niryuu/sni-each-converted huggingface dataset:
Clig s begins with the story of his parents, Alexander and Soredamors. Alexander, the son of the Greek emperor (also called Alexander), travels to Britain to become a knight in King Arthur's realm. While at court, Alexander gains favor with King Arthur, is knighted, and assists in retaking Windsor Castle when it is taken by the traitor, Count Angr s. During his time at court, Alexander meets Arthur's niece, Soredamors and falls in love but is unable to express his feelings to her. She feels the same, but neither party is able to tell the other how they feel. Queen Guinevere takes notice and encourages them to express their mutual love. They immediately marry and a child is born. This child is Clig s. Alexander and his family then return to Greece and find out that Alexander's brother, Alis, has claimed the throne to Greece since their father has died. Although Alexander is the rightful heir to the throne, he concedes to Alis with the condition that Alis will not marry or have children so that the throne will pass to Clig s. Alexander dies and Clig s is raised in Greece. Many years after Alexander's death, Alis is persuaded to marry and he chooses the daughter of the German Emperor, Fenice. Thus begins the story of Clig s and Fenice. Clig s falls in love with his uncle Alis' wife. She also loves Clig s but he follows in his father's footsteps to Arthur's kingdom to be knighted. Like his father, he does well in King Arthur's court, participating in tournaments and displaying courtly manners. He is knighted and returns home. Clig s and Fenice still love each other and Fenice concocts a plan to use magic to trick Alis to escape. Using the magic of her governess, she fakes her death so that she and Clig s can runaway together. They succeed and hide in a tower but are found by Bertrand, who tells Alis; Clig s goes to Arthur to ask for help in getting his kingdom back from his uncle, but Alis dies while he is away. Clig s and Fenice are free to marry and Clig s is now emperor.
Output: Who is Alexander and Soredamors' son?
Clig s begins with the story of his parents, Alexander and Soredamors. Alexander, the son of the Greek emperor (also called Alexander), travels to Britain to become a knight in King Arthur's realm. While at court, Alexander gains favor with King Arthur, is knighted, and assists in retaking Windsor Castle when it is taken by the traitor, Count Angr s. During his time at court, Alexander meets Arthur's niece, Soredamors and falls in love but is unable to express his feelings to her. She feels the same, but neither party is able to tell the other how they feel. Queen Guinevere takes notice and encourages them to express their mutual love. They immediately marry and a child is born. This child is Clig s. Alexander and his family then return to Greece and find out that Alexander's brother, Alis, has claimed the throne to Greece since their father has died. Although Alexander is the rightful heir to the throne, he concedes to Alis with the condition that Alis will not marry or have children so that the throne will pass to Clig s. Alexander dies and Clig s is raised in Greece. Many years after Alexander's death, Alis is persuaded to marry and he chooses the daughter of the German Emperor, Fenice. Thus begins the story of Clig s and Fenice. Clig s falls in love with his uncle Alis' wife. She also loves Clig s but he follows in his father's footsteps to Arthur's kingdom to be knighted. Like his father, he does well in King Arthur's court, participating in tournaments and displaying courtly manners. He is knighted and returns home. Clig s and Fenice still love each other and Fenice concocts a plan to use magic to trick Alis to escape. Using the magic of her governess, she fakes her death so that she and Clig s can runaway together. They succeed and hide in a tower but are found by Bertrand, who tells Alis; Clig s goes to Arthur to ask for help in getting his kingdom back from his uncle, but Alis dies while he is away. Clig s and Fenice are free to marry and Clig s is now emperor.
Output: Why do Alis and Cliges not have to fight for the throne?
Clig s begins with the story of his parents, Alexander and Soredamors. Alexander, the son of the Greek emperor (also called Alexander), travels to Britain to become a knight in King Arthur's realm. While at court, Alexander gains favor with King Arthur, is knighted, and assists in retaking Windsor Castle when it is taken by the traitor, Count Angr s. During his time at court, Alexander meets Arthur's niece, Soredamors and falls in love but is unable to express his feelings to her. She feels the same, but neither party is able to tell the other how they feel. Queen Guinevere takes notice and encourages them to express their mutual love. They immediately marry and a child is born. This child is Clig s. Alexander and his family then return to Greece and find out that Alexander's brother, Alis, has claimed the throne to Greece since their father has died. Although Alexander is the rightful heir to the throne, he concedes to Alis with the condition that Alis will not marry or have children so that the throne will pass to Clig s. Alexander dies and Clig s is raised in Greece. Many years after Alexander's death, Alis is persuaded to marry and he chooses the daughter of the German Emperor, Fenice. Thus begins the story of Clig s and Fenice. Clig s falls in love with his uncle Alis' wife. She also loves Clig s but he follows in his father's footsteps to Arthur's kingdom to be knighted. Like his father, he does well in King Arthur's court, participating in tournaments and displaying courtly manners. He is knighted and returns home. Clig s and Fenice still love each other and Fenice concocts a plan to use magic to trick Alis to escape. Using the magic of her governess, she fakes her death so that she and Clig s can runaway together. They succeed and hide in a tower but are found by Bertrand, who tells Alis; Clig s goes to Arthur to ask for help in getting his kingdom back from his uncle, but Alis dies while he is away. Clig s and Fenice are free to marry and Clig s is now emperor.
