Abstract
This article explores the concept of murder as an art form, discussed by the English writer Thomas De Quincey in the 1820s and reappearing later in a group of texts not previously analysed from this perspective: French Decadent fiction. Close readings of texts by Octave Mirbeau and Rachilde delineate the structures and thematic characteristics of this conceit. Drawing insights from ethical and psychoanalytic criticism (Levinas, Jessica Benjamin, Žižek, Lacan), the article argues that attempts by Decadent writers to imagine the perfect murder mask a historical—cultural anxiety related to the alienating processes of social modernization in France. Such textual murder is read as a simultaneous attempt to wreak further destruction on meaning by killing the other and, paradoxically, to reify meaning by exalting the figure of the murdering sovereign subject. Thus, the apparently asocial trope of aesthetic murder is re-inscribed as a fantasy with a significant social component and with wide-ranging ethical implications ignored by earlier commentators. The article closes by proposing that the murders found in Decadent fiction are significant prototypes for the kinds of killings found in post-Second World War fiction (by, for example, Gide and Genet) that have recently been the subject of ethical criticism. Art lets you get away with murder. (Pablo Picasso [attributed])
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
