Podcasts about fin de siecle

The history of European fashion typically focuses on singular, Christian European geniuses who conjured bold designs and created cutting-edge garments. But in Paris in the late 19th and early 20th centuries, Jews from the Middle East and North Africa played important roles in shaping European tastes in fashion. In this episode, Devi Mays, an associate professor of Judaic Studies and history at the University of Michigan, and Julia Phillips Cohen, an associate professor of Jewish Studies and history at Vanderbilt University, tell the story of the rise and fall of the Babanis, an Ottoman Jewish family with origins in Istanbul, Tunis, and Algiers, who built a fashion house that counted scored of prominent celebrities and socialites among its clients

Academic Will Visconti on the true history of the most famous cancan dancer in Paris at the turn of the century, and her later work taming lions

Academic Will Visconti on the true history of the most famous cancan dancer in Paris at the turn of the century, and her later work taming lions

Ever wonder what it would be like to reach "the future?"  For many Europeans, life in the late nineteenth century felt that way, with massive technological changes leading to the conquest of hunger, violence and disease.  Yet as we transcend existing norms and boundaries, the future can also be a scary place.  This episode explores the pleasures and perils of modernity, discussing things like cabaret, Einstein and Freud, the ballpoint pen, Picasso and the building of the Eiffel Tower.

The late 19th century in France sometime gets called La Belle Époque or the "Beautiful Era". As the name suggests, this is a time that has been fondly remembered as an age of optimism marked by artistic and scientific triumphs. However, this era is also sometimes called the Fin De Siecle. When this nickname is evoked it's usually to cast this era as a cynical and pessimistic time, when people openly fretted about how different the 20th century would be from the 19th. This period was also marked by the first attempts at controlled manned flight. Perhaps the contrasting Belle Époque and Fin De Siecle attitudes can act as a helpful analogy to help understand the "lighter-than-air" and "heavier-than-air" approach to flight? The figure who somehow embodies all of this (Belle Époque optimism, Fin De Siecle ennui, lighter-than-air triumphs, and heavier-than-air controversies) is the Brazilian inventor Alberto Santos-Dumont. Tune-in and find out how bar-hopping dirigibles, hydrogen explosions, and a gingerbread Santos all play a role in the story,

The final years of Elizabeth's reign inevitably have the sense of the end of an era; she retreated to her chambers, court was no longer the attraction it had been, dearth stalked the land. But her reign had seen such changes as would deeply influence England's future. See acast.com/privacy for privacy and opt-out information.

"Posameznikova hiperobčutljivost se pokaže v izjemnem doživljanju sveta, tako čustvenega kot čutnega". Tako je profesorica slovenščine z ljubljanske Gimnazije Poljane, Katarina Torkar Papež, v stavku opisala obdobje, o katerem je govora v tokratni oddaji Prvi na maturi.

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Beautiful girls executing ethereal dance steps. Intoxicating music. The frisson of a bare ankle atop a precipitous pointe shoe… Hot lights. Entitled patrons. Join Karen and Dr Sheila Hoffman for an exclusive tour of the backstage fin de siècle Paris ballet. The frothy tutus and bouquets were just the beginning of a day in the life of its ballerinas, who catered to wealthy male patrons as well as adoring audiences.

What comes to mind when you think of Paris in the nineteenth century? For me, its revolutionary politics, the circulation of increasing numbers of people and goods, a range of spectacular cultural displays and amusements, an emergent urban modernity including a host of negotiations between social classes, public and private, men and women, citizens and the state. And if I had to name one historical figure to stand for the transformation of the nineteenth-century capital? Haussmann. Hands down. Alexia Yates‘s book, Selling Paris: Property and Commercial Culture in the Fin-de-siecle Capital (Harvard UP, 2015), opened my eyes to a whole other world of everyday urbanism and historical actors in the city during the first decades of the Third Republic. Acknowledging the undeniable impact of Haussmann and Haussmannization on the city that Paris became under and after the Second Empire, Selling Paris considers the activities, interests, and effects of a host of other figures who shaped the city's property relations and commercial culture from the early years of the Third Republic to the First World War. In the books chapters, readers will find a social history of the business of French building during this period, from planning and production to use. Focused on the architects, private developers, municipal authorities, speculators, real estate agents, notaries, property owners, and tenants whose interactions and negotiations influenced the form, representation, and experience of Parisian real estate in purposeful ways, the book makes significant contributions to our understanding of the history of the capital and capitalism in France. Roxanne Panchasi is an Associate Professor in the Department of History at Simon Fraser University. A historian of French culture and politics in the twentieth century, her current research focuses on the representation of nuclear weapons and testing in France and its empire since 1945. She lives and reads in Vancouver, Canada. If you have a recent title to suggest for the podcast, please send an email to: panchasi@sfu.ca. *The music that opens and closes the podcast is an instrumental version of Creatures, a song written by Vancouver artist/musician Casey Wei (performing as hazy). To hear more, please visit https://agonyklub.com/. Learn more about your ad choices. Visit megaphone.fm/adchoices

