Charles-Marie-Georges Huysmans

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Huysmans, Charles-Marie-Georges

 

(literary name, Joris Karl Huysmans). Born Feb. 5, 1848, in Paris; died there May 12, 1907. French writer.

Huysmans as a romantic was at odds with the reality of capitalist society; this is evident in the lyrical miniatures of his cycle of short stories entitled The Comfit Dish of Spices(1874). The studies of Huysmans were filled with living speech and diverse fates of the Parisian lower classes (the novella Marthe,1876), the extinction of feelings in the soul of a young proletarian woman (the novel The Vatard Sisters,1879), the senselessness of an official’s existence (the novella With the Flow,1882), and the pathology of philistine egoism (the novella Dilemma,1887). In these works the characteristic signs of the bourgeois way of life penetrate through the naturalistic pattern, but Huysmans was unable to reject its basic principles. In a decadently refined cult of sensual pleasures he sought oblivion (the novel Against the Grain,1884); he fled from the contemporary age. which he hated, into a world of black magic and Satanism (the novel Down There,1891), religious illumination (the unfinished novel Up There,1893, published in 1965; the novel En Route,1895), and medieval mysticism (the novel The Cathedral,1898). Having entered on the path of “spiritualistic naturalism,” Huysmans the skeptic turned to Catholicism in 1892. Huysmans was a member of the Académie des Goncourt.

WORKS

Oeuvres complètes,vols. 1–18. Paris, 1928–34.
In Russian translation:
Poln. sobr. soch.,vols. 1–3. Moscow. 1912.

REFERENCES

Istoriia frantsuzskoi literatury,vol. 3. Moscow. 1959.
Chastel. G. J. K. Huysmans et ses amis.Paris [1957].
Cogny. P. Le “Huysmans intime . . . .” Paris, 1957.
Ridge. G. R. J.-K. Huysmans. New York. 1968. (Bibliography on pages 117–20).

V. P. BALASHOV

References in periodicals archive ?
Joris-Karl Huysmans, for one, observed: "I shall never be persuaded that a woman reading a letter in a blue dress, .
Ravel came of age in the era of Decadent authors such as Joris-Karl Huysmans, Charles Baudelaire, and Oscar Wilde, and the composer frequently acknowledged their influence in him.
Milbank's article explores the "rapprochement," via a shared "aesthetic of the grotesque," allying Joris-Karl Huysmans with Arthur Machen (whose 1895 novel The Three Impostors shares a basic narrative theme with Huysmans's La-Bas [1891]) (83).
But for Joris-Karl Huysmans, though he doubted the existence of God, belief in the devil was never a problem.
As a literary model, known to Joyce and egregious for unlikely assemblages of saints, he calls attention to the fiction of Joris-Karl Huysmans.
They are joined by a variety of miscreants and fools, freaks and grotesques drawn from the nineteenth century, such as the decadent Joris-Karl Huysmans and Jack the Ripper.
The general atmosphere, with things constantly happening, was well documented by the writer, Joris-Karl Huysmans in his Croquis Parisiens.
Here is Joris-Karl Huysmans, writing in La Revue independante in 1887: