E

laine Showalter has argued that the fin de siècle abounded with “histories which describe deviance, rebellion, and the abnormal. Like Freud’s accounts of hysterical patients, they are fragmented, out of chronological sequence, contradictory, and incoherent” (1990, 18). On the cusp of the twentieth century, forms of sexual deviance embodied in the New Woman, the dandy, and the androgyne threatened the fragmentation of everything from the nuclear family, the unitary ego, the bourgeois novel, and the positivist notion of historical progress.

The fin de siècle's disruptive fragmentation emerged, importantly, against the ideals of symmetry and wholeness that dominated the Neoclassical aesthetics of the early nineteenth century. From Walter Pater and Vernon Lee’s theorization of the fragmentary nature of sense perception to the literally fragmented artistic identity of Michael Field, from the fragmentary technique of neo-impressionist and pointillist painting to the aesthetics of ruination and decay in decadence, fin de siècle culture abounded with treatments of aesthetic, epistemological, historical, psychological, and sexual fragmentation. More than a mere regurgitation of the Romantic cult of the ruin or a protozoic predecessor to Modernist experimentation, fin de siècle fragmentation, with its constitutive entanglements with gender and sexuality, represents an aesthetic unto itself.

In this issue, we are interested in the ways in which the fragment’s complex gender and sexual signification defines the long, enigmatic 1890s—rhetorically, aesthetically, literarily, epistemologically, and materially. Potential topics may include:

Articles should be 5000-8000 words. Submissions will be due on January 5th, 2027. Please send submissions, and feel free to send any questions, to Emily Waller Singeisen and Ryan Carroll.


Created 7 September 2026
Last modified 18 August 2026