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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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- Page 20 and 21: 20 different kind of beauty which w
- Page 22 and 23: 22 Art which deals with vice and pe
- Page 24 and 25: 24 the most perfect pleasure simply
- Page 26 and 27: 26 Courtisane. In ˝The Decay of Ly
- Page 28 and 29: 28 paintings at the Salon of 1889 e
- Page 30 and 31: 30 singular hallucinations of the f
- Page 32 and 33: 32 there is nothing really beautifu
- Page 34 and 35: CHAPTER 1 DANDYISM Le dandy suprêm
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- Page 38 and 39: 38 toward the ideal in form and mor
- Page 40 and 41: 40 to be obvious is to be inartisti
- Page 42 and 43: 42 ˝Sorry to hear it, Tuppy; whene
- Page 44 and 45: 44 Symons, too, often focusses on a
- Page 46 and 47: 46 in art that the body is the soul
- Page 48 and 49: 48 Lord Henry exclaims, ˝I love ac
- Page 50 and 51: 50 abnormal (which is of course a p
- Page 52 and 53: 52 significant, not what the mask h
- Page 54 and 55: 54 The bifurcation between the inte
- Page 56 and 57: 56 Indeed Wilde was to write that
- Page 58 and 59: 58 the funeral, Pierrot gravely mee
- Page 60 and 61: 60 Plusieurs de ses affiches l’at
- Page 62 and 63: 62 often manifests evil. He is para
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- Page 66 and 67: 66 The very sharpness of the contra
- Page 70 and 71: CHAPTER II SATANISM Certain attainm
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- Page 76 and 77: 76 This concern with sin in both Wi
- Page 78 and 79: 78 mysticism to base satanism,˝ we
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- Page 82 and 83: 82 crude commercialism of America,
- Page 84 and 85: 84 satanism. In Les Diaboliques Bar
- Page 86 and 87: 86 and the eternal pathos of the hu
- Page 88 and 89: 88 the artist. The Manicheism evinc
- Page 90 and 91: 90 ages that are being dealt with:
- Page 92 and 93: 92 being suspended between two worl
- Page 94 and 95: 94 feminine mystery. Moreau encapsu
- Page 96 and 97: 96 play, Salomé is explicitly iden
- Page 98 and 99: 98 Jokanaan, ˝and thou didst fill
- Page 100 and 101: 100 decadent rejection of reality a
- Page 102 and 103: 102 Such misogynistic sentiments ar
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- Page 106 and 107: 106 decadent predilection for the d
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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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124 which no real voice has ever pi
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126 Huysmans also identified Moreau
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128 the obvious precursor of this t
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130 frowned and looked very severe,
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132 Woman, in her primal essence, a
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134 He gazes at the . . . spaces in
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136 voyages by decorating his room
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138 maddened by desire, crazed by a
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140 Perhaps more than any other art
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142 creation of the self or the exp
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144 Redon not only focussed on the
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146 direct translation or interpret
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148 Jacques awakens and the dream i
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150 Esther éclatât comme une myst
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152 autres se présentaient aussit
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154 The Surrealists took this a ste
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156 stimulating him, then inducing
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158 workings of the mind and psycho
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160 CHAPTER IV ART AND ARTISTS Art
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162 and Huysmans’ repeated emphas
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164 unconscious work. I wrote it wi
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166 which the unity of the book is
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168 Que le style n’est en art qu
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170 admiration for the purely decor
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172 Huysmans speaks approvingly of
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174 ˝What is true about music,˝ W
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176 intellectually and emotionally
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178 wonderfully beautiful figures r
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180 of thought and emotion and auto
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182 nouveau.˝ 478 Wilde similarly
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184 In his art criticism Huysmans h
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186 the masses. However, he similar
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188 comprehensible only to minds sh
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190 the one means to escape and mom
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192 It is telling that Wilde in ˝T
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194 than exclusively subject matter
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196 Pater’s essay on Coleridge, p
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198 the decadent loathing of what h
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200 In Flaubert’s case, there was
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202 foreground. In ˝Salome Dancing
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204 Esseintes-more real than the pa
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206 beyond descriptive ones.˝ 528
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208 yeux obstinément fermés, j’
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210 because they were suggestive. U
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212 an ˝oeuf resté constamment ma
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214 salauderie populacière et de g
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216 d’analyste tout à la fois cr
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218 Manifestly, then, Wilde and Huy
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220 extinction, and by definition d
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222 ˝Why does she look at me with
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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