What comes to mind when you think of Paris in the nineteenth century? For me, its revolutionary politics, the circulation of increasing numbers of people and goods, a range of spectacular cultural displays and amusements, an emergent urban modernity including a host of negotiations between social classes, public and private, men and women, citizens and the state. And if I had to name one historical figure to stand for the transformation of the nineteenth-century capital? Haussmann. Hands down. Alexia Yates‘s book, Selling Paris: Property and Commercial Culture in the Fin-de-siecle Capital (Harvard UP, 2015), opened my eyes to a whole other world of everyday urbanism and historical actors in the city during the first decades of the Third Republic. Acknowledging the undeniable impact of Haussmann and Haussmannization on the city that Paris became under and after the Second Empire, Selling Paris considers the activities, interests, and effects of a host of other figures who shaped the city’s property relations and commercial culture from the early years of the Third Republic to the First World War. In the books chapters, readers will find a social history of the business of French building during this period, from planning and production to use. Focused on the architects, private developers, municipal authorities, speculators, real estate agents, notaries, property owners, and tenants whose interactions and negotiations influenced the form, representation, and experience of Parisian real estate in purposeful ways, the book makes significant contributions to our understanding of the history of the capital and capitalism in France. Roxanne Panchasi is an Associate Professor in the Department of History at Simon Fraser University. A historian of French culture and politics in the twentieth century, her current research focuses on the representation of nuclear weapons and testing in France and its empire since 1945. She lives and reads in Vancouver, Canada. If you have a recent title to suggest for the podcast, please send an email to: panchasi@sfu.ca. *The music that opens and closes the podcast is an instrumental version of Creatures, a song written by Vancouver artist/musician Casey Wei (performing as hazy). To hear more, please visit https://agonyklub.com/. Learn more about your ad choices. Visit megaphone.fm/adchoices

What comes to mind when you think of Paris in the nineteenth century? For me, its revolutionary politics, the circulation of increasing numbers of people and goods, a range of spectacular cultural displays and amusements, an emergent urban modernity including a host of negotiations between social classes, public and private, men and women, citizens and the state. And if I had to name one historical figure to stand for the transformation of the nineteenth-century capital? Haussmann. Hands down. Alexia Yates‘s book, Selling Paris: Property and Commercial Culture in the Fin-de-siecle Capital (Harvard UP, 2015), opened my eyes to a whole other world of everyday urbanism and historical actors in the city during the first decades of the Third Republic. Acknowledging the undeniable impact of Haussmann and Haussmannization on the city that Paris became under and after the Second Empire, Selling Paris considers the activities, interests, and effects of a host of other figures who shaped the city’s property relations and commercial culture from the early years of the Third Republic to the First World War. In the books chapters, readers will find a social history of the business of French building during this period, from planning and production to use. Focused on the architects, private developers, municipal authorities, speculators, real estate agents, notaries, property owners, and tenants whose interactions and negotiations influenced the form, representation, and experience of Parisian real estate in purposeful ways, the book makes significant contributions to our understanding of the history of the capital and capitalism in France. Roxanne Panchasi is an Associate Professor in the Department of History at Simon Fraser University. A historian of French culture and politics in the twentieth century, her current research focuses on the representation of nuclear weapons and testing in France and its empire since 1945. She lives and reads in Vancouver, Canada. If you have a recent title to suggest for the podcast, please send an email to: panchasi@sfu.ca. *The music that opens and closes the podcast is an instrumental version of Creatures, a song written by Vancouver artist/musician Casey Wei (performing as hazy). To hear more, please visit https://agonyklub.com/. Learn more about your ad choices. Visit megaphone.fm/adchoices