Output: Who is the woman Alexander falls in love with while knighting for King Aruthur?
Clig s begins with the story of his parents, Alexander and Soredamors. Alexander, the son of the Greek emperor (also called Alexander), travels to Britain to become a knight in King Arthur's realm. While at court, Alexander gains favor with King Arthur, is knighted, and assists in retaking Windsor Castle when it is taken by the traitor, Count Angr s. During his time at court, Alexander meets Arthur's niece, Soredamors and falls in love but is unable to express his feelings to her. She feels the same, but neither party is able to tell the other how they feel. Queen Guinevere takes notice and encourages them to express their mutual love. They immediately marry and a child is born. This child is Clig s. Alexander and his family then return to Greece and find out that Alexander's brother, Alis, has claimed the throne to Greece since their father has died. Although Alexander is the rightful heir to the throne, he concedes to Alis with the condition that Alis will not marry or have children so that the throne will pass to Clig s. Alexander dies and Clig s is raised in Greece. Many years after Alexander's death, Alis is persuaded to marry and he chooses the daughter of the German Emperor, Fenice. Thus begins the story of Clig s and Fenice. Clig s falls in love with his uncle Alis' wife. She also loves Clig s but he follows in his father's footsteps to Arthur's kingdom to be knighted. Like his father, he does well in King Arthur's court, participating in tournaments and displaying courtly manners. He is knighted and returns home. Clig s and Fenice still love each other and Fenice concocts a plan to use magic to trick Alis to escape. Using the magic of her governess, she fakes her death so that she and Clig s can runaway together. They succeed and hide in a tower but are found by Bertrand, who tells Alis; Clig s goes to Arthur to ask for help in getting his kingdom back from his uncle, but Alis dies while he is away. Clig s and Fenice are free to marry and Clig s is now emperor.
Output: Whose court did Alexander join?
Clig s begins with the story of his parents, Alexander and Soredamors. Alexander, the son of the Greek emperor (also called Alexander), travels to Britain to become a knight in King Arthur's realm. While at court, Alexander gains favor with King Arthur, is knighted, and assists in retaking Windsor Castle when it is taken by the traitor, Count Angr s. During his time at court, Alexander meets Arthur's niece, Soredamors and falls in love but is unable to express his feelings to her. She feels the same, but neither party is able to tell the other how they feel. Queen Guinevere takes notice and encourages them to express their mutual love. They immediately marry and a child is born. This child is Clig s. Alexander and his family then return to Greece and find out that Alexander's brother, Alis, has claimed the throne to Greece since their father has died. Although Alexander is the rightful heir to the throne, he concedes to Alis with the condition that Alis will not marry or have children so that the throne will pass to Clig s. Alexander dies and Clig s is raised in Greece. Many years after Alexander's death, Alis is persuaded to marry and he chooses the daughter of the German Emperor, Fenice. Thus begins the story of Clig s and Fenice. Clig s falls in love with his uncle Alis' wife. She also loves Clig s but he follows in his father's footsteps to Arthur's kingdom to be knighted. Like his father, he does well in King Arthur's court, participating in tournaments and displaying courtly manners. He is knighted and returns home. Clig s and Fenice still love each other and Fenice concocts a plan to use magic to trick Alis to escape. Using the magic of her governess, she fakes her death so that she and Clig s can runaway together. They succeed and hide in a tower but are found by Bertrand, who tells Alis; Clig s goes to Arthur to ask for help in getting his kingdom back from his uncle, but Alis dies while he is away. Clig s and Fenice are free to marry and Clig s is now emperor.
Output: What relationship is Cliges to Fenice right after Fenice marries Alis?
Nordau begins his work with a "medical" and social interpretation of what has created this Degeneration in society. Nordau divides his study into five books. In the first book, Nordau identifies the phenomenon of fin de si cle in Europe. He sees this as first being recognised, though not originating, in France, describing this phenomenon as "a contempt for the traditional views of custom and morality". He sees it as a sort of decadence, a world-weariness, and the wilful rejection of the moral boundaries governing the world. He uses examples from French periodicals and books in French to show how it has affected all elements of society. Nordau accuses also society of becoming more and more inclined to imitate what they see in art. He sees in the fashionable society of Paris and London that "[e]very single figure strives visibly by some singularity in outline, set, cut or colour, to startle attention violently, and imperiously to detain it. Each one wishes to create a strong nervous excitement, no matter whether agreeably or disagreeably".
