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001			193650
003			IT-RoAPU
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008			210824t20182018mau fo d z eng d
020			_a9780674919716 _qPDF
024	7		_a10.4159/9780674919716 _2doi
035			_a(DE-B1597)9780674919716
035			_a(DE-B1597)501487
035			_a(OCoLC)1030304374
040			_aDE-B1597 _beng _cDE-B1597 _erda
050		4	_aPN56.D45
072		7	_aLAW060000 _2bisacsh
082	0	4	_a809/.911 _223
084			_aonline - DeGruyter
100	1		_aStilling, Robert Stilling _eautore
245	1	0	_aBeginning at the End : _bDecadence, Modernism, and Postcolonial Poetry / _cRobert Stilling Stilling.
264		1	_aCambridge, MA : _bHarvard University Press, _c[2018]
264		4	_c©2018
300			_a1 online resource (350 p.) : _b24 halftones
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tContents -- _tINTRODUCTION. Decadence and Decolonization -- _tCHAPTER 1. Agha Shahid Ali, Oscar Wilde, and the Politics of Form for Form’s Sake -- _tCHAPTER 2. Decadence and the Visual Arts in Derek Walcott’s West Indies -- _tCHAPTER 3. Decadence and Antirealism in the Art of Yinka Shonibare -- _tCHAPTER 4. Bernardine Evaristo’s Silver Age Poetics -- _tCHAPTER 5. Decadence and the Archive in Derek Mahon’s The Yellow Book -- _tCONCLUSION: Dandies at the Gate -- _tNotes -- _tAcknowledgments -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aDuring the struggle for decolonization, Frantz Fanon argued that artists who mimicked European aestheticism were “beginning at the end,” skipping the inventive phase of youth for a decadence thought more typical of Europe’s declining empires. Robert Stilling takes up Fanon’s assertion to argue that decadence became a key idea in postcolonial thought, describing both the failures of revolutionary nationalism and the assertion of new cosmopolitan ideas about poetry and art. In Stilling’s account, anglophone postcolonial artists have reshaped modernist forms associated with the idea of art for art’s sake and often condemned as decadent. By reading decadent works by J. K. Huysmans, Walter Pater, Henry James, and Oscar Wilde alongside Chinua Achebe, Derek Walcott, Agha Shahid Ali, Derek Mahon, Yinka Shonibare, Wole Soyinka, and Bernardine Evaristo, Stilling shows how postcolonial artists reimagined the politics of aestheticism in the service of anticolonial critique. He also shows how fin de siècle figures such as Wilde questioned the imperial ideologies of their own era. Like their European counterparts, postcolonial artists have had to negotiate between the imaginative demands of art and the pressure to conform to a revolutionary politics seemingly inseparable from realism. Beginning at the End argues that both groups—European decadents and postcolonial artists—maintained commitments to artifice while fostering oppositional politics. It asks that we recognize what aestheticism has contributed to politically engaged postcolonial literature. At the same time, Stilling breaks down the boundaries around decadent literature, taking it outside of Europe and emphasizing the global reach of its imaginative transgressions.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 24. Aug 2021)
650		0	_aDecadence (Literary movement) _zDeveloping countries.
650		0	_aPostcolonialism and the arts.
650		0	_aPostcolonialism in literature.
650		7	_aLAW / Legal History. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.4159/9780674919716
856	4	0	_uhttps://www.degruyter.com/isbn/9780674919716
856	4	2	_3Cover _uhttps://www.degruyter.com/cover/covers/9780674919716.jpg
942			_cEB
999			_c193650 _d193650