Re- Claiming Welsh Decadence: Performing Identity, Nation and Class through fetishised crossings

我的论文将提供一个新的阅读的颓废通过调查的关系，出现在威尔士之间的物质文化和性能的身份在世纪末。它的重点是威尔士颓废的独特性，将颓废的表现置于威尔士的父权制工业（南部）和贵族（北部）景观中。而不是把颓废者作为唯一的大都市“表演者”作为颓废的最重要的阅读建议，论文将认为，威尔士花花公子和新女性的个性挑战和改变预先存在的概念是什么构成的“自我”和“自我”在威尔士。身份表现的一个核心要素是使用物质对象，这些物质对象为威尔士颓废者提供了一种谈判和重新谈判他们的自我意识和民族意识的手段。为了概念化威尔士的颓废，我的论文将提供一种历史化的批判视角来探索过去和现在的颓废认同形式之间的联系。使用的理论和方法在新维多利亚研究领域的基础上，但扩大后，他们阐明一个具体的“新威尔士颓废”，我的论文将探讨的中心问题：如何培养21世纪世纪的参与和影响，从维多利亚晚期的威尔士颓废的概念？关键在于恋物癖的作用。正如伊莱恩·肖沃尔特（Elaine Showalter）在20世纪90年代提出的那样，“恋物癖幻想在文化危机时期激增，因为它们在一定程度上是对疲惫和匮乏叙事的产物和回应。“正是通过这种调查模式及其作为后现代批评形式的新维多利亚研究中未解决的紧张局势的地位，我的目标是探索和挑战威尔士颓废和表现的世纪末表现在父权制和工业资本主义背景下的反应方式。

My thesis shall offer a new reading of decadence by investigating the relationship that emerged in Wales between material culture and performance identities at the fin de siècle. Its focus on the distinctiveness of Welsh decadence places decadent performance within the patriarchal industrial (South) and aristocratic (North) landscapes of Wales. Rather than treating the decadents as exclusively metropolitan 'performers' as most critical readings of decadence suggest, the thesis will argue that the individuality of the Welsh Dandy and New Woman challenged and altered pre-existing notions of what constituted 'self' and 'selfhood' in Wales. A central element of the performance of identity was the use of material objects that provided Welsh decadents with a means of negotiating and re-negotiating their sense of self and nationhood. To conceptualise Welsh decadence, my thesis shall provide an historicised critical perspective to explore the connections between past and present forms of decadent identification. Using theories and methodologies grounded in the field of neo-Victorian studies but expanding upon them to articulate a specific 'neo-Welsh decadence', my thesis will explore the central question: how does the 21st century cultivate an engagement with and influence from late-Victorian concepts of Welsh decadence? Key to this will be the role of the fetish. As Elaine Showalter suggested in the 1990s, 'fetishistic fantasies proliferate at times of cultural crisis because they are in part a product of and response to narratives of exhaustion and lack.' It is through this mode of inquiry and its place as an unresolved tension in neo-Victorian studies as a form of postmodern critique, that I aim to explore and challenge the ways in which fin de siécle representations of Welsh decadence and performance reacted against the backdrop of patriarchal and industrial capitalism.