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"This is the first comprehensive study of the Rococo Revival in nineteenth-century European literature and the arts. Much has been written and published about the Gothic and Classical, Renaissance and Baroque revival styles, but little more than specialist articles or monographs have dealt with the revival of eighteenth-century Rococo. One reason for its relative critical neglect may be the fact that it is not concentrated in a single country or a single art, in a single period or a single creative artist, but rather dispersed across different arts and cultures, fluctuating in intensity and importance at different times between 1830 and 1910." "The book examines developments in France and Germany, Austria and England, as well as contributions from America and Russia. Its two halves comprise firstly, a thematic account of literary examples of the Rococo Revival organized into perceptual modes: theatrical, oriental, pastoral, and musical. The second half is chronological, tracing shifts in cultural ambience between 1830 and 1910 in manageable stages of twenty years each, dealing with different types of phenomena: critical perspectives, the decorative arts, painting, music, and literature." "Initiating each of the perceptual modes, the French painter Jean-Antoine Watteau (1684-1721) projects an underlying gravity, a sense of transience and duality, and it is these features that mark him off from later Rococo artists, and affect the nineteenth-century's response to Rococo. As one of several historicist styles in an eclectic century, the Rococo Revival alternates between the poles of Aestheticism and Decadence. While its most characteristic mode is that of pastoral, the style manifests itself less in any large-scale architectural achievements, than in the decorative and so-called "minor" arts. Its critical image correspondingly shifts, as it is refracted in turn by Romanticism and Realism, Symbolism and Art Nouveau. The rise of Mozart, too, as aesthetic and musical
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Remigiusz Bojdys
reviewed Cythera Regained?: The Rococo Revival in European Literature and the Arts, 1830-1910 on September 25, 2019 Cythera Regained?: The Rococo Revival in European Literature and the Arts, 1830-1910
A clear, precise, and necessary description of Hamsun and his place in Norway, in Literature, and in the mindset that demands to know whether you can separate an artist from their art.
Zagar's first six chapters methodically go through Hamsun and his relation ship to various minority groups. His writing, both fiction and non-fiction, is examined, and compared to the common thought process of the time, the environment he was soaked in, to see if he was truly a "thought leader" of kinds or whether he was someone with a brilliant ability to capture the general ideas of the time.
These first six chapters take this structure:
1. describes the minority (American Indians, women, African Americans, Sami, etc) and their place in the world, and the place in history they hold while Hamsun came into contact with them
2. How western culture, (specifically the US, Norway, western Europe, as applicable) was generally biased against these groups at the time
3. How Hamsun's writings (including private letters) showed he shared and even promoted these biases
4. How Hamsun's writings (including private letters) showed he did not share these biases, or at least not strenuously. The complexities of Hamsun the man and Hamsun the artist are given an exceptional amount of consideration.
The final two chapters cover the period of occupation, and what Hamsun did, and the court trials after the war. (Oddly, it is not until the Epilogue that the author explicitly states the concluding statement that he was a Nazi.)
And yes, it's plainly stated and shown that he is a complex man, but for the most part, was severely biased. He was not alone in his ideas, and far from it. But he was certainly a beacon, certainly seen as someone who knows best and would sway opinion, certainly felt (for the most part) he was obliged to promote these.
As the author points out, Hamsun's final works, regarding his trial, are what give much sway to critics. A master of the persuasive argument, his words ring out even when plainly false compared to what he has written elsewhere. And we are left to show that as he continues to be handled gently with his Nazi ideals, while others are ignored and cast away.
Arguments that the author has a bias or that this is some attempt to make a political play in art is more than foolish; it's stoogist and refuses to look at reality. The facts are laid bare. Would Hamsun have written differently were he born twenty years earlier or twenty years later? It's impossible to say. He was a product of his environment, but as an intellectual leader, as a brilliant artist, he also contributed more to that environment more than nearly all others.
The final works of his giving apologists critical excuses to look hard into his ideology as a person of his time are a reminder that history is not written by the winners.
History is written by the survivors.
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Add Cythera Regained?: The Rococo Revival in European Literature and the Arts, 1830-1910, This is the first comprehensive study of the Rococo Revival in nineteenth-century European literature and the arts. Much has been written and published about the Gothic and Classical, Renaissance and Baroque revival styles, but little more than specialis, Cythera Regained?: The Rococo Revival in European Literature and the Arts, 1830-1910 to the inventory that you are selling on WonderClubX
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Add Cythera Regained?: The Rococo Revival in European Literature and the Arts, 1830-1910, This is the first comprehensive study of the Rococo Revival in nineteenth-century European literature and the arts. Much has been written and published about the Gothic and Classical, Renaissance and Baroque revival styles, but little more than specialis, Cythera Regained?: The Rococo Revival in European Literature and the Arts, 1830-1910 to your collection on WonderClub |