Nordau establishes the cultural phenomenon of fin de si cle in the opening pages, but he quickly moves to the viewpoint of a physician and identifies what he sees as an illness:
In the fin-de-si cle disposition, in the tendencies of contemporary art and poetry, in the life and conduct of men who write mystic, symbolic and 'decadent' works and the attitude taken by their admirers in the tastes and aesthetic instincts of fashionable society, the confluence of two well-defined conditions of disease, with which he [the physician] is quite familiar, viz. degeneration and hysteria, of which the minor stages are designated as neurasthenia.
The book deals with numerous case studies of various artists, writers and thinkers (Oscar Wilde, Henrik Ibsen, Richard Wagner and Friedrich Nietzsche to name a few), but its basic premise remains that society and human beings themselves are degenerating, and this degeneration is both reflected in and influenced by art. Hannah Arendt, in her book The Origins of Totalitarianism, refers to late 19th Century French society as embracing unusual or exotic types or individuals, such as criminals, Gypsies and Turks, and certain others formerly not seen as socially acceptable, so Nordau's position is not novel or isolated as social criticism.
The original article's text comports quite closely to Howard Fertig, NY 1960. During the time of Nordau's writing, physical, physiognomic, or mechanical factors were still being regarded as causative in mental aberrations and malfunctions. The symbolic or mythic approached later implemented by Freud and Jung made no part of Nordau's understanding of the human psyche.
Output: Nordau believes that society is sick, what phrase describes its symptoms?
Nordau begins his work with a "medical" and social interpretation of what has created this Degeneration in society. Nordau divides his study into five books. In the first book, Nordau identifies the phenomenon of fin de si cle in Europe. He sees this as first being recognised, though not originating, in France, describing this phenomenon as "a contempt for the traditional views of custom and morality". He sees it as a sort of decadence, a world-weariness, and the wilful rejection of the moral boundaries governing the world. He uses examples from French periodicals and books in French to show how it has affected all elements of society. Nordau accuses also society of becoming more and more inclined to imitate what they see in art. He sees in the fashionable society of Paris and London that "[e]very single figure strives visibly by some singularity in outline, set, cut or colour, to startle attention violently, and imperiously to detain it. Each one wishes to create a strong nervous excitement, no matter whether agreeably or disagreeably".
Nordau establishes the cultural phenomenon of fin de si cle in the opening pages, but he quickly moves to the viewpoint of a physician and identifies what he sees as an illness:
In the fin-de-si cle disposition, in the tendencies of contemporary art and poetry, in the life and conduct of men who write mystic, symbolic and 'decadent' works and the attitude taken by their admirers in the tastes and aesthetic instincts of fashionable society, the confluence of two well-defined conditions of disease, with which he [the physician] is quite familiar, viz. degeneration and hysteria, of which the minor stages are designated as neurasthenia.
The book deals with numerous case studies of various artists, writers and thinkers (Oscar Wilde, Henrik Ibsen, Richard Wagner and Friedrich Nietzsche to name a few), but its basic premise remains that society and human beings themselves are degenerating, and this degeneration is both reflected in and influenced by art. Hannah Arendt, in her book The Origins of Totalitarianism, refers to late 19th Century French society as embracing unusual or exotic types or individuals, such as criminals, Gypsies and Turks, and certain others formerly not seen as socially acceptable, so Nordau's position is not novel or isolated as social criticism.
The original article's text comports quite closely to Howard Fertig, NY 1960. During the time of Nordau's writing, physical, physiognomic, or mechanical factors were still being regarded as causative in mental aberrations and malfunctions. The symbolic or mythic approached later implemented by Freud and Jung made no part of Nordau's understanding of the human psyche.
Output: What is the confluence of the minor stages of the disease designated?
Nordau begins his work with a "medical" and social interpretation of what has created this Degeneration in society. Nordau divides his study into five books. In the first book, Nordau identifies the phenomenon of fin de si cle in Europe. He sees this as first being recognised, though not originating, in France, describing this phenomenon as "a contempt for the traditional views of custom and morality". He sees it as a sort of decadence, a world-weariness, and the wilful rejection of the moral boundaries governing the world. He uses examples from French periodicals and books in French to show how it has affected all elements of society. Nordau accuses also society of becoming more and more inclined to imitate what they see in art. He sees in the fashionable society of Paris and London that "[e]very single figure strives visibly by some singularity in outline, set, cut or colour, to startle attention violently, and imperiously to detain it. Each one wishes to create a strong nervous excitement, no matter whether agreeably or disagreeably".