What comes to mind when you think of Paris in the nineteenth century? For me, its revolutionary politics, the circulation of increasing numbers of people and goods, a range of spectacular cultural displays and amusements, an emergent urban modernity including a host of negotiations between social classes, public and private, men and women, citizens and the state. And if I had to name one historical figure to stand for the transformation of the nineteenth-century capital? Haussmann. Hands down. Alexia Yates‘s book, Selling Paris: Property and Commercial Culture in the Fin-de-siecle Capital (Harvard UP, 2015), opened my eyes to a whole other world of everyday urbanism and historical actors in the city during the first decades of the Third Republic. Acknowledging the undeniable impact of Haussmann and Haussmannization on the city that Paris became under and after the Second Empire, Selling Paris considers the activities, interests, and effects of a host of other figures who shaped the city’s property relations and commercial culture from the early years of the Third Republic to the First World War. In the books chapters, readers will find a social history of the business of French building during this period, from planning and production to use. Focused on the architects, private developers, municipal authorities, speculators, real estate agents, notaries, property owners, and tenants whose interactions and negotiations influenced the form, representation, and experience of Parisian real estate in purposeful ways, the book makes significant contributions to our understanding of the history of the capital and capitalism in France. Roxanne Panchasi is an Associate Professor in the Department of History at Simon Fraser University. A historian of French culture and politics in the twentieth century, her current research focuses on the representation of nuclear weapons and testing in France and its empire since 1945. She lives and reads in Vancouver, Canada. If you have a recent title to suggest for the podcast, please send an email to: panchasi@sfu.ca. *The music that opens and closes the podcast is an instrumental version of Creatures, a song written by Vancouver artist/musician Casey Wei (performing as hazy). To hear more, please visit https://agonyklub.com/. Learn more about your ad choices. Visit megaphone.fm/adchoices

What comes to mind when you think of Paris in the nineteenth century? For me, its revolutionary politics, the circulation of increasing numbers of people and goods, a range of spectacular cultural displays and amusements, an emergent urban modernity including a host of negotiations between social classes, public and private, men and women, citizens and the state. And if I had to name one historical figure to stand for the transformation of the nineteenth-century capital? Haussmann. Hands down. Alexia Yates‘s book, Selling Paris: Property and Commercial Culture in the Fin-de-siecle Capital (Harvard UP, 2015), opened my eyes to a whole other world of everyday urbanism and historical actors in the city during the first decades of the Third Republic. Acknowledging the undeniable impact of Haussmann and Haussmannization on the city that Paris became under and after the Second Empire, Selling Paris considers the activities, interests, and effects of a host of other figures who shaped the city’s property relations and commercial culture from the early years of the Third Republic to the First World War. In the books chapters, readers will find a social history of the business of French building during this period, from planning and production to use. Focused on the architects, private developers, municipal authorities, speculators, real estate agents, notaries, property owners, and tenants whose interactions and negotiations influenced the form, representation, and experience of Parisian real estate in purposeful ways, the book makes significant contributions to our understanding of the history of the capital and capitalism in France. Roxanne Panchasi is an Associate Professor in the Department of History at Simon Fraser University. A historian of French culture and politics in the twentieth century, her current research focuses on the representation of nuclear weapons and testing in France and its empire since 1945. She lives and reads in Vancouver, Canada. If you have a recent title to suggest for the podcast, please send an email to: panchasi@sfu.ca. *The music that opens and closes the podcast is an instrumental version of Creatures, a song written by Vancouver artist/musician Casey Wei (performing as hazy). To hear more, please visit https://agonyklub.com/. Learn more about your ad choices. Visit megaphone.fm/adchoices

What comes to mind when you think of Paris in the nineteenth century? For me, its revolutionary politics, the circulation of increasing numbers of people and goods, a range of spectacular cultural displays and amusements, an emergent urban modernity including a host of negotiations between social classes, public and private, men and women, citizens and the state. And if I had to name one historical figure to stand for the transformation of the nineteenth-century capital? Haussmann. Hands down. Alexia Yates‘s book, Selling Paris: Property and Commercial Culture in the Fin-de-siecle Capital (Harvard UP, 2015), opened my eyes to a whole other world of everyday urbanism and historical actors in the city during the first decades of the Third Republic. Acknowledging the undeniable impact of Haussmann and Haussmannization on the city that Paris became under and after the Second Empire, Selling Paris considers the activities, interests, and effects of a host of other figures who shaped the city’s property relations and commercial culture from the early years of the Third Republic to the First World War. In the books chapters, readers will find a social history of the business of French building during this period, from planning and production to use. Focused on the architects, private developers, municipal authorities, speculators, real estate agents, notaries, property owners, and tenants whose interactions and negotiations influenced the form, representation, and experience of Parisian real estate in purposeful ways, the book makes significant contributions to our understanding of the history of the capital and capitalism in France. Roxanne Panchasi is an Associate Professor in the Department of History at Simon Fraser University. A historian of French culture and politics in the twentieth century, her current research focuses on the representation of nuclear weapons and testing in France and its empire since 1945. She lives and reads in Vancouver, Canada. If you have a recent title to suggest for the podcast, please send an email to: panchasi@sfu.ca. *The music that opens and closes the podcast is an instrumental version of Creatures, a song written by Vancouver artist/musician Casey Wei (performing as hazy). To hear more, please visit https://agonyklub.com/. Learn more about your ad choices. Visit megaphone.fm/adchoices

