{"title":"Why Did Čiurlionis Write the Word Decadence in Quotes? The Analysis of His February 1902 Letter to His Brother Povilas","authors":"Radosław Okulicz-Kozaryn","doi":"10.51554/coll.21.46.03","DOIUrl":null,"url":null,"abstract":"The paper offers a philological and contextual analysis of the word decadence as it was employed in Mikalojus Konstantinas Čiurlionis’s letter to his brother Povilas dated 6 February 1902. The Lithuanian artist implored his relative not to delve into his inner self because of the risk of falling into depression. Using his brother’s confessions, his own introspection, and intellectual experience, Čiurlionis explores this issue quite extensively. In his approach he refers to the theory of nervousness, uses the concepts of self-analysis and decadence, putting the latter in quotes. The quotes mark sender’s intention to dissociate himself from the phenomenon, as well as his confusion about its ambiguous meaning. In fact, as a result of the 19th-century scientific scepticism, the word decadence discredits every attempt at defining it. A careful study of term’s history and career at the turn of 19th century shows that Čiurlionis’s position mirrors uncertainty surrounding the notion in the Western countries, since it has been associated with the contemporary culture by Charles Baudelaire and Pierre Bourget. Some major controversies over the meaning of the word are recounted in the paper. Authors in Paris and London and especially the Warsaw artistic society, which gathered around Zenon PrzesmyckiMiriam and his art magazine “Chimera,” are presented as important in understanding Čiurlionis’s views.","PeriodicalId":37193,"journal":{"name":"Colloquia","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Colloquia","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.51554/coll.21.46.03","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 0
Abstract
The paper offers a philological and contextual analysis of the word decadence as it was employed in Mikalojus Konstantinas Čiurlionis’s letter to his brother Povilas dated 6 February 1902. The Lithuanian artist implored his relative not to delve into his inner self because of the risk of falling into depression. Using his brother’s confessions, his own introspection, and intellectual experience, Čiurlionis explores this issue quite extensively. In his approach he refers to the theory of nervousness, uses the concepts of self-analysis and decadence, putting the latter in quotes. The quotes mark sender’s intention to dissociate himself from the phenomenon, as well as his confusion about its ambiguous meaning. In fact, as a result of the 19th-century scientific scepticism, the word decadence discredits every attempt at defining it. A careful study of term’s history and career at the turn of 19th century shows that Čiurlionis’s position mirrors uncertainty surrounding the notion in the Western countries, since it has been associated with the contemporary culture by Charles Baudelaire and Pierre Bourget. Some major controversies over the meaning of the word are recounted in the paper. Authors in Paris and London and especially the Warsaw artistic society, which gathered around Zenon PrzesmyckiMiriam and his art magazine “Chimera,” are presented as important in understanding Čiurlionis’s views.
这篇论文对Mikalojus Konstantinas Čiurlionis在1902年2月6日给他哥哥Povilas的信中使用的颓废一词进行了语言学和语境分析。这位立陶宛艺术家恳求他的亲戚不要深入研究他的内心,因为他有陷入抑郁的风险。Čiurlionis利用他哥哥的自白、他自己的自省和智力经验,对这个问题进行了广泛的探讨。在他的方法中,他提到了紧张的理论,使用了自我分析和颓废的概念,并把后者加了引号。这些引语表明发件人有意将自己与这一现象分离开来,同时也表明他对这一模棱两可的含义感到困惑。事实上,由于19世纪的科学怀疑主义,“颓废”一词使所有试图定义它的尝试都失去了信誉。对19世纪之交术语的历史和职业的仔细研究表明,Čiurlionis的地位反映了西方国家围绕这一概念的不确定性,因为它被查尔斯·波德莱尔和皮埃尔·布尔歇与当代文化联系在一起。本文叙述了关于这个词的意义的一些主要争议。巴黎和伦敦的作家,尤其是聚集在Zenon PrzesmyckiMiriam和他的艺术杂志“Chimera”周围的华沙艺术协会,被认为是理解Čiurlionis观点的重要因素。