Nordau establishes the cultural phenomenon of fin de si cle in the opening pages, but he quickly moves to the viewpoint of a physician and identifies what he sees as an illness:
In the fin-de-si cle disposition, in the tendencies of contemporary art and poetry, in the life and conduct of men who write mystic, symbolic and 'decadent' works and the attitude taken by their admirers in the tastes and aesthetic instincts of fashionable society, the confluence of two well-defined conditions of disease, with which he [the physician] is quite familiar, viz. degeneration and hysteria, of which the minor stages are designated as neurasthenia.
The book deals with numerous case studies of various artists, writers and thinkers (Oscar Wilde, Henrik Ibsen, Richard Wagner and Friedrich Nietzsche to name a few), but its basic premise remains that society and human beings themselves are degenerating, and this degeneration is both reflected in and influenced by art. Hannah Arendt, in her book The Origins of Totalitarianism, refers to late 19th Century French society as embracing unusual or exotic types or individuals, such as criminals, Gypsies and Turks, and certain others formerly not seen as socially acceptable, so Nordau's position is not novel or isolated as social criticism.
The original article's text comports quite closely to Howard Fertig, NY 1960. During the time of Nordau's writing, physical, physiognomic, or mechanical factors were still being regarded as causative in mental aberrations and malfunctions. The symbolic or mythic approached later implemented by Freud and Jung made no part of Nordau's understanding of the human psyche.
Output: Why does Nordau think it is bad that people imitate what they see in art?
Nordau begins his work with a "medical" and social interpretation of what has created this Degeneration in society. Nordau divides his study into five books. In the first book, Nordau identifies the phenomenon of fin de si cle in Europe. He sees this as first being recognised, though not originating, in France, describing this phenomenon as "a contempt for the traditional views of custom and morality". He sees it as a sort of decadence, a world-weariness, and the wilful rejection of the moral boundaries governing the world. He uses examples from French periodicals and books in French to show how it has affected all elements of society. Nordau accuses also society of becoming more and more inclined to imitate what they see in art. He sees in the fashionable society of Paris and London that "[e]very single figure strives visibly by some singularity in outline, set, cut or colour, to startle attention violently, and imperiously to detain it. Each one wishes to create a strong nervous excitement, no matter whether agreeably or disagreeably".
Nordau establishes the cultural phenomenon of fin de si cle in the opening pages, but he quickly moves to the viewpoint of a physician and identifies what he sees as an illness:
In the fin-de-si cle disposition, in the tendencies of contemporary art and poetry, in the life and conduct of men who write mystic, symbolic and 'decadent' works and the attitude taken by their admirers in the tastes and aesthetic instincts of fashionable society, the confluence of two well-defined conditions of disease, with which he [the physician] is quite familiar, viz. degeneration and hysteria, of which the minor stages are designated as neurasthenia.
The book deals with numerous case studies of various artists, writers and thinkers (Oscar Wilde, Henrik Ibsen, Richard Wagner and Friedrich Nietzsche to name a few), but its basic premise remains that society and human beings themselves are degenerating, and this degeneration is both reflected in and influenced by art. Hannah Arendt, in her book The Origins of Totalitarianism, refers to late 19th Century French society as embracing unusual or exotic types or individuals, such as criminals, Gypsies and Turks, and certain others formerly not seen as socially acceptable, so Nordau's position is not novel or isolated as social criticism.
The original article's text comports quite closely to Howard Fertig, NY 1960. During the time of Nordau's writing, physical, physiognomic, or mechanical factors were still being regarded as causative in mental aberrations and malfunctions. The symbolic or mythic approached later implemented by Freud and Jung made no part of Nordau's understanding of the human psyche.
Output: What two European cities' fashionable socities are pointed out as breaking moral boundaries?
Nordau begins his work with a "medical" and social interpretation of what has created this Degeneration in society. Nordau divides his study into five books. In the first book, Nordau identifies the phenomenon of fin de si cle in Europe. He sees this as first being recognised, though not originating, in France, describing this phenomenon as "a contempt for the traditional views of custom and morality". He sees it as a sort of decadence, a world-weariness, and the wilful rejection of the moral boundaries governing the world. He uses examples from French periodicals and books in French to show how it has affected all elements of society. Nordau accuses also society of becoming more and more inclined to imitate what they see in art. He sees in the fashionable society of Paris and London that "[e]very single figure strives visibly by some singularity in outline, set, cut or colour, to startle attention violently, and imperiously to detain it. Each one wishes to create a strong nervous excitement, no matter whether agreeably or disagreeably".
Nordau establishes the cultural phenomenon of fin de si cle in the opening pages, but he quickly moves to the viewpoint of a physician and identifies what he sees as an illness:
In the fin-de-si cle disposition, in the tendencies of contemporary art and poetry, in the life and conduct of men who write mystic, symbolic and 'decadent' works and the attitude taken by their admirers in the tastes and aesthetic instincts of fashionable society, the confluence of two well-defined conditions of disease, with which he [the physician] is quite familiar, viz. degeneration and hysteria, of which the minor stages are designated as neurasthenia.
