niryuu/sni-each-converted huggingface dataset:
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 is it important to Arendt and Nordau that polite society embraced criminals?
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 did Nordau's occupation affect his view of  this 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: Who wrote The Origins of Totalitarianism?
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 are two defined conditions of 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 is the basic premise of Nordau's writings?
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 was Oscar Wilde's role in Nordau's writings?
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 work of contemporary artists?
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 perspective does Nordau primarily use to critique 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: Who in Europe does Nordau believe is affected by the fin-de-secle disposition?
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 does Nordau believe that people fashionable society seek most?
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 degeneration both reflected in and influenced by?
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: From where does Nordau draw his examples of how fin de siecle has affected all aspects of 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: Who might agree with Nordau that society is in decline?
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 does Nordau say people are imitating that is causing the decline in 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: Why would Nordau and Freud disagree about how to interpret the human mind?
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: In one sentence, what was the main idea of The Origins of Totalitarianism about?
An unnamed narrator listens to Douglas, a friend, read a manuscript written by a former governess whom Douglas claims to have known and who is now dead. The manuscript tells the story of how the young governess is hired by a man who has become responsible for his young nephew and niece after the deaths of their parents. He lives mainly in London and is uninterested in raising the children himself.
The boy, Miles, is attending a boarding school, while his younger sister, Flora, is living at a summer country house in Essex. She is currently being cared for by the housekeeper, Mrs. Grose. The governess' new employer, Miles and Flora's uncle, gives her full charge of the children and explicitly states that she is not to bother him with communications of any sort. The governess travels to her new employer's country house, Bly, and begins her duties.
Miles soon returns from school for the summer just after a letter arrives from the headmaster stating that he has been expelled. Miles never speaks of the matter, and the governess is hesitant to raise the issue. She fears there is some horrible secret behind the expulsion but is too charmed by the adorable young boy to want to press the issue. Soon thereafter, the governess begins to see around the grounds of the estate the figures of a man and woman whom she does not recognize. These figures come and go at will without ever being seen or challenged by other members of the household, and they seem to the governess to be supernatural. She learns from Mrs. Grose that her predecessor, Miss Jessel, and another employee, Peter Quint, had had a sexual relationship. Prior to their deaths, Jessel and Quint spent much of their time with Flora and Miles, and this fact has grim significance for the governess when she becomes convinced that the two children are secretly aware of the ghosts' presence.
Later, without permission, Flora leaves the house while Miles is playing music for the governess. The governess notices Flora's absence and goes with Mrs. Grose in search of her. They find her in a clearing in the wood, and the governess is convinced that Flora has been talking to the ghost of Miss Jessel. When the governess finally confronts Flora, the girl denies seeing Miss Jessel and demands never to see the governess again. At the governess' suggestion Mrs. Grose takes Flora away to her uncle, leaving the governess with Miles, who that night at last talks to her about his expulsion; the ghost of Quint appears to the governess at the window. The governess shields Miles, who attempts to see the ghost. The governess tells Miles he is no longer controlled by the ghost and then finds that Miles has died in her arms, and the ghost has gone.
Output: What did the Governess fear in regards to the letter that Miles received?