What comes to mind when you think of Paris in the nineteenth century? For me, its revolutionary politics, the circulation of increasing numbers of people and goods, a range of spectacular cultural displays and amusements, an emergent urban modernity including a host of negotiations between social classes, public and private, men and women, citizens and the state. And if I had to name one historical figure to stand for the transformation of the nineteenth-century capital? Haussmann. Hands down. Alexia Yates‘s book, Selling Paris: Property and Commercial Culture in the Fin-de-siecle Capital (Harvard UP, 2015), opened my eyes to a whole other world of everyday urbanism and historical actors in the city during the first decades of the Third Republic. Acknowledging the undeniable impact of Haussmann and Haussmannization on the city that Paris became under and after the Second Empire, Selling Paris considers the activities, interests, and effects of a host of other figures who shaped the city’s property relations and commercial culture from the early years of the Third Republic to the First World War. In the books chapters, readers will find a social history of the business of French building during this period, from planning and production to use. Focused on the architects, private developers, municipal authorities, speculators, real estate agents, notaries, property owners, and tenants whose interactions and negotiations influenced the form, representation, and experience of Parisian real estate in purposeful ways, the book makes significant contributions to our understanding of the history of the capital and capitalism in France. Roxanne Panchasi is an Associate Professor in the Department of History at Simon Fraser University. A historian of French culture and politics in the twentieth century, her current research focuses on the representation of nuclear weapons and testing in France and its empire since 1945. She lives and reads in Vancouver, Canada. If you have a recent title to suggest for the podcast, please send an email to: panchasi@sfu.ca. *The music that opens and closes the podcast is an instrumental version of Creatures, a song written by Vancouver artist/musician Casey Wei (performing as hazy). To hear more, please visit https://agonyklub.com/. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Style and Seduction: Jewish Patrons, Architecture, and Design in Fin de Siecle Vienna (Brandeis University Press, 2016), Elana Shapira, Lecturer at the University of Applied Arts Vienna, examines the complex histories of Jewish cultural patronage in Vienna. She offers a nuanced and compelling account of the cultural networks of the time. This book is an important contribution, which overturns established ideas about the Jewishness of Viennese cultural figures of this period. Shapira brings into question dominant ideas about assimilation, modernism and cultural interchange. This book will be an important reference on this subject for many years to come. Max Kaiser is a PhD candidate at the University of Melbourne. He can be reached at kaiser@student.unimelb.edu.au. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Style and Seduction: Jewish Patrons, Architecture, and Design in Fin de Siecle Vienna (Brandeis University Press, 2016), Elana Shapira, Lecturer at the University of Applied Arts Vienna, examines the complex histories of Jewish cultural patronage in Vienna. She offers a nuanced and compelling account of the cultural networks of the time. This book is an important contribution, which overturns established ideas about the Jewishness of Viennese cultural figures of this period. Shapira brings into question dominant ideas about assimilation, modernism and cultural interchange. This book will be an important reference on this subject for many years to come. Max Kaiser is a PhD candidate at the University of Melbourne. He can be reached at kaiser@student.unimelb.edu.au. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Style and Seduction: Jewish Patrons, Architecture, and Design in Fin de Siecle Vienna (Brandeis University Press, 2016), Elana Shapira, Lecturer at the University of Applied Arts Vienna, examines the complex histories of Jewish cultural patronage in Vienna. She offers a nuanced and compelling account of the cultural networks of the time. This book is an important contribution, which overturns established ideas about the Jewishness of Viennese cultural figures of this period. Shapira brings into question dominant ideas about assimilation, modernism and cultural interchange. This book will be an important reference on this subject for many years to come. Max Kaiser is a PhD candidate at the University of Melbourne. He can be reached at kaiser@student.unimelb.edu.au. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Style and Seduction: Jewish Patrons, Architecture, and Design in Fin de Siecle Vienna (Brandeis University Press, 2016), Elana Shapira, Lecturer at the University of Applied Arts Vienna, examines the complex histories of Jewish cultural patronage in Vienna. She offers a nuanced and compelling account of the cultural networks of the time. This book is an important contribution, which overturns established ideas about the Jewishness of Viennese cultural figures of this period. Shapira brings into question dominant ideas about assimilation, modernism and cultural interchange. This book will be an important reference on this subject for many years to come. Max Kaiser is a PhD candidate at the University of Melbourne. He can be reached at kaiser@student.unimelb.edu.au. