decadanse bis

[Monica Belevan]

Gregory, we may talk as soon as you stop disemboweling things from their 
contexts. Learn to read and synthetize information. It may take you a good 
few years.

>From: alfredjprufrock at club-internet.fr
>Reply-To: alfredjprufrock at club-internet.fr
>To: pynchon-l at waste.org
>Subject: decadanse bis
>Date: Wed, 10 Jul 2002 23:08:24 +0200
>
>hey monikuh
>
>well i agree with what you say, i was just pointing out that when you
>look into it, there is a difference between poètes maudits and
>parnassians and symbolists. If mallarmé and verlaine are
>  related to parnasse, they were mavericks (as opposed to dull
>  parnassians like, say, gautier)  and ducasse sure
>couldn't be related to any of those parisian circles. could it be
>that we secretly agree but still anjoy playing the very french sport of 
>"couper
>les cheveux en quatre", monique?
>
>gregory
>
>MB> Yes, Gregorovius, but if we are going to reduce everything ad absurdum 
>ad
>MB> nauseam, then we better discuss Husserl and solipsism, or ourobouros, 
>or
>MB> algebraic reversibilities.
>
>MB> I appreciate the link, I´ll fish through it soon. Perhaps the system in
>MB> France is different; however, in the chronology of literary history, 
>the
>MB> peak manifestations of the decadent spirit are set in the
>MB> Parnassian-Symbolist intervals. It´s not set in stone, Gregor, but it´s
>MB> fairly consensual.
>
>MB> --Monica
>
>
> >>From: alfredjprufrock at club-internet.fr
> >>Reply-To: alfredjprufrock at club-internet.fr
> >>To: pynchon-l at waste.org
> >>Subject: la décadanse
> >>Date: Wed, 10 Jul 2002 18:48:06 +0200
> >>
> >>hey monica,
> >>
> >>décadence (or anything, for that matter) can be traced back forever, you
> >>know, if you want to go
> >>there. you're the one who mentioned it in relation to the
> >>"poètes maudits" and the 19th century, so i was just pointing out that 
>here
> >>it's not
> >>really what we understand by décadents, but something more specific,
> >>but that's ok monica, and i actually know what you mean (and agree) but 
>we
> >>just
> >>don't use the same terms, you see. In France. Not my fault. No
> >>affectation here or whatever. That's how we learn about it. I swear. 
>Check
> >>this out for
> >>example (i don't know if you read french):
> >>http://www.bmlisieux.com/curiosa/jtellier.htm
> >>Get my point?
> >>oh and please, when you're done looking down on me, dear, could you 
>start
> >>spelling my name right?
> >>thank you
> >>
> >>Grégory (not Grégoire, i used to beat people up for that one...
> >>just kidding(i figure i should make that clear, seeing how natural
> >>humor is around here...)!)
> >>MB> Gregoire-- ´´decadentism´´, is, in fact, the art of supreme
> >>affectation, and
> >>MB> if you are merely picking at the smaller threads and timelines you 
>only
> >>have
> >>MB> part of the picture. More than decadent art ( a contradcition in 
>terms,
> >>MB> perhaps?), there is a decadent cosmovision. That is precisely what
> >>MB> Parnassians, Symbolists and even French proto-Surrealists like
> >>Lautreamont
> >>MB> share, that special disposition, that agriculture of spleen. The 
>term
> >>itself
> >>MB> is English and was coigned by Baudelaire, who set the definitive
> >>antecedent
> >>MB> for this form of aestheticism. If you trace it further back, you 
>shall
> >>MB> discover a rich Gothic influence as well. Abridging the decandent
> >>esprit to
> >>MB> schools and petit comites, however, testifies to your own 
>affectation,
> >>and
> >>MB> fails to do much justice to it´s historical import in the
> >>reconstruction of
> >>MB> aesthetics.
> >>MB> This was all discussed to some extent in recent p-list postings, ´´ 
>The
> >>MB> Aesthetics of Ugliness´´.
> >>
> >>MB> David-- I don´t have either M&D or V. with me, so it is impossible 
>for
> >>me to
> >>MB> address you an answer as punctually as I would like to. No less, I 
>was
> >>MB> referring to a more global atmosphere to Pynchon´s texts. To reading
> >>the
> >>MB> Pynchon that Paul likes to read, he´s the Pynchon I like best as 
>well.
> >>And
> >>MB> your quotations testify to this. If you read them, as they are, you
> >>will
> >>MB> notice that V.´s intrinsic polyhedric architecture makes of 
>Decadence
> >>an x
> >>MB> variable, a term of multipe acceptations, and shifting affectations 
>as
> >>well.
> >>MB> One of the quotations, in fact, even points to a particular vitality 
>in
> >>MB> decadence:
> >>
> >>MB> ´´This sort of arranging and rearranging was Decadence, but the
> >>exhaustion
> >>MB> of all possible permutations and combinations was death." 298
> >>
> >>MB> I do not believe we disagree.
> >>
> >>MB> Love, Monica
> >>
> >>
> >>
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> >>
> >>
> >>
> >>--
> >>Best regards,
> >>  alfredjprufrock
> >>mailto:alfredjprufrock at club-internet.fr
>
>
>
>
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>
>
>--
>Best regards,
>  alfredjprufrock
>mailto:alfredjprufrock at club-internet.fr




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