tragic death of the main character. [ABSTRACT FROM AUTHOR]

In his lecture on Adam Asnyk's poetry delivered in 1896 Jan Kasprowicz came up with the term endymionism to refer to a relatively small portion of the poet's work characterized by a tone of extravagant egotism and narcissism. Exemplary for this extravaganza was, according to Kasprowicz, the poem 'Endymion'. It belongs to a sequence of poems voicing the poet's trauma after the suppression of the 1863-1864 January Uprising, and is closely connected with the 'A Dream of the Tombs', his most opaque and depressive poem. In the Polish literary tradition - from Słowacki's calling Krasiński the Endymion of poetry, through Norwid and Faleński to a number of Young Poland's poets (Rydel, Wyspiański, and Lange to mention but a few) - the figure of Endymion marked a situation of the poet being misunderstood or flouted by critics and readers. But with Asnyk's 'Endymion', who, despite the appearance of a lonely dreamer is in fact a guardian of the tombs of heroes who fell in an unequal fight, this mythological figure acquired a new meaning. It became a symbol of loyalty and a noble idealism making no concessions to mundane pragmatism. In the following decades endymionism of that kind would often blend into Parnassianism, a poetic movement committed to the idea of art independent of all practical concerns and obligations. [ABSTRACT FROM AUTHOR]

The article offers information on parnassian cosmopolitanism in English poetry of the 1870s and 1880s. Topics discussed include information on poems of Europe in Victorian literature; differences between French and English rhyming conventions; and study of Parnassianism which show how intricately intertwined in the formation of the modern notion of cosmopolitanism and the history of imperialism.

The sphynx has been one of the most prominent motifs in human history over the past five thousand years albeit with various meanings and degrees of frequency. The aim of this study is to present an examination of the various forms of the sphynx in Czech poetry during the latter half of the 19th century, when it began to expand from Western European culture into other national literatures as an attractive motif at that time. The first appearances of the sphynx took place in Czech literature in romantic works during the 1840s, when under the influence of Orientalism it was part of a dream space in which it emerged in the role of a symbol of eternity. From the 1870s until the First World War we can trace divergent developments in the use of the sphynx motif inspired by the Western European cultural environment, in which the sphynx emerged on the one hand in connection with reflections of human history (Victor Hugo: The Legend of the Ages), while on the other hand from the end of the 1830s it was a prototype for the femme fatale (Heinrich Heine: Preface to the third edition of the Book of Songs). In the context of Czech literature we focus on the form of the sphynx in the works of Václav Bolemír Nebeský, František V. Kvapil, Jaroslav Vrchlický, Adolf Heyduk, Jiří Karásek ze Lvovic, Emanuel z Lešehrad, Karel Dostál- Lutinov and others. [ABSTRACT FROM AUTHOR]

Copyright of Haidé: Estudis Maragallians is the property of Biblioteca de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The English and French literatures interact intimately with each other as, for instance, those of Iran and South West Asia. In particular, the 19th century formed the heyday of both the British and French empires, which spread over large regions of the world. Increased travel and communication between England and France, apart from the great increase in education in both countries at the time, enabled writers in England to borrow from the flowering of new approaches to poetry in France that encouraged a fusion of art and literature, spearheaded by a literary movement named the Parnassians. The article pinpoints significant Parnassian writers and their work on both sides of the English Channel. [ABSTRACT FROM AUTHOR]

Al indagar en los inicios del siglo xx en Venezuela, se observa en el quehacer literario una puntual preocupación por el estilo y la mesura propias del clasicismo y del romanticismo antecesores. Así, la convocatoria a los íconos de la antigua Grecia, centró al parnasianismo en la elaboración rigurosa del soneto. El propósito de este estudio consiste en realizar un análisis descriptivo de las propiedades estéticas del poemario Las ánforas de mármol (Schmidke, 1890 – 1985), para comprender los aportes literarios promovidos por el autor y que, paradójicamente, corresponden con una tendencia literaria de escaso arraigo en el país. When asked in the early twentieth century in Venezuela, it is observed in the literary work a point concern own style and restraint of classicism and romanticism predecessors. Thus the call to the icons of ancient Greece, the parnassianism focused on rigorous preparation of the sonnet. The purpose of this study is to conduct a descriptive analysis of the aesthetic properties of book of poems entitled Las ánforas de mármol (Schmidke, 1890-1985) as for understanding the literary contributions promoted by the author and that, paradoxically, correspond to a literary trend little roots in the country.

