Decadence

"What Nia Simone Bijou desires, she works hard to achieve. Her accomplishments as a respected writer have not only brought her to Hollywood, but she's now poised for worldwide success, and pursued and desired by Prada, a man of international power and wealth. With everything Nia has, she remains restless and on a journey to quell her inner storm. Then someone introduces her to a place called Decadence ..."--Page [4] cover.

In 1857 the French poet Charles Baudelaire, who was fascinated by lesbianism, created a scandal with Les Fleurs du Mal [The Flowers of Evil]. This collection was originally entitled "The Lesbians" and described women as "femmes damnées," with "disordered souls" suffering in a hypocritical world. Then twenty years later, lesbians in Paris dared to flaunt themselves in that extraordinarily creative period at the turn of the 19th and 20th centuries which became known as the Belle Époque. Lesbian Decadence, now available in English for the first time, provides a new analysis and synthesis of the depiction of lesbianism as a social phenomenon and a symptom of social malaise as well as a fantasy in that most vibrant place and period in history. In this newly translated work, praised by leading critics as "authoritative," "stunning," and "a marvel of elegance and erudition," Nicole G. Albert analyzes and synthesizes an engagingly rich sweep of historical representations of the lesbian mystique in art and literature. Albert contrasts these visions to moralists' abrupt condemnations of "the lesbian vice," as well as the newly emerging psychiatric establishment's medical fury and their obsession on cataloging and classifying symptoms of "inversion" or "perversion" in order to cure these "unbalanced creatures of love." Lesbian Decadence combines literary, artistic, and historical analysis of sources from the mainstream to the rare, from scholarly studies to popular culture. The English translation provides a core reference/text for those interested in the Decadent movement, in literary history, in French history and social history. It is well suited for courses in gender studies, women's studies, LGBT history, and lesbianism in literature, history, and art.

From the New York Times columnist and bestselling author of Bad Religion, a “clever and stimulating” (The New York Times Book Review) portrait of how our turbulent age is defined by dark forces seemingly beyond our control. The era of the coronavirus has tested America, and our leaders and institutions have conspicuously failed. That failure shouldn’t be surprising: Beneath social-media frenzy and reality-television politics, our era’s deep truths are elite incompetence, cultural exhaustion, and the flight from reality into fantasy. Casting a cold eye on these trends, The Decadent Society explains what happens when a powerful society ceases advancing—how the combination of wealth and technological proficiency with economic stagnation, political stalemate, and demographic decline creates a unique civilizational crisis. Ranging from the futility of our ideological debates to the repetitions of our pop culture, from the decline of sex and childbearing to the escapism of drug use, Ross Douthat argues that our age is defined by disappointment—by the feeling that all the frontiers are closed, that the paths forward lead only to the grave. Correcting both optimism and despair, Douthat provides an enlightening explanation of how we got here, how long our frustrations might last, and how, in renaissance or catastrophe, our decadence might ultimately end.

‘A riveting account of the pre-First World War years . . . The Age of Decadence is an enormously impressive and enjoyable read.’ Dominic Sandbrook, Sunday Times ‘A magnificent account of a less than magnificent epoch.’ Jonathan Meades, Literary Review The folk-memory of Britain in the years before the Great War is of a powerful, contented, orderly and thriving country. She commanded a vast empire. She bestrode international commerce. Her citizens were living longer, profiting from civil liberties their grandparents only dreamt of, and enjoying an expanding range of comforts and pastimes. The mood of pride and self-confidence is familiar from Elgar’s Pomp and Circumstance marches, newsreels of George V’s coronation and the London’s great Edwardian palaces. Yet things were very different below the surface. In The Age of Decadence Simon Heffer exposes the contradictions of late-Victorian and Edwardian Britain. He explains how, despite the nation’s massive power, a mismanaged war against the Boers in South Africa created profound doubts about her imperial destiny. He shows how attempts to secure vital social reforms prompted the twentieth century’s gravest constitutional crisis and coincided with the worst industrial unrest in British history. He describes how politicians who conceded the vote to millions more men disregarded women so utterly that female suffragists’ public protest bordered on terrorism. He depicts a ruling class that fell prey to degeneracy and scandal. He analyses a national psyche that embraced the motor-car, the sensationalist press and the science fiction of H. G. Wells, but also the Arts and Crafts of William Morris and the nostalgia of A. E. Housman. And he concludes with the crisis that in the summer of 1914 threatened the existence of the United Kingdom – a looming civil war in Ireland. He lights up the era through vivid pen-portraits of the great men and women of the day – including Gladstone, Parnell, Asquith and Churchill, but also Mrs Pankhurst, Beatrice Webb, Baden-Powell, Wilde and Shaw – creating a richly detailed panorama of a great power that, through both accident and arrogance, was forced to face potentially fatal challenges. ‘A devastating critique of prewar Britain . . . disturbingly relevant to the world in which we live.’ Gerard DeGroot, The Times ‘You won’t put it down . . . A really riveting read.’ Rana Mitter, BBC Radio 3 Free Thinking