The book deals with numerous case studies of various artists, writers and thinkers (Oscar Wilde, Henrik Ibsen, Richard Wagner and Friedrich Nietzsche to name a few), but its basic premise remains that society and human beings themselves are degenerating, and this degeneration is both reflected in and influenced by art. Hannah Arendt, in her book The Origins of Totalitarianism, refers to late 19th Century French society as embracing unusual or exotic types or individuals, such as criminals, Gypsies and Turks, and certain others formerly not seen as socially acceptable, so Nordau's position is not novel or isolated as social criticism.
The original article's text comports quite closely to Howard Fertig, NY 1960. During the time of Nordau's writing, physical, physiognomic, or mechanical factors were still being regarded as causative in mental aberrations and malfunctions. The symbolic or mythic approached later implemented by Freud and Jung made no part of Nordau's understanding of the human psyche.
Output: How many writings did Nordau divide his study into?
Nordau begins his work with a "medical" and social interpretation of what has created this Degeneration in society. Nordau divides his study into five books. In the first book, Nordau identifies the phenomenon of fin de si cle in Europe. He sees this as first being recognised, though not originating, in France, describing this phenomenon as "a contempt for the traditional views of custom and morality". He sees it as a sort of decadence, a world-weariness, and the wilful rejection of the moral boundaries governing the world. He uses examples from French periodicals and books in French to show how it has affected all elements of society. Nordau accuses also society of becoming more and more inclined to imitate what they see in art. He sees in the fashionable society of Paris and London that "[e]very single figure strives visibly by some singularity in outline, set, cut or colour, to startle attention violently, and imperiously to detain it. Each one wishes to create a strong nervous excitement, no matter whether agreeably or disagreeably".
Nordau establishes the cultural phenomenon of fin de si cle in the opening pages, but he quickly moves to the viewpoint of a physician and identifies what he sees as an illness:
In the fin-de-si cle disposition, in the tendencies of contemporary art and poetry, in the life and conduct of men who write mystic, symbolic and 'decadent' works and the attitude taken by their admirers in the tastes and aesthetic instincts of fashionable society, the confluence of two well-defined conditions of disease, with which he [the physician] is quite familiar, viz. degeneration and hysteria, of which the minor stages are designated as neurasthenia.
The book deals with numerous case studies of various artists, writers and thinkers (Oscar Wilde, Henrik Ibsen, Richard Wagner and Friedrich Nietzsche to name a few), but its basic premise remains that society and human beings themselves are degenerating, and this degeneration is both reflected in and influenced by art. Hannah Arendt, in her book The Origins of Totalitarianism, refers to late 19th Century French society as embracing unusual or exotic types or individuals, such as criminals, Gypsies and Turks, and certain others formerly not seen as socially acceptable, so Nordau's position is not novel or isolated as social criticism.
The original article's text comports quite closely to Howard Fertig, NY 1960. During the time of Nordau's writing, physical, physiognomic, or mechanical factors were still being regarded as causative in mental aberrations and malfunctions. The symbolic or mythic approached later implemented by Freud and Jung made no part of Nordau's understanding of the human psyche.
Output: Which four artists, writers, and thinkers are specifically discussed as case studies for the disease?
Nordau begins his work with a "medical" and social interpretation of what has created this Degeneration in society. Nordau divides his study into five books. In the first book, Nordau identifies the phenomenon of fin de si cle in Europe. He sees this as first being recognised, though not originating, in France, describing this phenomenon as "a contempt for the traditional views of custom and morality". He sees it as a sort of decadence, a world-weariness, and the wilful rejection of the moral boundaries governing the world. He uses examples from French periodicals and books in French to show how it has affected all elements of society. Nordau accuses also society of becoming more and more inclined to imitate what they see in art. He sees in the fashionable society of Paris and London that "[e]very single figure strives visibly by some singularity in outline, set, cut or colour, to startle attention violently, and imperiously to detain it. Each one wishes to create a strong nervous excitement, no matter whether agreeably or disagreeably".
Nordau establishes the cultural phenomenon of fin de si cle in the opening pages, but he quickly moves to the viewpoint of a physician and identifies what he sees as an illness:
In the fin-de-si cle disposition, in the tendencies of contemporary art and poetry, in the life and conduct of men who write mystic, symbolic and 'decadent' works and the attitude taken by their admirers in the tastes and aesthetic instincts of fashionable society, the confluence of two well-defined conditions of disease, with which he [the physician] is quite familiar, viz. degeneration and hysteria, of which the minor stages are designated as neurasthenia.