Villaespesa was a major player in the first guerra literaria (c.1898–1902). From 1902 he found a new style but never associated with the writers centred on the magazine Helios in a second guerra literaria. Further collections he published also failed to capture the new Symbolist style of Jiménez and Machado. From 1912, engaged in his Moorish dramas and absent on lengthy visits to Latin America, he disappeared from the Madrid literary scene. Villaespesa has failed to engage the critical attention given by scholars to his contemporaries. This essay seeks to explain why such a prolific and, initially, successful poet, despite attempted re-assessments by critics, remains at the margins of modernista history. [ABSTRACT FROM AUTHOR]

This article purports to analyze the role assumed by the writer Cassiano Ricardo in the face of the literary tendencies which took place in Brazil in 1925. Through an examination of the essays he published in the newspaper Correio Paulistano, we tried to infer the author's poetic theory, and to comprehend the fundamental part that the reflections on the "word" had in it, considering, as complement, the presence of both the Modernist component (by means of the concept of "clownism") and the Parnassian one (by means of Martins Fontes). [ABSTRACT FROM AUTHOR]

he purpose of this article is the aesthetic, literary and stylistic analyze of Théophile Gautier's youth poems and his evolution from the romanticism, whose fervent defender and supporter he was, at the beginning, wearing the red vests of the battle for Hernani, alongside the great Hugo, toward the brink of the stylistic perfection of his Émaux et Camées (Enamels and Cameos) Parnassian era. His formal perfection, plastic poetry (let us not forget that the poet had flirted all his lifetime with the painting, nor that he was a great admirer of the Spanish "shades" painters) and absolute beauty obsession, key elements of the Parnassian doctrine, was manifested in Gautier's art since his 'romantic' youth, and this is exactly the thesis to be proved of this research. In the later stage of his creative evolution, Gautier will become even one of the founding fathers of the Parnassian movement, thus creating premises for the emergence of the poetic modernity started with and by Baudelaire. [ABSTRACT FROM AUTHOR]

The study deals with the way of the selection and apropriation of modern European literature in Czech journalism. The Czech point of view was formed by the aesthetics of Parnassism, and the modern literary movements were interpreted in this context. The Czech debate on Modernity was marked by personal animosities and, after 1900, it was sceptical towards the productive possibilities of this type of literature. [ABSTRACT FROM AUTHOR]

In the first place, the article highlights the difficulty of labeling Charles Baudelaire as a poet, and, consequently, of situating his work in a specific movement. Is it post-Romantic, Parnassian, Symbolist, decadent, or simply modern? Secondly, the article illustrates that difficulty through the analysis of the poem “Elevation", in order to show those elements that make it possible to classify it as a symbolist poem. Finally, on the basis of the poems not translated by Andrés Holguín, the article concludes that “critical practice", as defined by Michael Sisson, predominates in Holguín's task as a translator. That is to say that he emphasizes the fully modern and decadent poet, whose work focuses on evil, thus eliminating the discussion with the theoretical tenets of movements such as Symbolism and Romanticism. [ABSTRACT FROM AUTHOR]

Beyond the events of the Spanish-American war, 1898 was a landmark in the development of Hispanic poetry. After the end of the 19th century, which was dominated by the patterns of Romanticism and Parnassianism, the entry into the 20th century was primarily conducted by the adaptation of Symbolism. However, Puerto Rico had a special context due to its insularity and Independence wars, what led to the abidance of 19th century patterns. Between Moll Boscana's Mi misa rosa (1904) and Lago's Cofre de sándalo (1927), the Parnassian canon actively ruled the directions of the Puerto Rican Modernism, thus slowing down the assimilation of Decadentism, Symbolism, Avant-garde and the entry of modernity in the island. [ABSTRACT FROM AUTHOR]

The article presents a musical critique of the song cycle "Poème d'un jour" composed by Gabriel Fauré. Contextual information is given discussing the parnassianism or parnassian aesthetics in the song cycle. Exploration of the composition's similarity with the poem "Bildungsgedicht" and its harmony is also discussed.

