My worst writing block would have to be the first paragraph of the paper, I constantly re edit and completely start the essay over if I feel unsatisfied with the beginning. Once I feel comfortable with the introduction however, the body of the essay seems to flow right out. For my final essay in ENGL […]
This paper aims to tackle the ambiguity of Péladan’s interpretation of the Malatesta Temple of Rimini, the prestige of which is related for him to the faith in the Absolute of Art. In effect, in Példan’s novel Le Vice Suprême, Sigismondo becomes a hero for both his criminal reputation and his artistic prestige. Furthermore, in his theoretical work L’Art Idéaliste et Mystique, Péladan states that Sigismondo was devoted to the perfect religion of Beauty and was, therefore, pure. His Neoplatonic faith, as it is expressed in the artistic masterpieces of the Temple, makes him a priest of the only true Religion of Arts. This apparently linear stance veils in fact an ambivalent ideological attitude, that Péladan shares with the Decadent generation as a whole. Although conservative he was, the French writer was not aware of the consequences of some of his aesthetical statements, that inspired the far-right political movements of the early Twentieth Century’s Europe. The intrinsic ambivalence of ideological interpretation of monuments is, therefore, exemplarily represented by Péladan’s work.
This thematic session of the journal is devoted to expressions of creative writing inspired by monuments. Our aim is to understand how and why diverse re/constructions of their specific genesis, descriptions of architectural features, explanations of symbolism, histories of mentors, sponsors and artists generate over/interpretations in the form of essays, short stories, historical novels and poems. Each article will investigate the ways in which writers, while speculating on and verbally reconstructing a monument, can instil aesthetic and ideological appreciations. The narration of monuments will have been examined with particular reference to: – polysemantic buildings, rooted in a specific place and historical context, but also open to multiple intercultural elaborations; – modes of constructing, restructuring or contesting historical identities and cultural memories; – stimuli for the imagery, through which mythical figures and events are evoked.