- Page 1: Volume 17; Number I ART C.RIT1C1SM
- Page 4 and 5: Art Department State University of
- Page 8 and 9: Breaking the Picture Plane: Reflect
- Page 10 and 11: whale saga (more recently Hesse or
- Page 12 and 13: and many of whom were born in Europ
- Page 14 and 15: printed a bullet track fired into a
- Page 16 and 17: music that (like the Mona Lisa) has
- Page 18 and 19: causing by neglect a bitterness amo
- Page 20 and 21: preserved some of the exuberance th
- Page 22 and 23: which inspiration was stabilized. 5
- Page 24 and 25: pain in the eyes of the cripple giv
- Page 26 and 27: Bruckner did in his music) was not
- Page 28 and 29: mortify into hard edges and mushy c
- Page 30 and 31: with the sleep of reason. In the Am
- Page 32 and 33: cent. Its fluidity of happy acciden
- Page 34 and 35: And yet I can imagine these atrocit
- Page 36 and 37: erature the not very evocative work
- Page 38 and 39: maiden" of Marxism (unless things g
- Page 40 and 41: ic he realize that artists suddenly
- Page 42 and 43: The little nonsense that wise men r
- Page 44 and 45: desensitized by the imitated means
- Page 46 and 47: symbolism? If the arts only exist t
- Page 48 and 49: The Femme Fatale as seen in the wor
- Page 50 and 51: Huysmans parallels the life of De R
- Page 52 and 53: ask for the unreasonable and receiv
- Page 54 and 55: ennui or physical distress leads th
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ences cited herein, the femme fatal
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period."2 He traced the tradition b
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suggestion to the artist and the po
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of Moreau's works is vague and myst
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ing her as the femme fatale, or sub
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The subtitle Satanic Decameron evok
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completely mythical. Coupled with a
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Moreau was very much a man of his t
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themes and images are often decaden
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p. 7-8; cited in Pierre Louis Mathi
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Between World War I and World War I
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shown distrust in the new styles. T
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These passages were meant to help g
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man public was voicing disapproval
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y old masters that were more suitab
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Notes 1 Alfred Barr, "Art in the Th
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From Diagnoses to Decadence: A Brie
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ate effort to reproduce fully an im
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patients. Charcot was often to be f
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Breuer attributed the presence of A
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still is traditionally associated w
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is not always recognized as such. H
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generation on which the multitude o
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2 Elaine Showalter, The Female Mala
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36 Freud and Breuer, 37. 37 Su'ch a
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Recasting the Art History Survey: E
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mode of self-consciousness that bes
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student-as-Other "calls" us to teac
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thesis of such descriptions into an
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In this final section of the essay,
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image-world, the picture opens up a
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history must itself be rethought in
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15 Two of the most prominent propon
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power: from the premodern exercise
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~fJed in the Unikd Smtc, .• 9 ~]~