The book deals with numerous case studies of various artists, writers and thinkers (Oscar Wilde, Henrik Ibsen, Richard Wagner and Friedrich Nietzsche to name a few), but its basic premise remains that society and human beings themselves are degenerating, and this degeneration is both reflected in and influenced by art. Hannah Arendt, in her book The Origins of Totalitarianism, refers to late 19th Century French society as embracing unusual or exotic types or individuals, such as criminals, Gypsies and Turks, and certain others formerly not seen as socially acceptable, so Nordau's position is not novel or isolated as social criticism.
The original article's text comports quite closely to Howard Fertig, NY 1960. During the time of Nordau's writing, physical, physiognomic, or mechanical factors were still being regarded as causative in mental aberrations and malfunctions. The symbolic or mythic approached later implemented by Freud and Jung made no part of Nordau's understanding of the human psyche.
Output: What type of individuals were seen as socially unacceptable in the 19th Century?
Nordau begins his work with a "medical" and social interpretation of what has created this Degeneration in society. Nordau divides his study into five books. In the first book, Nordau identifies the phenomenon of fin de si cle in Europe. He sees this as first being recognised, though not originating, in France, describing this phenomenon as "a contempt for the traditional views of custom and morality". He sees it as a sort of decadence, a world-weariness, and the wilful rejection of the moral boundaries governing the world. He uses examples from French periodicals and books in French to show how it has affected all elements of society. Nordau accuses also society of becoming more and more inclined to imitate what they see in art. He sees in the fashionable society of Paris and London that "[e]very single figure strives visibly by some singularity in outline, set, cut or colour, to startle attention violently, and imperiously to detain it. Each one wishes to create a strong nervous excitement, no matter whether agreeably or disagreeably".
Nordau establishes the cultural phenomenon of fin de si cle in the opening pages, but he quickly moves to the viewpoint of a physician and identifies what he sees as an illness:
In the fin-de-si cle disposition, in the tendencies of contemporary art and poetry, in the life and conduct of men who write mystic, symbolic and 'decadent' works and the attitude taken by their admirers in the tastes and aesthetic instincts of fashionable society, the confluence of two well-defined conditions of disease, with which he [the physician] is quite familiar, viz. degeneration and hysteria, of which the minor stages are designated as neurasthenia.
The book deals with numerous case studies of various artists, writers and thinkers (Oscar Wilde, Henrik Ibsen, Richard Wagner and Friedrich Nietzsche to name a few), but its basic premise remains that society and human beings themselves are degenerating, and this degeneration is both reflected in and influenced by art. Hannah Arendt, in her book The Origins of Totalitarianism, refers to late 19th Century French society as embracing unusual or exotic types or individuals, such as criminals, Gypsies and Turks, and certain others formerly not seen as socially acceptable, so Nordau's position is not novel or isolated as social criticism.
The original article's text comports quite closely to Howard Fertig, NY 1960. During the time of Nordau's writing, physical, physiognomic, or mechanical factors were still being regarded as causative in mental aberrations and malfunctions. The symbolic or mythic approached later implemented by Freud and Jung made no part of Nordau's understanding of the human psyche.
Output: Where is the disease first recognized although not originated from?
Nordau begins his work with a "medical" and social interpretation of what has created this Degeneration in society. Nordau divides his study into five books. In the first book, Nordau identifies the phenomenon of fin de si cle in Europe. He sees this as first being recognised, though not originating, in France, describing this phenomenon as "a contempt for the traditional views of custom and morality". He sees it as a sort of decadence, a world-weariness, and the wilful rejection of the moral boundaries governing the world. He uses examples from French periodicals and books in French to show how it has affected all elements of society. Nordau accuses also society of becoming more and more inclined to imitate what they see in art. He sees in the fashionable society of Paris and London that "[e]very single figure strives visibly by some singularity in outline, set, cut or colour, to startle attention violently, and imperiously to detain it. Each one wishes to create a strong nervous excitement, no matter whether agreeably or disagreeably".
Nordau establishes the cultural phenomenon of fin de si cle in the opening pages, but he quickly moves to the viewpoint of a physician and identifies what he sees as an illness:
In the fin-de-si cle disposition, in the tendencies of contemporary art and poetry, in the life and conduct of men who write mystic, symbolic and 'decadent' works and the attitude taken by their admirers in the tastes and aesthetic instincts of fashionable society, the confluence of two well-defined conditions of disease, with which he [the physician] is quite familiar, viz. degeneration and hysteria, of which the minor stages are designated as neurasthenia.
The book deals with numerous case studies of various artists, writers and thinkers (Oscar Wilde, Henrik Ibsen, Richard Wagner and Friedrich Nietzsche to name a few), but its basic premise remains that society and human beings themselves are degenerating, and this degeneration is both reflected in and influenced by art. Hannah Arendt, in her book The Origins of Totalitarianism, refers to late 19th Century French society as embracing unusual or exotic types or individuals, such as criminals, Gypsies and Turks, and certain others formerly not seen as socially acceptable, so Nordau's position is not novel or isolated as social criticism.
