Declensions
D'Annunzio after the Sublime
Bibliographic Data
| ID | 4771183 |
|---|---|
| Authors | Paolo Valesio, Marilyn Migiel |
| Year | 1985 |
| Volume | 16 |
| Issue | 2 |
| Pages | 401 |
| Publication date | 1985-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | New Literary History (JOURNAL) |
| Journal identifiers | ISSN: 0028-6087 • E-ISSN: 1080-661X |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/468753 |
| OpenAlex | W2318951869 |
| Language | EN |
| Citations received | 1 |
W ITHIN a more general concept of criticism as meditation, I wish to put forth here some meditations on discourse that is decadent, decadentistic, or modern-where high is understood both in a chronological sense and in the sense of register or level of performance. These meditations are grounded in the powerful opus of Gabriele D'Annunzio, an opus symbolic of decadent discourse at its peak in Europe and still in need of an adequate critical revision.1 Out of the complex and nobly articulated structure of D'Annunzio's work, I choose the dramatic genre, and specifically the tragedy entitled Fedra. What follow are nodes/notes for meditation. A meditation on the decadent which does not wish to remain ri
Art · Art history · Sublime · Art, Politics, and Modernism · Italian Fascism and Post-war Society · Italian Literature and Culture
| Citations per year | 0.03 |
|---|---|
| Citation span | 1990 - 1990 (1) |
| Highly cited | No |