{"id":113,"date":"2024-07-01T17:14:24","date_gmt":"2024-07-01T21:14:24","guid":{"rendered":"https:\/\/sites.bu.edu\/overlooked-network\/?page_id=113"},"modified":"2024-12-20T16:04:17","modified_gmt":"2024-12-20T21:04:17","slug":"romans-of-the-decadence","status":"publish","type":"page","link":"https:\/\/sites.bu.edu\/overlooked-network\/news-and-events\/impoverished-aesthetics-2022\/ia-abstracts\/romans-of-the-decadence\/","title":{"rendered":"Couture\u2019s The Romans of the Decadence and the Unmooring of Rome\u2019s Decline"},"content":{"rendered":"<p><strong>Basil Dufallo (University of Michigan)<\/strong><br \/>\nThis paper argues that Thomas Couture&#8217;s well-known 1847 painting,\u00a0<em>Les Romains de la D\u00e9cadence<\/em>\u00a0(&#8220;<em>The Romans of the Decadence<\/em>&#8220;) deploys a powerful aesthetics of disorientation with roots in classical Latin literature. As a self-conscious reception of Juvenal&#8217;s\u00a0<em>Satire 6<\/em>, quoted by Couture himself in the catalogue of the Paris Salon, the painting profits from its affiliations with a subversive satiric voice allowing for pleasure in the portrayal of error and disgust. But what is more, by focusing on the &#8220;impoverished aesthetics&#8221; of both painting and poem, we see that while ostensibly castigating the morals of a particular historical period in universal terms, both text and image achieve important effects by staging a variety of queer subject positions unmoored from conventional notions of temporality and identity. The subsequent reception of the painting as a recurring emblem of decadence is especially intriguing in this regard.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Basil Dufallo (University of Michigan) This paper argues that Thomas Couture&#8217;s well-known 1847 painting,\u00a0Les Romains de la D\u00e9cadence\u00a0(&#8220;The Romans of the Decadence&#8221;) deploys a powerful aesthetics of disorientation with roots in classical Latin literature. As a self-conscious reception of Juvenal&#8217;s\u00a0Satire 6, quoted by Couture himself in the catalogue of the Paris Salon, the painting profits [&hellip;]<\/p>\n","protected":false},"author":23724,"featured_media":0,"parent":103,"menu_order":9,"comment_status":"closed","ping_status":"closed","template":"page-templates\/no-sidebars.php","meta":[],"_links":{"self":[{"href":"https:\/\/sites.bu.edu\/overlooked-network\/wp-json\/wp\/v2\/pages\/113"}],"collection":[{"href":"https:\/\/sites.bu.edu\/overlooked-network\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.bu.edu\/overlooked-network\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/overlooked-network\/wp-json\/wp\/v2\/users\/23724"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/overlooked-network\/wp-json\/wp\/v2\/comments?post=113"}],"version-history":[{"count":4,"href":"https:\/\/sites.bu.edu\/overlooked-network\/wp-json\/wp\/v2\/pages\/113\/revisions"}],"predecessor-version":[{"id":654,"href":"https:\/\/sites.bu.edu\/overlooked-network\/wp-json\/wp\/v2\/pages\/113\/revisions\/654"}],"up":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/overlooked-network\/wp-json\/wp\/v2\/pages\/103"}],"wp:attachment":[{"href":"https:\/\/sites.bu.edu\/overlooked-network\/wp-json\/wp\/v2\/media?parent=113"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}