The original article's text comports quite closely to Howard Fertig, NY 1960. During the time of Nordau's writing, physical, physiognomic, or mechanical factors were still being regarded as causative in mental aberrations and malfunctions. The symbolic or mythic approached later implemented by Freud and Jung made no part of Nordau's understanding of the human psyche.
Output: The societies of which two cities were specifically critized by Nordau?
Nordau begins his work with a "medical" and social interpretation of what has created this Degeneration in society. Nordau divides his study into five books. In the first book, Nordau identifies the phenomenon of fin de si cle in Europe. He sees this as first being recognised, though not originating, in France, describing this phenomenon as "a contempt for the traditional views of custom and morality". He sees it as a sort of decadence, a world-weariness, and the wilful rejection of the moral boundaries governing the world. He uses examples from French periodicals and books in French to show how it has affected all elements of society. Nordau accuses also society of becoming more and more inclined to imitate what they see in art. He sees in the fashionable society of Paris and London that "[e]very single figure strives visibly by some singularity in outline, set, cut or colour, to startle attention violently, and imperiously to detain it. Each one wishes to create a strong nervous excitement, no matter whether agreeably or disagreeably".
Nordau establishes the cultural phenomenon of fin de si cle in the opening pages, but he quickly moves to the viewpoint of a physician and identifies what he sees as an illness:
In the fin-de-si cle disposition, in the tendencies of contemporary art and poetry, in the life and conduct of men who write mystic, symbolic and 'decadent' works and the attitude taken by their admirers in the tastes and aesthetic instincts of fashionable society, the confluence of two well-defined conditions of disease, with which he [the physician] is quite familiar, viz. degeneration and hysteria, of which the minor stages are designated as neurasthenia.
The book deals with numerous case studies of various artists, writers and thinkers (Oscar Wilde, Henrik Ibsen, Richard Wagner and Friedrich Nietzsche to name a few), but its basic premise remains that society and human beings themselves are degenerating, and this degeneration is both reflected in and influenced by art. Hannah Arendt, in her book The Origins of Totalitarianism, refers to late 19th Century French society as embracing unusual or exotic types or individuals, such as criminals, Gypsies and Turks, and certain others formerly not seen as socially acceptable, so Nordau's position is not novel or isolated as social criticism.
The original article's text comports quite closely to Howard Fertig, NY 1960. During the time of Nordau's writing, physical, physiognomic, or mechanical factors were still being regarded as causative in mental aberrations and malfunctions. The symbolic or mythic approached later implemented by Freud and Jung made no part of Nordau's understanding of the human psyche.
Output: What disease does Nordau diagnose from the tastes of fashionable society?
Nordau begins his work with a "medical" and social interpretation of what has created this Degeneration in society. Nordau divides his study into five books. In the first book, Nordau identifies the phenomenon of fin de si cle in Europe. He sees this as first being recognised, though not originating, in France, describing this phenomenon as "a contempt for the traditional views of custom and morality". He sees it as a sort of decadence, a world-weariness, and the wilful rejection of the moral boundaries governing the world. He uses examples from French periodicals and books in French to show how it has affected all elements of society. Nordau accuses also society of becoming more and more inclined to imitate what they see in art. He sees in the fashionable society of Paris and London that "[e]very single figure strives visibly by some singularity in outline, set, cut or colour, to startle attention violently, and imperiously to detain it. Each one wishes to create a strong nervous excitement, no matter whether agreeably or disagreeably".
Nordau establishes the cultural phenomenon of fin de si cle in the opening pages, but he quickly moves to the viewpoint of a physician and identifies what he sees as an illness:
In the fin-de-si cle disposition, in the tendencies of contemporary art and poetry, in the life and conduct of men who write mystic, symbolic and 'decadent' works and the attitude taken by their admirers in the tastes and aesthetic instincts of fashionable society, the confluence of two well-defined conditions of disease, with which he [the physician] is quite familiar, viz. degeneration and hysteria, of which the minor stages are designated as neurasthenia.
The book deals with numerous case studies of various artists, writers and thinkers (Oscar Wilde, Henrik Ibsen, Richard Wagner and Friedrich Nietzsche to name a few), but its basic premise remains that society and human beings themselves are degenerating, and this degeneration is both reflected in and influenced by art. Hannah Arendt, in her book The Origins of Totalitarianism, refers to late 19th Century French society as embracing unusual or exotic types or individuals, such as criminals, Gypsies and Turks, and certain others formerly not seen as socially acceptable, so Nordau's position is not novel or isolated as social criticism.
