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THE ARTIST, THE DEVIL AND THE DANDY
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Şos. Panduri 90-92, Bucureşti - 0
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TABLE OF CONTENTS INTRODUCTION ....
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10 The cornerstone of Wilde’s and
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12 he can only reproduce the fragme
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14 Nature’s lack of design, her c
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16 ˝imagination could provide a mo
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18 to an English tavern, as to visi
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20 different kind of beauty which w
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22 Art which deals with vice and pe
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24 the most perfect pleasure simply
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26 Courtisane. In ˝The Decay of Ly
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28 paintings at the Salon of 1889 e
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30 singular hallucinations of the f
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32 there is nothing really beautifu
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CHAPTER 1 DANDYISM Le dandy suprêm
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36 beautiful things. Wilde’s most
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38 toward the ideal in form and mor
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40 to be obvious is to be inartisti
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42 ˝Sorry to hear it, Tuppy; whene
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44 Symons, too, often focusses on a
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46 in art that the body is the soul
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48 Lord Henry exclaims, ˝I love ac
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50 abnormal (which is of course a p
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52 significant, not what the mask h
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54 The bifurcation between the inte
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56 Indeed Wilde was to write that
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58 the funeral, Pierrot gravely mee
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60 Plusieurs de ses affiches l’at
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62 often manifests evil. He is para
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64 that there should be an observer
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66 The very sharpness of the contra
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68 enables man to best express his
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CHAPTER II SATANISM Certain attainm
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72 entitled ˝La Révolte˝ (and in
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74 (perversity, for example) are go
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76 This concern with sin in both Wi
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78 mysticism to base satanism,˝ we
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80 These demonic Pierrots remind on
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82 crude commercialism of America,
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84 satanism. In Les Diaboliques Bar
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86 and the eternal pathos of the hu
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88 the artist. The Manicheism evinc
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90 ages that are being dealt with:
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92 being suspended between two worl
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94 feminine mystery. Moreau encapsu
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96 play, Salomé is explicitly iden
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98 Jokanaan, ˝and thou didst fill
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100 decadent rejection of reality a
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102 Such misogynistic sentiments ar
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104 her, but observes that this des
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106 decadent predilection for the d
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108 réfugier dans la pénitente ad
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CHAPTER III DREAMS AND FANTASY Sugg
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112 considered as a potential mothe
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114 eternity in a moment. Huysmans
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116 aux cimes des échalas, aux pie
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118 Huysmans so admired entitled hi
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120 Thematically, the dream enabled
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122 as well as an affirmation of th
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- Page 132 and 133: 132 Woman, in her primal essence, a
- Page 134 and 135: 134 He gazes at the . . . spaces in
- Page 136 and 137: 136 voyages by decorating his room
- Page 138 and 139: 138 maddened by desire, crazed by a
- Page 140 and 141: 140 Perhaps more than any other art
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- Page 148 and 149: 148 Jacques awakens and the dream i
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- Page 154 and 155: 154 The Surrealists took this a ste
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- Page 158 and 159: 158 workings of the mind and psycho
- Page 160 and 161: 160 CHAPTER IV ART AND ARTISTS Art
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- Page 170 and 171: 170 admiration for the purely decor
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- Page 180 and 181: 180 of thought and emotion and auto
- Page 182 and 183: 182 nouveau.˝ 478 Wilde similarly
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- Page 186 and 187: 186 the masses. However, he similar
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- Page 216 and 217: 216 d’analyste tout à la fois cr
- Page 218 and 219: 218 Manifestly, then, Wilde and Huy
- Page 220 and 221: 220 extinction, and by definition d
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224 be quiet at all until she had h
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226 albeit, ˝de fautes surhumaines
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228 artistic success immensely. I o
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230 part for such interest. It is a
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232 unity was attained through the
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234 in the hands of a unique temper
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236 their effects. For this reason,
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238 thrust, which draws the eye fro
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CHAPTER V CONCLUSION ˝Modern life
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242 Wilde’s and Huysmans’ work
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268 582 Huysmans, Against Nature, p
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270 Camus, Albert. Discours de Sué
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272 ---˝Notice˝ in Les Fleurs du
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274 Maignon, Charles. L’Univers A
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276 Schopenhauer, Arthur. The World
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278 Tiparul s-a executat sub cda 20
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282 22 Ibid., p. 75. 23 Ibid., p. 7
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284 Chapter One: Dandyism 72 Charle
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286 115 The Complete Works of Oscar
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288 168 J. K. Huysmans, Croquis par
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290 215 Huysmans, Certains, p. 78.
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292 265 Arthur Symons, The Symbolis
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294 Chapter Three: Dreams and Fanta
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296 352 J. K. Huysmans, L’Art mod
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298 406 Ibid. 407 Ibid., p. 66. 408
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300 456 Huysmans, En Marge, p. 133.
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302 504 Ibid. 505 Ibid., p. 1048. 5
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304 555 The Complete Works of Oscar