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Style and Seduction: Jewish Patrons, Architecture, and Design in Fin de Siecle Vienna (Brandeis University Press, 2016), Elana Shapira, Lecturer at the University of Applied Arts Vienna, examines the complex histories of Jewish cultural patronage in Vienna. She offers a nuanced and compelling account of the cultural networks of the time. This book is an important contribution, which overturns established ideas about the Jewishness of Viennese cultural figures of this period. Shapira brings into question dominant ideas about assimilation, modernism and cultural interchange. This book will be an important reference on this subject for many years to come. Max Kaiser is a PhD candidate at the University of Melbourne. He can be reached at kaiser@student.unimelb.edu.au. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Style and Seduction: Jewish Patrons, Architecture, and Design in Fin de Siecle Vienna (Brandeis University Press, 2016), Elana Shapira, Lecturer at the University of Applied Arts Vienna, examines the complex histories of Jewish cultural patronage in Vienna. She offers a nuanced and compelling account of the cultural networks of the time. This book is an important contribution, which overturns established ideas about the Jewishness of Viennese cultural figures of this period. Shapira brings into question dominant ideas about assimilation, modernism and cultural interchange. This book will be an important reference on this subject for many years to come. Max Kaiser is a PhD candidate at the University of Melbourne. He can be reached at kaiser@student.unimelb.edu.au. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Life imitates Art far more than Art imitates Life,” Oscar Wilde famously observed. Wilde's waning romanticism can be read in stark contrast with Nietzsche, who argued around the same time, “art is nothing but a kind of applied physiology.” Robert Brain's The Pulse of Modernism: Physiological Aesthetics in Fin-de-Siecle Europe (University of Washington Press, 2015) unveils a fascinating world of exchange between artistic studios and physiology laboratories concealed by such pithy aphorisms. Brain argues that the influence and stature of physiological aesthetics have been overlooked in accounts of modernism in science and art, and seeks to recover experimental systems that were incredibly influential and fertile in their cultural situation. Brain first sets himself to chart the development of physiological recording in the sciences, first as experimental technique, then as ontology, in a fascinating chapter on the protoplasm theory of life and on to its application to the human qua human problems of linguistic analysis. He then describes the experimentalization of visual art (Georges Seurat, Edvard Munch) and poetry (Gustave Kahn, F. T. Marinetti). The influence of Charles Henry, who inhabited both artists' circles and physiology laboratories in his work as a preparateur, becomes a key pivot in Brain's narrative through his creation a scientific aesthetic that could be deployed as a kind of productive black-box. The Pulse of Modernism is a rich portrait of fin-de-siecle material and intellectual culture, and challenges the pride of place given to Victorian sensibilities in the fashioning of the late modern (early modernist) scientific subject. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Life imitates Art far more than Art imitates Life,” Oscar Wilde famously observed. Wilde's waning romanticism can be read in stark contrast with Nietzsche, who argued around the same time, “art is nothing but a kind of applied physiology.” Robert Brain's The Pulse of Modernism: Physiological Aesthetics in Fin-de-Siecle Europe (University of Washington Press, 2015) unveils a fascinating world of exchange between artistic studios and physiology laboratories concealed by such pithy aphorisms. Brain argues that the influence and stature of physiological aesthetics have been overlooked in accounts of modernism in science and art, and seeks to recover experimental systems that were incredibly influential and fertile in their cultural situation. Brain first sets himself to chart the development of physiological recording in the sciences, first as experimental technique, then as ontology, in a fascinating chapter on the protoplasm theory of life and on to its application to the human qua human problems of linguistic analysis. He then describes the experimentalization of visual art (Georges Seurat, Edvard Munch) and poetry (Gustave Kahn, F. T. Marinetti). The influence of Charles Henry, who inhabited both artists' circles and physiology laboratories in his work as a preparateur, becomes a key pivot in Brain's narrative through his creation a scientific aesthetic that could be deployed as a kind of productive black-box. The Pulse of Modernism is a rich portrait of fin-de-siecle material and intellectual culture, and challenges the pride of place given to Victorian sensibilities in the fashioning of the late modern (early modernist) scientific subject. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

