References in periodicals archive ?
The show opens with a large room devoted to Parisian fashion as described by Baudelaire; and it is a journey not only through Proust's Recherche, but through Henry James's The Portrait of a Lady (1881) and Oscar Wilde's The Picture of Dorian Gray (1890); Joris-Karl Huysmans and Gabriele D'Annunzio are also evoked.
He clarifies difficult questions regarding dates of composition; he reminds readers of less-familiar titles, such as the short story, "El contorno del ojo" (1983); and he has a very keen eye for detail, which, combined with his knowledge of several literary traditions, helps him elucidate important aspects of texts that would probably otherwise pass unnoticed, such as the connection he draws between Farewell's estate, La-Bas, in Nocturno de Chile and the novel by Joris-Karl Huysmans from which the estate draws its name (123); and the connection between Amalfitano's reading of Lonko Kilapan in 2666 and Julio Cortazar's references to Ceferino Piriz in Rayuela (185).
(2.) Joris-Karl Huysmans, Preface to 1903 edition of Against the Grain.
Its protagonist, Francois, is a literature professor, a specialist of the late-nineteenth-century French writer Joris-Karl Huysmans, and a great deal of the book is taken up with commentaries on Huysmans's career trajectory and quotations from his works.
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.
Following Baudelaire's model, and advancing diverse lines of inspiration that would become associated with symbolist poetry and decadent prose, respectively, Stephane Mallarme and Joris-Karl Huysmans devoted considerable attention to floral symbolism in their works.
Like the protagonist in Joris-Karl Huysmans's Against Nature (1884), who renounces his environment and retreats to an artificial world of his own design, Cameron-Weir has fashioned her work from a vision post-nature.
I will then suggest connections between the continental decadent artist Joris-Karl Huysmans and his Irish contemporary by demonstrating their shared rejection of ideal aesthetic utopianism in favor of a more complex and conflicted decadent vision.
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).