A black feast with offerings from the major practitioners and their precursors in France and England.

A cream-of-the-crop selection of Murakami's brilliance and piercing wit. This collection shows sides of Ryu Murakami that even avid fans may not be expecting. The intriguing, somewhat disturbing stories that Topaz was based on are included here, as are three entertaining and revealing portraits of the artist as a young man back in the Transparent Blue period of the late sixties and early seventies. We hear tales told by four very different individuals living in eighties Tokyo, each with his or her own problems but all with a thing about a certain pro baseball player, and we meet a brokenhearted young woman who finds an unexpected moment of love in the nineties and a single mother who stumbles on a ray of hope in the hard times of the noughties. Mixed in there somewhere are three linked stories about desire and obsession, with the timeless, seductive rhythms of Cuban music in the background. This book contains explicit content and is not suitable for minors. About the author: Ryu Murakami was not yet 24 when he won the prestigious Akutagawa Prize for his debut novel, Almost Transparent Blue. He has now published some forty best-selling novels, a dozen short-story collections, an armful of picture books, and a small mountain of essays. In his spare time, Ryu hosts a popular and long-running weekly TV show focusing on business and economic topics, and has for many years promoted tours and produced records for Cuban musicians. He has written and directed five feature films, of which Topaz a.k.a. Tokyo Decadence (1992) is probably the best known, and many of his novels have been made into films by other directors (notably Takashi Miike's Audition). Translated novels include Coin Locker Babies (Noma Prize for New Writers), Sixty-Nine, Popular Hits of the Showa Era, Audition, In the Miso Soup (Yomiuri Prize for Literature), Piercing, and From the Fatherland, with Love (Noma Prize for Literature and Mainichi Publishing Culture Award).

"Freedman's final book is a tour de force that examines the history of Jewish involvement in the decadent art movement. While decadent art's most notorious practitioner was Oscar Wilde, as a movement it spread through western Europe and even included a few adherents in Russia. Jewish writers and artists such as Catulle Mèndes, Gustav Kahn, and Simeon Solomon would portray non-stereotyped characters and produce highly influential works. After decadent art's peak, Walter Benjamin, Marcel Proust, and Sigmund Freud would take up the idiom of decadence and carry it with them during the cultural transition to modernism. Freedman expertly and elegantly takes readers through this transition and beyond, showing the lineage of Jewish decadence all the way through to the end of the twentieth century"--

How is decadence being staged today – as a practice, issue, pejorative, and as a site of pleasure? Where might we find it, why might we look for it, and who is decadence for? This book is the first monographic study of decadence in theatre and performance. Adam Alston makes a passionate case for the contemporary relevance of decadence in the thick of a resurgent culture war by focusing on its antithetical relationship to capitalist-led growth, progress, and intensified productivity. He argues that the qualities used to disparage the study and practice of theatre and performance are the very things we should embrace in celebrating their value – namely, their spectacular uselessness, wastefulness, outmodedness, and abundant potential for producing forms of creativity that flow away from the ends and excesses of capitalism. Alston covers an eclectic range of examples by Julia Bardsley (UK), Hasard Le Sin (Finland), jaamil olawale kosoko (USA), Toco Nikaido (Japan), Martin O'Brien (UK), Toshiki Okada (Japan), Marcel·lí Antúnez Roca (Spain), Normandy Sherwood (USA), The Uhuruverse (USA), Nia O. Witherspoon (USA), and Wunderbaum (Netherlands). Expect ruminations on monstrous scenographies, catatonic choreographies, turbo-charged freneticism, visions of the apocalypse – and what might lie in its wake.