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Copyright of Archivum is the property of Universidad de Oviedo, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article offers the first ecocritical approach to Leconte de Lisle's body of animal poems in the Poèmes babares and the Poèmes tragiques. I argue for a reassessment of this Parnassian poet that acknowledges the novelty and biocentrism of his animal poems. These contribute to modern 'wilderness' mythology, but also avoid its pitfalls (the romanticization of the human encounter with wilderness) by radically erasing any human witness from the scene. Leconte de Lisle's animals cease to present allegories of human types or autobiographical projections of the artist's temperament; instead, the creatures and landscapes in these poems exist on their own, and attain an expressivity not indexed to any human structures of meaning. An alien subjectivity emerges in place of human consciousness that, while irreducible to the animal's unknowable perceptions, builds on the vigilant 'attentiveness' manifested in various ways by the vast array of living forms embedded in nature. [ABSTRACT FROM AUTHOR]

The article examines the social and historical context in which modernism emerged in Hispanic literature, throwing a bridge across the ocean. A bridge between Spain and Hispanic America that were united in that era not only due to the Spanish language, but also as a result of sustainable economic and political decline of Spain. Having lost its last colonies in 1898, this country was forced to leave the club of metropolis, thus doomed to feeling the atmosphere of marginalization, which had been long known to its former colonies. The author pays tribute to the French literary influence. Of particular interest is the evolution of the term “modernism” in the language of Cervantes. The author outlines the bohemian atmosphere that then shocked public opinion when the now ubiquitous Western tolerance and political correctness were not yet in vogue. The literary controversy that took place among writers and critics in the late 19th C and early 20th century on the topic is also investigated. [ABSTRACT FROM AUTHOR]

Current paper discusses manifestations of the sublime in Pedro Kilkerry's poetry as one of the distinguishing characteristics within the Parnassian orientations predominant in his cultural context. The particular way that Kilkerry employs the sublime's expedients demonstrates the dialogue of his poetry with Romantic ideals, whose traits in his lyrical stance are directly linked to Symbolist influence, far from traditional Parnassian models. The sublime in Kilkerry develops through an elliptical and suggestive language that demonstrates the impossibility of the ideal being directly expressed and shows the affinity of his poetic work with the idealist crisis that marks post-Romantic poetry and provides the basis on which the poetics of Modernity is structured. The poetry of Pedro Kilkerry develops within a complex zone of convergence between the models provided by the Parnassian aesthetic, Romantic idealism with an atavic presence to Symbolism, and the search for new answers to old idealistic concerns. The meeting of these three conflictive currents, perceptible in the manifestations of the sublime in Pedro Kilkerry's poetry, demonstrates his lyrical sensitivity to the trends of Modernity. [ABSTRACT FROM AUTHOR]

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Eliodoro Puche developed a very original phase in his poetry in the years 1919-1930, where he evolved from his initial symbolism and parnasianism to a more personal sort of poetry. The poems published in the Madrid magazine La Esfera in those years show his fidelity to his previous poetic world with interesting innovations of a more intimate character. In this paper, taking some examples as a base, the permanence and innovation of his poetry are analysed, in years and in poems which have not been taken into consideration by preceding critics. [ABSTRACT FROM AUTHOR]

