Decadence
Decadence was a late-19th-century movement emphasizing the need for sensationalism, egocentricity, and bizarre, artificial, perverse, and exotic sensations and experiences. By extension, it may refer to a decline in art, literature, science, technology, and work ethics, or to self-indulgent behavior.
Usage of the term sometimes implies moral censure, or an acceptance of the idea, met with throughout the world since ancient times, that such declines are objectively observable and that they inevitably precede the destruction of the society in question; for this reason, modern historians use it with caution. The word originated in Medieval Latin , appeared in 16th-century French, and entered English soon afterwards. It bore the neutral meaning of decay, decrease, or decline until the late 19th century, when the influence of new theories of social degeneration contributed to its modern meaning.
The idea that a society or institution is declining is called declinism. This may be caused by the predisposition, caused by cognitive biases such as rosy retrospection, to view the past more favourably and future more negatively. Declinism has been described as "a trick of the mind" and as "an emotional strategy, something comforting to snuggle up to when the present day seems intolerably bleak." Other cognitive factors contributing to the popularity of declinism may include the reminiscence bump as well as both the positivity effect and negativity bias.
In literature, the Decadent movement began in France's fin de siècle intermingling with Symbolism and the Aesthetic movement while spreading throughout Europe and the United States. The Decadent title was originally used as a criticism but it was soon triumphantly adopted by some of the writers themselves. The Decadents praised artifice over nature and sophistication over simplicity, defying contemporary discourses of decline by embracing subjects and styles that their critics considered morbid and over-refined. Some of these writers were influenced by the tradition of the Gothic novel and by the poetry and fiction of Edgar Allan Poe.
History
Ancient Rome
Decadence is a popular criticism of the culture of the later Roman Empire's elites, seen also in much of its earlier historiography and 19th and early 20th century art depicting Roman life. This criticism describes the later Roman Empire as reveling in luxury, in its extreme characterized by corrupting "extravagance, weakness, and sexual deviance", as well as "orgies and sensual excesses".Victorian-era artwork on Roman decadence
According to Professor Joseph Bristow of UCLA, decadence in Rome and the Victorian-era movement are connected through the idea of "decadent historicism." In particular, decadent historicism refers to the "interest among…1880s and 1890s writers in the enduring authority of perverse personas from the past" including the later Roman era. As such, Bristow's argument references how Heliogabalus, the title subject of Simeon Solomon's painting Heliogabalus, High Priest of the Sun, was "a decadent icon" for the Victorian movement. Bristow also notes that "he image summons many qualities linked with fin-de-siècle decadence …queerness" thus "inspir late-Victorian writers …they…imagine anew sexual modernity."Heliogabalus is also the subject of The Roses of Heliogabalus by Sir Lawrence Alma-Tadema, which, according to Professor Rosemary Barrow, represents "the artist…most glorious revel in Roman Decadence." To Barrow, "he authenticity of the …perhaps had little importance for the artist its appeal is the entertaining and extravagant vision it gives of later imperial Rome." Barrow also makes a point to mention "that Alma-Tadema’s Roman-subject paintings …make use of historical, literary and archaeological sources" within themselves. Thus, the presence of roses within the painting as opposed to the original "'violets and other flowers'" of the source material emphasizes how "the Roman world…h extra connotations of revelry and luxuriant excess" about them.
Decadent movement
Decadence was the name given to a number of late nineteenth-century writers who valued artifice over the earlier Romantics' naïve view of nature. Some of them triumphantly adopted the name, referring to themselves as Decadents. For the most part, they were influenced by the tradition of the Gothic novel and by the poetry and fiction of Edgar Allan Poe, and were associated with Symbolism and/or Aestheticism.This concept of decadence dates from the eighteenth century, especially from Montesquieu and Wilmot. It was taken up by critics as a term of abuse after Désiré Nisard used it against Victor Hugo and Romanticism in general. A later generation of Romantics, such as Théophile Gautier and Charles Baudelaire took the word as a badge of pride, as a sign of their rejection of what they saw as banal "progress." In the 1880s, a group of French writers referred to themselves as Decadents. The classic novel from this group is Joris-Karl Huysmans' Against Nature, often seen as the first great decadent work, though others attribute this honor to Baudelaire's works.
In Britain and Ireland the leading figure associated with the Decadent movement was Irish writer, Oscar Wilde. Other significant figures include Arthur Symons, Aubrey Beardsley and Ernest Dowson.
The Symbolist movement has frequently been confused with the Decadent movement. Several young writers were derisively referred to in the press as "decadent" in the mid-1880s. Jean Moréas' manifesto was largely a response to this polemic. A few of these writers embraced the term while most avoided it. Although the aesthetics of Symbolism and Decadence can be seen as overlapping in some areas, the two remain distinct.
1920s Berlin
This "fertile culture" of Berlin extended onwards until Adolf Hitler rose to power in early 1933 and stamped out any and all resistance to the Nazi Party. Likewise, the German far-right decried Berlin as a haven of degeneracy. A new culture had developed in and around Berlin throughout the previous decade, including architecture and design, a variety of literature, film, painting, and music, criticism, philosophy/psychology, and fashion. This culture was considered decadent and disruptive by rightists.Film was making huge technical and artistic strides during this period of time in Berlin, and gave rise to the influential movement called German Expressionism. "Talkies", the sound films, were also becoming more popular with the general public across Europe, and Berlin was producing very many of them.
Berlin in the 1920s also proved to be a haven for English-language writers such as W. H. Auden, Stephen Spender and Christopher Isherwood, who wrote a series of 'Berlin novels', inspiring the play I Am a Camera, which was later adapted into a musical, Cabaret, and an Academy Award winning film of the same name. Spender's semi-autobiographical novel The Temple evokes the attitude and atmosphere of the place at the time.