“Life imitates Art far more than Art imitates Life,” Oscar Wilde famously observed. Wilde’s waning romanticism can be read in stark contrast with Nietzsche, who argued around the same time, “art is nothing but a kind of applied physiology.” Robert Brain’s The Pulse of Modernism: Physiological Aesthetics in Fin-de-Siecle Europe (University of Washington Press, 2015) unveils a fascinating world of exchange between artistic studios and physiology laboratories concealed by such pithy aphorisms. Brain argues that the influence and stature of physiological aesthetics have been overlooked in accounts of modernism in science and art, and seeks to recover experimental systems that were incredibly influential and fertile in their cultural situation. Brain first sets himself to chart the development of physiological recording in the sciences, first as experimental technique, then as ontology, in a fascinating chapter on the protoplasm theory of life and on to its application to the human qua human problems of linguistic analysis. He then describes the experimentalization of visual art (Georges Seurat, Edvard Munch) and poetry (Gustave Kahn, F. T. Marinetti). The influence of Charles Henry, who inhabited both artists’ circles and physiology laboratories in his work as a preparateur, becomes a key pivot in Brain’s narrative through his creation a scientific aesthetic that could be deployed as a kind of productive black-box. The Pulse of Modernism is a rich portrait of fin-de-siecle material and intellectual culture, and challenges the pride of place given to Victorian sensibilities in the fashioning of the late modern (early modernist) scientific subject. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Life imitates Art far more than Art imitates Life,” Oscar Wilde famously observed. Wilde’s waning romanticism can be read in stark contrast with Nietzsche, who argued around the same time, “art is nothing but a kind of applied physiology.” Robert Brain’s The Pulse of Modernism: Physiological Aesthetics in Fin-de-Siecle Europe (University of Washington Press, 2015) unveils a fascinating world of exchange between artistic studios and physiology laboratories concealed by such pithy aphorisms. Brain argues that the influence and stature of physiological aesthetics have been overlooked in accounts of modernism in science and art, and seeks to recover experimental systems that were incredibly influential and fertile in their cultural situation. Brain first sets himself to chart the development of physiological recording in the sciences, first as experimental technique, then as ontology, in a fascinating chapter on the protoplasm theory of life and on to its application to the human qua human problems of linguistic analysis. He then describes the experimentalization of visual art (Georges Seurat, Edvard Munch) and poetry (Gustave Kahn, F. T. Marinetti). The influence of Charles Henry, who inhabited both artists’ circles and physiology laboratories in his work as a preparateur, becomes a key pivot in Brain’s narrative through his creation a scientific aesthetic that could be deployed as a kind of productive black-box. The Pulse of Modernism is a rich portrait of fin-de-siecle material and intellectual culture, and challenges the pride of place given to Victorian sensibilities in the fashioning of the late modern (early modernist) scientific subject. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Life imitates Art far more than Art imitates Life,” Oscar Wilde famously observed. Wilde’s waning romanticism can be read in stark contrast with Nietzsche, who argued around the same time, “art is nothing but a kind of applied physiology.” Robert Brain’s The Pulse of Modernism: Physiological Aesthetics in Fin-de-Siecle Europe (University of Washington Press, 2015) unveils a fascinating world of exchange between artistic studios and physiology laboratories concealed by such pithy aphorisms. Brain argues that the influence and stature of physiological aesthetics have been overlooked in accounts of modernism in science and art, and seeks to recover experimental systems that were incredibly influential and fertile in their cultural situation. Brain first sets himself to chart the development of physiological recording in the sciences, first as experimental technique, then as ontology, in a fascinating chapter on the protoplasm theory of life and on to its application to the human qua human problems of linguistic analysis. He then describes the experimentalization of visual art (Georges Seurat, Edvard Munch) and poetry (Gustave Kahn, F. T. Marinetti). The influence of Charles Henry, who inhabited both artists’ circles and physiology laboratories in his work as a preparateur, becomes a key pivot in Brain’s narrative through his creation a scientific aesthetic that could be deployed as a kind of productive black-box. The Pulse of Modernism is a rich portrait of fin-de-siecle material and intellectual culture, and challenges the pride of place given to Victorian sensibilities in the fashioning of the late modern (early modernist) scientific subject. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Life imitates Art far more than Art imitates Life,” Oscar Wilde famously observed. Wilde’s waning romanticism can be read in stark contrast with Nietzsche, who argued around the same time, “art is nothing but a kind of applied physiology.” Robert Brain’s The Pulse of Modernism: Physiological Aesthetics in Fin-de-Siecle Europe (University of Washington Press, 2015) unveils a fascinating world of exchange between artistic studios and physiology laboratories concealed by such pithy aphorisms. Brain argues that the influence and stature of physiological aesthetics have been overlooked in accounts of modernism in science and art, and seeks to recover experimental systems that were incredibly influential and fertile in their cultural situation. Brain first sets himself to chart the development of physiological recording in the sciences, first as experimental technique, then as ontology, in a fascinating chapter on the protoplasm theory of life and on to its application to the human qua human problems of linguistic analysis. He then describes the experimentalization of visual art (Georges Seurat, Edvard Munch) and poetry (Gustave Kahn, F. T. Marinetti). The influence of Charles Henry, who inhabited both artists’ circles and physiology laboratories in his work as a preparateur, becomes a key pivot in Brain’s narrative through his creation a scientific aesthetic that could be deployed as a kind of productive black-box. The Pulse of Modernism is a rich portrait of fin-de-siecle material and intellectual culture, and challenges the pride of place given to Victorian sensibilities in the fashioning of the late modern (early modernist) scientific subject. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Life imitates Art far more than Art imitates Life,” Oscar Wilde famously observed. Wilde’s waning romanticism can be read in stark contrast with Nietzsche, who argued around the same time, “art is nothing but a kind of applied physiology.” Robert Brain’s The Pulse of Modernism: Physiological Aesthetics in Fin-de-Siecle Europe (University of Washington Press, 2015) unveils a fascinating world of exchange between artistic studios and physiology laboratories concealed by such pithy aphorisms. Brain argues that the influence and stature of physiological aesthetics have been overlooked in accounts of modernism in science and art, and seeks to recover experimental systems that were incredibly influential and fertile in their cultural situation. Brain first sets himself to chart the development of physiological recording in the sciences, first as experimental technique, then as ontology, in a fascinating chapter on the protoplasm theory of life and on to its application to the human qua human problems of linguistic analysis. He then describes the experimentalization of visual art (Georges Seurat, Edvard Munch) and poetry (Gustave Kahn, F. T. Marinetti). The influence of Charles Henry, who inhabited both artists’ circles and physiology laboratories in his work as a preparateur, becomes a key pivot in Brain’s narrative through his creation a scientific aesthetic that could be deployed as a kind of productive black-box. The Pulse of Modernism is a rich portrait of fin-de-siecle material and intellectual culture, and challenges the pride of place given to Victorian sensibilities in the fashioning of the late modern (early modernist) scientific subject. Learn more about your ad choices. Visit megaphone.fm/adchoices

