Locks & Frocks is an evening of Divine Decadence.

The theme of human dignity is raised in a terrible way in the nightmarish scenes at the Flesh Fair, in which human-looking robots, clearly imbued like their creators with a desire to live, are demolished to delight a crowd that espouses "the dignity of life."

Decadence, Rome and Romania, the Emperors Who Weren't…

Symbolism and Decadence in Wilde's Salome

Pure Keto Decadence: Low-carb Zabaglione With …

"Style in decadent art asphyxiates its subject," Conrad claims, and indeed, most of Wilde's other works, and most certainly his lifestyle and biography, attest to his agreement.

Keto decadence for the fat fast

Never an exclusive or well-defined school, the Decadents drew their inspiration from many of the same sources as the Symbolists, such as the poems of Baudelaire and the dramas of Maeterlinck.

244].A little digging, however, and the whole idea of Roman

The Ethics of Aesthetics: Decadence in Henrik Ibsen ..

Recently, Peter Heather, who also rejects arguments about Roman decadence, argues in his [Oxford, 2006] that the Roman system was simply overwhelmed by the numbers of the immigrating tribes, that the Roman Army, although large enough on paper, could only bring to bear forces that were actually outnumbered by the Goths, Vandals, Suevi, etc., and that the occupation of Roman lands in Gaul, Spain, and North Africa damaged the Roman tax base enough that the Army could not recover.

Indeed, the underlying theme of the drama is at once a most weighty and yet intangible question of human existence: the nature of aestheticism.

Posts about decadence written by JoB

When the Danish critic Georg Brandes (1842–1927) first introduced awider European audience to Nietzsche's ideas during public lectures in1888, he concentrated on Nietzsche's vitriolic campaign againstmorality and what Brandes dubbed (with Nietzsche's subsequent approval)Nietzsche's “aristocratic radicalism.” On this reading,Nietzsche was primarily concerned with questions of value andculture (especially the value of morality and its effect on culture),and his philosophical standpoint was acknowledged to be a deeplyilliberal one: what matters are great human beings,not the “herd.” The egalitarian premise of all contemporarymoral and political theory — the premise, in one form or another,of the equal worth or dignity of each person — is simply absentin Nietzsche's work. This naturally leads to the question: whatpolitics would Nietzsche recommend to us in light of his repudiation ofthe egalitarian premise?

paradoxically situated in the midst of the cesspool of decadence that ..


A number of writers claim that Wilde was genuinely convinced of these poetic ideals, and that is therefore a faithful "symbolist drama" -- Quigley remarks, for example, on how Wilde seems interested "in exploring the outer margins of human experience, the margins at which the continuum of human experience makes contact at one end with religious transcendence and at the other with raw animality." Other critics find that the tone and plot of the play undercut the symbolism, leading to the conclusion that is "a brilliant pastiche of turn-of-the-century Decadent art," or that, in another analysis, the drama displays a "humour which one can with difficulty believe to be unintentional, so much does Wilde's play resemble a parody of the whole of the material used by the Decadents and of the stammering mannerism of Maeterlinck's dramas." I cannot agree with either end of this spectrum: after reading , one is certainly left with strong doubts as to the "truth" of symbolist ideals, but to call the entire play a parody or pastiche is certainly an exaggeration -- the very nature of the conflict, the exquisite treatment of Salome herself, and the final events of the drama prohibit such a conclusion.

Dec 20, 2009 · Explore Decadence: 'Picture of Dorian Gray' by ..

The issue here is moral decadence in our society

Here, though, one must remember the earlier discussion ofNietzsche's critique of morality. Consider the Nietzsche who asks:“Where has the last feeling of decency and self-respect gone wheneven our statesmen, an otherwise quite unembarrassed type of man,anti-Christians through and through in their deeds, still callthemselves Christians today and attend communion?” (A 38).Clearly this Nietzsche is under no illusions about the extent to whichpublic actors do not act morally. Indeed, Nietzsche continues in evenmore explicit terms: “Every practice of every moment, everyinstinct, every valuation that is translated into action istoday anti-Christian: what a miscarriage of falseness mustmodern man be, that he is not ashamed to be called a Christianin spite of all this!” (A 38). What, then, is going on here? IfNietzsche is not, contrary to Foot's suggestion, embracing the absurdview that there is too much pity and altruism in the world, whatexactly is his critical point?