In the Shadow of the Belle Époque: Progress, Decadence, and the Rush to War

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Notes

1. Conversi, “Modernism and Nationalism,” 13–34.

2. For the sake of clarity, ‘Modernism’ as an artistic movement is used here with an initial capital letter, while ‘modernism’ as a political, cultural, and ideological framework is used with an initial lowercase letter.

3. Piketty, Capital in the Twenty-First Century.

4. Although the chapter is dedicated to Spain, it should be noted, however, that the term decadence in Spain is used to define an entirely different period dating from the seventeenth century when, impoverished by the expulsion of Jews, Muslims, and converts, Spain’s previous position as Europe’s hegemonic power slowly shifted to a second-tier player in the world economy and politics.

5. Harvey, Paris, Capital of Modernity.

6. Conversi, “Homogenisation, Nationalism and War, 371–94; Conversi, “Anarchism, Modernism and Nationalism,” 791–811.

7. Weber, Peasants into Frenchmen.

8. Wilde, Salome, 137.

9. Wake, “Charles Baudelaire,” 191; Burt, “An Immoderate Taste for Truth.”

10. Abulof, Mortality and Morality of Nations.

11. Mishra, Age of Anger.

12. Smith, Nationalism and Modernism.

13. Conversi, “Anarchism, Modernism and Nationalism.”

14. Hanna, The Mobilization of Intellect; Becker, “Artists, Commemorations, and Political Culture,” 225–35; Kramer, Dynamic of Destruction.

15. See Härmänmaa, “Beyond Anarchism,” 857–71.

16. Conversi, “Homogenisation, Nationalism and War.”

17. Conversi, “Anarchism, Modernism and Nationalism”; On Wilde’s and Ibsen’s pro-anarchism, see Weir, Anarchy & Culture.

18. Billig, Banal Nationalism.

19. Harvey, Paris, Capital of Modernity.