Institute of Historical Research Selling Paris: The Commerce in Real Estate in the Fin-de-siecle Alexia Yates (Cambridge) Metropolitan History seminar series

Pretty much everyone understands what is called the “Cult of Celebrity,” particularly as it manifests itself in the arts. It’s a mentality that privileges the actor over the act, the singer over the song, the painter over the painting, and so on. The Cult of Celebrity’s essence is a fanatical... Learn more about your ad choices. Visit megaphone.fm/adchoices

Pretty much everyone understands what is called the “Cult of Celebrity,” particularly as it manifests itself in the arts. It’s a mentality that privileges the actor over the act, the singer over the song, the painter over the painting, and so on. The Cult of Celebrity’s essence is a fanatical and even irrational devotion to individuals who have, so it seems, some magical, charismatic quality. It’s all around us today. But it wasn’t always so. In her fascinating new book Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-Siecle Russia (Palgrave-Macmillan, 2013), Anna Fishzon explores the development of the Cult of Celebrity in late nineteenth- and early twentieth-century Russian opera. In many ways, fin-de-siecle Russia was out-of-step with the West: it was ruled by an autocrat, dominated by a mass of poor peasants, and struggling to find its way to economic and political modernity. But, as Anna points out, the Russians–or at least those in places where Western culture was on display–embraced the burgeoning Cult of Celebrity. They made and worshiped stars, tried to look and act like them, and went to great lengths to be in their presence and communicate with them. Russian opera fans believed that their idols were transparent souls. They transcended art; they were truly authentic. You could, in their performances, see who they really were. And, as Anna notes, this devotion to “authenticity” did not die with the Imperial Regime in 1917. The Bolsheviks believed in it as well, and they searched mightily for authenticity in their subjects. Who, they asked, was a real communist and who was an “enemy of the people?” The performance–at show trials, for example–would tell. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pretty much everyone understands what is called the “Cult of Celebrity,” particularly as it manifests itself in the arts. It’s a mentality that privileges the actor over the act, the singer over the song, the painter over the painting, and so on. The Cult of Celebrity’s essence is a fanatical and even irrational devotion to individuals who have, so it seems, some magical, charismatic quality. It’s all around us today. But it wasn’t always so. In her fascinating new book Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-Siecle Russia (Palgrave-Macmillan, 2013), Anna Fishzon explores the development of the Cult of Celebrity in late nineteenth- and early twentieth-century Russian opera. In many ways, fin-de-siecle Russia was out-of-step with the West: it was ruled by an autocrat, dominated by a mass of poor peasants, and struggling to find its way to economic and political modernity. But, as Anna points out, the Russians–or at least those in places where Western culture was on display–embraced the burgeoning Cult of Celebrity. They made and worshiped stars, tried to look and act like them, and went to great lengths to be in their presence and communicate with them. Russian opera fans believed that their idols were transparent souls. They transcended art; they were truly authentic. You could, in their performances, see who they really were. And, as Anna notes, this devotion to “authenticity” did not die with the Imperial Regime in 1917. The Bolsheviks believed in it as well, and they searched mightily for authenticity in their subjects. Who, they asked, was a real communist and who was an “enemy of the people?” The performance–at show trials, for example–would tell. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bart Lootsma über Fin de Siecle.

