And(¨th)ro~femme! (andthro_femme) wrote in les_nerfs,

The modern identity.

'[...] The painter, the true painter for whom we are looking will be he who can snatch its epic quality from the life of today, and can make us see and understand, with brush or with pencil, how great and poetic we are in our cravats and our patent-leather boots.' -On The Heroism Of Modern Life; Charles Pierre Baudelaire, 1965, p. 32-

The heroism of modernity is one of the essential topics of decadence research and modern sociology. Some of the german-speaking of you might know this great(est) book about Dandyism and it´s impacts entiteled "Aeshetische Rebellen Und Rebellische Aestheten" by Schickedanz, where this aspect also appears in several chapters..

Modernism needs a hero, who´s product of creativity remains in total isolation from the cosumers consideration, this hero is able to 'bewitch' with the help of fatal disguse, that rather manifests itself in his/her existence than in a product.

The entity of dandyism seems to be defined by masculine brains and bodies, who present themselfes as (not directly sexistic), but tho rather misogynic, in total intellectual ignorance towards woman (..with the exception of baudelaire plus maybe a hand ful of other idols of the newborn decadent word view). Even Rachilde had prefered to inscinate herself as a man /not a manly being but a MAN/, subpressing her female identity. Was it just the spirit of time in the encyclopedical nineteenth century, where woman had no part in intellectual life, far away of being legitimated to take a risk or two? I wonder; What is it that caused this giantic barricade between the female being (in LIFE, not epically, in this fatal role) and that "founding period" of decadence?
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