Copyright of Impossibilia: Revista Internacional de Estudios Literarios is the property of Impossibilia: Revista Internacional de Estudios Literarios and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The end of the 1870S and 1880S saw a development stage in 19th century Czech literature which used to be traditionally characterized as the Lumir-Ruch generation stage. This primarily involved poetic work represented by prominent authors who were the principal contributors to the literary journals Ruch and Lumír, which from the end of the 1860s and the first half of the 1870s focused on the main figures from this generation: Sládek, Čech, Vrchlický and Zeyer. A more recent view of this stage was opened up by an anthology from Moravian Bohemist Jaromír Fryčer, which came out under the title Neznámý Parnas - Unknown Parnassus (1988). It analysed the work of French poets who in the latter half of the i86os appeared in the Parnasse contemporain journal and took up a critical stance towards Romantic poetry, due to its excessive formal and intellectual laxity, confronting it with the formal order and intellectual sophistication of their artistic works, as well as aesthetic discipline. In the Czech context these stylistic features attracted the attention of several younger poets and prose writers, who began to place emphasis in their work on aesthetic factors, which manifested themselves in an effort to achieve refinement in artistic form and intellectual depth and to expand artistic imagery. No matter how much their work differed (e.g. as regards their approach to subject matter- hence the traditional difference between the "nationalists" and "cosmopolitans"), common features can be found among them that are characteristic of them all (e.g. a stress on an aesthetic approach to form and material), presenting the opportunity to include them all under the common term Parnassianism. From a literary history standpoint it describes a particular transition stage that opened the way to modernism - symbolism, decadence and Secession. The term "Parnassianism" is used in Czech criticism of the period, particularly by F. X. Salda. With the loss of a demand for a specific aesthetic standpoint over time it acquired a pejorative sense and came to be understood as a formally stilted stylistic artism, and a byword for outmodedness. It is sometimes identified without justification with neo-Romanticism. [ABSTRACT FROM AUTHOR]

Jaroslav Vrchlický (1853-1912), an important Czech Parnassian poet and translator wrote also a number of dramas for the newly established National Theatre in Prague (1883). Ten of these plays are based on topics from Ancient Greece and Rome, thus providing valuable information on the attitude of the Czech society in the autumn of the national revival to classical culture and antiquity in general. In the present study, we review the plays (except for the trilogy of Hippodamia which will be addressed in the next study) and their reception in the contemporary press. The conservative theatrical critics mostly highlight the modern approach of Vrchlický to classical themes, and appreciate that characters of his plays are comprehensible to the spectator. In spite of frequent anachronisms and historical inaccuracies, the plays are praised for vividly transmitting the spirit of the remote ancient civilization to the modern audience. On the other hand, the exponents of modern Realism point out that Vrchlický's dramas suffer from illogical and affected plots and unlikely characters and criticize them for not addressing the real problems of the world. This all indicates that the attitude of the Czech public of the late 19th century to the ancient Greek and Roman culture and its reception was less rigid but also more indifferent than presumed. [ABSTRACT FROM AUTHOR]

The article discusses the nineteenth-century French poet and member of the Parnassian movement Leconte de Lisle, who was described by his contemporary Antoine Compagne as antimodern. Topics mentioned include Compagne's linkage of de Lisle's essential pessimism with the Christian concept of original sin, how de Lisle's nostalgia for ancient Greece made him a conservative figure despite his revolutionary politics, and de Lisle's wholesale criticism of the arts and literature of his period as compared with that of the Greeks and Romans.

Copyright of Turkbilig/Turkoloji Arastirmalari Dergisi is the property of Turkbilig/Turkoloji Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on the use by priest and poet Gerald Manley Hopkins to the term "fancy" as language of inspiration. It explores the criticisms by John E. Keating to the use of Hopkins to the word "fancy" in the stanza 28 of his poem "The Wreck of the Deutschland." Furthermore, it discusses the use by Hopkins to the term "Parnassian" as language of verse, in which Hopkins admits that Parnassian verse can only be spoken by poets.

Editorial. Focuses on the history and current stature of a genuine contemporary French poetry along with its status in relation to other contemporary arts and disciplines as of September 1, 2003. Statements given by Michel Deguy regarding this issue; Overview of the status of French poetry until the mid-nineteenth century; Features of the concept of hybridity; Account of French poetry as pluralistic art; Authors who place the motivation of their work in the infinite permutations of words in normal texts from all walks of life and culture.