Public discourse in the final decade of Imperial Russia was dominated by images of darkness and dread. Discussions of “these times” and “times of trouble” captured the sense that Russians were living on the “edge of abyss” from which there was “no exit.” It was this sense of imminent doom,... Learn more about your ad choices. Visit megaphone.fm/adchoices

Public discourse in the final decade of Imperial Russia was dominated by images of darkness and dread. Discussions of “these times” and “times of trouble” captured the sense that Russians were living on the “edge of abyss” from which there was “no exit.” It was this sense of imminent doom, or simply the stasis of despair, argues Mark Steinberg in his book St. Petersburg: Fin de Siecle (Yale UP, 2011), that defined the social and cultural experience of the denizens of Russia’s “Window to the West.” And the apocalyptic visions not so much foreshadowed 1917, as they unmasked modernity’s promise of progress as an illusion. Much of St. Petersburg: Fin de Siecle is about experience: the everyday and the emotional; the sensual and the physical. After all, the prosaic experience of modernity was not of a society ruled by the geometry of order, but assaulted by the incongruity of chaos. As Steinberg shows the clanking of street cars, the bustle of the crowd, the shadows of the alley, and the unfamiliarity of the stranger make modernity an experience wrought with anxiety, trepidation, and even trauma. St. Petersburg may be Russia’s city of light with its wide thoroughfares, colorful architecture, and white nights, but these illuminations cast dark shadows. Learn more about your ad choices. Visit megaphone.fm/adchoices

Public discourse in the final decade of Imperial Russia was dominated by images of darkness and dread. Discussions of “these times” and “times of trouble” captured the sense that Russians were living on the “edge of abyss” from which there was “no exit.” It was this sense of imminent doom, or simply the stasis of despair, argues Mark Steinberg in his book St. Petersburg: Fin de Siecle (Yale UP, 2011), that defined the social and cultural experience of the denizens of Russia’s “Window to the West.” And the apocalyptic visions not so much foreshadowed 1917, as they unmasked modernity’s promise of progress as an illusion. Much of St. Petersburg: Fin de Siecle is about experience: the everyday and the emotional; the sensual and the physical. After all, the prosaic experience of modernity was not of a society ruled by the geometry of order, but assaulted by the incongruity of chaos. As Steinberg shows the clanking of street cars, the bustle of the crowd, the shadows of the alley, and the unfamiliarity of the stranger make modernity an experience wrought with anxiety, trepidation, and even trauma. St. Petersburg may be Russia’s city of light with its wide thoroughfares, colorful architecture, and white nights, but these illuminations cast dark shadows. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bart Lootsma über das Fin de Siecle.

Bart Lootsma über das Fin de Siecle.

Bart Lootsma über das Fin de Siecle.

Bart Lootsma über das Fin de Siecle in Amsterdam.

Bart Lootsma über das Fin de Siecle in Amsterdam.

Bart Lootsma über das Fin de Siecle in Wien.

Bart Lootsma über das Fin de Siecle in Wien.

Bart Lootsma über Amsterdam und das "Fin de Siecle"

Bart Lootsma über Wien und das Fin de Siecle

Bart Lootsma über das Fin de Siecle in Wien (Teil 4)

Bart Lootsma über das Fin de Siecle in Wien (Teil 3)

Bart Lootsma über das Fin de Siecle in Wien (Teil 3)

Bart Lootsma über das Fin de Siecle in Wien (Teil 2)

Bart Lootsma über das Fin de Siecle in Wien (Teil 2)

Bart Lootsma über das Fin de Siecle in Wien (Teil 1)

Bart Lootsma über das Fin de Siecle in Wien (Teil 1)