Parnassianism
Parnassism

At the time, his work was under the influence of Macedonski's Parnassianism.

Anatole France start his career as a parnassianism poet.

However, he would adhere to the Parnassianism in 1883, with the book Sinfonias.

The mid/late 19th century French literary movement Parnassianism took its name from the poetry collection.

This was a form of Parnassianism influenced by Symbolism.

His poetry was deeply informed by Parnassianism.

Despite its French origins, Parnassianism was not restricted to French authors.

The symbolist poets have a more complex relationship with Parnassianism, a French literary style that immediately preceded it.

Other literary historians, however, consider this an oversimplification, and regard his style to be more characteristic of classicism and parnassianism.

(See Parnassianism)

It adopted, over the 19th century, the successive literary currents coming from France: classicism, romanticism, Parnassianism, and symbolism.

A representative of Polish Parnassianism and symbolism, he is also regarded as belonging to the Decadent movement.

Zawistowska was an author of modernist erotic and landscape poems related with mysticism, symbolism and Parnassianism.

Newer styles that coexisted with Realism, Naturalism and Parnassianism, were both connected to the former's evolution.

Literary historians view Norwid's work as being too far ahead of its time to be appreciated, possessing elements of romanticism, classicism and parnassianism.

He was allied with Parnassianism from the beginning of the movement and displayed extraordinary metrical skill in his first volume of poems, Philoméla (1863).

It is a recapitulation and blending of three European currents: Romanticism, Symbolism and especially Parnassianism.

They literary taste favored Symbolism, Parnassianism and literary naturalism, which they saw as modern shields against traditionalist culture.

In this case, the "Samoiedas' school" is an allegory to the Brazilian classical writing style, which was still heavily influenced by the Parnassianism and Symbolism.

In French, Paul Arène published Parnassiculet, in which he talked about his life, in the style of Parnassianism.

Whereas Gautier's earlier work was more concerned with romantic aestheticism, the formalism of this last collection is a point of reference for the arrival of Parnassianism.

In the late 19th century, Modernismo emerged, a poetic movement whose recapitulation was a blending of three European currents: Romanticism, Symbolism and especially Parnassianism.

He was in Mexico during the Mexican Revolution, and it was also during this time that he was drawn to Parnassianism as a style of verse.

The ground for Parnassianism and Symbolism in Romania was prepared by the Romania public's introduction to the poetry and essays of Charles Baudelaire.

The symbolists continued to admire Théophile Gautier's motto of "art for art's sake", and retained - and modified - Parnassianism's mood of ironic detachment.