The original article's text comports quite closely to Howard Fertig, NY 1960. During the time of Nordau's writing, physical, physiognomic, or mechanical factors were still being regarded as causative in mental aberrations and malfunctions. The symbolic or mythic approached later implemented by Freud and Jung made no part of Nordau's understanding of the human psyche.
Output: What viewpoint is taken to identify the problem seen as an illness?
Nordau begins his work with a "medical" and social interpretation of what has created this Degeneration in society. Nordau divides his study into five books. In the first book, Nordau identifies the phenomenon of fin de si cle in Europe. He sees this as first being recognised, though not originating, in France, describing this phenomenon as "a contempt for the traditional views of custom and morality". He sees it as a sort of decadence, a world-weariness, and the wilful rejection of the moral boundaries governing the world. He uses examples from French periodicals and books in French to show how it has affected all elements of society. Nordau accuses also society of becoming more and more inclined to imitate what they see in art. He sees in the fashionable society of Paris and London that "[e]very single figure strives visibly by some singularity in outline, set, cut or colour, to startle attention violently, and imperiously to detain it. Each one wishes to create a strong nervous excitement, no matter whether agreeably or disagreeably".
Nordau establishes the cultural phenomenon of fin de si cle in the opening pages, but he quickly moves to the viewpoint of a physician and identifies what he sees as an illness:
In the fin-de-si cle disposition, in the tendencies of contemporary art and poetry, in the life and conduct of men who write mystic, symbolic and 'decadent' works and the attitude taken by their admirers in the tastes and aesthetic instincts of fashionable society, the confluence of two well-defined conditions of disease, with which he [the physician] is quite familiar, viz. degeneration and hysteria, of which the minor stages are designated as neurasthenia.
The book deals with numerous case studies of various artists, writers and thinkers (Oscar Wilde, Henrik Ibsen, Richard Wagner and Friedrich Nietzsche to name a few), but its basic premise remains that society and human beings themselves are degenerating, and this degeneration is both reflected in and influenced by art. Hannah Arendt, in her book The Origins of Totalitarianism, refers to late 19th Century French society as embracing unusual or exotic types or individuals, such as criminals, Gypsies and Turks, and certain others formerly not seen as socially acceptable, so Nordau's position is not novel or isolated as social criticism.
The original article's text comports quite closely to Howard Fertig, NY 1960. During the time of Nordau's writing, physical, physiognomic, or mechanical factors were still being regarded as causative in mental aberrations and malfunctions. The symbolic or mythic approached later implemented by Freud and Jung made no part of Nordau's understanding of the human psyche.
Output: What is condemned as rising in the late 19th Century as a product of degeneration?
Nordau begins his work with a "medical" and social interpretation of what has created this Degeneration in society. Nordau divides his study into five books. In the first book, Nordau identifies the phenomenon of fin de si cle in Europe. He sees this as first being recognised, though not originating, in France, describing this phenomenon as "a contempt for the traditional views of custom and morality". He sees it as a sort of decadence, a world-weariness, and the wilful rejection of the moral boundaries governing the world. He uses examples from French periodicals and books in French to show how it has affected all elements of society. Nordau accuses also society of becoming more and more inclined to imitate what they see in art. He sees in the fashionable society of Paris and London that "[e]very single figure strives visibly by some singularity in outline, set, cut or colour, to startle attention violently, and imperiously to detain it. Each one wishes to create a strong nervous excitement, no matter whether agreeably or disagreeably".
Nordau establishes the cultural phenomenon of fin de si cle in the opening pages, but he quickly moves to the viewpoint of a physician and identifies what he sees as an illness:
In the fin-de-si cle disposition, in the tendencies of contemporary art and poetry, in the life and conduct of men who write mystic, symbolic and 'decadent' works and the attitude taken by their admirers in the tastes and aesthetic instincts of fashionable society, the confluence of two well-defined conditions of disease, with which he [the physician] is quite familiar, viz. degeneration and hysteria, of which the minor stages are designated as neurasthenia.
The book deals with numerous case studies of various artists, writers and thinkers (Oscar Wilde, Henrik Ibsen, Richard Wagner and Friedrich Nietzsche to name a few), but its basic premise remains that society and human beings themselves are degenerating, and this degeneration is both reflected in and influenced by art. Hannah Arendt, in her book The Origins of Totalitarianism, refers to late 19th Century French society as embracing unusual or exotic types or individuals, such as criminals, Gypsies and Turks, and certain others formerly not seen as socially acceptable, so Nordau's position is not novel or isolated as social criticism.
The original article's text comports quite closely to Howard Fertig, NY 1960. During the time of Nordau's writing, physical, physiognomic, or mechanical factors were still being regarded as causative in mental aberrations and malfunctions. The symbolic or mythic approached later implemented by Freud and Jung made no part of Nordau's understanding of the human psyche.
Output: What phenomenon is called a contempt for the traditional views of custom and morality?