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An openly lesbian, feminist writer, Vernon Lee—a pseudonym of Violet Paget—is the most important female aesthetician to come out of nineteenth century England. Though she was widely known for her supernatural fictions, Lee hasn’t gained the recognition she so clearly deserves for her contributions in the fields of aesthetics, philosophy of empathy, and art criticism. An early follower of Walter Pater, her work is characterized by extreme attention to her own responses to artworks, and a level of psychological sensitivity rarely seen in any aesthetic writing. Today, she is largely overlooked in curriculums, her aesthetic works long out of print. David Zwirner Books is reintroducing Lee’s writing through the first-ever English publication of "Psychology of an Art Writer" (1903) along with selections from her groundbreaking "Gallery Diaries" (1901–1904), breathtaking accounts of Lee’s own experiences with the great paintings and sculptures she traveled to see. Ranging from deeply felt assessments of the way mood affects our ability to appreciate art, to detailed descriptions of some of the most powerful personal experiences with artworks, these writings provide profound insights into the fields of psychology and aesthetics. Her philosophical inquiries in The Psychology of an Art Writer leave no stone unturned, combining fine-grained ekphrases with high fancy and dense abstraction. The diaries, in turn, establish Lee as one of the most sensitive writers about art in any language. With a foreword by Berkeley classicist Dylan Kenny, which guides the reader through these writings and contextualizes these texts within Lee’s other work, this is the quintessential introduction to her astonishing and complex oeuvre.
Fans of gothic horror will relish this spine-tingling novella from "Vernon Lee," the nom de plume of British writer Violet Paget. The story follows an unusual love affair that is not exactly what it appears to be, and the twist ending will shock even the most astute reader.
In her last years she watched with dismay the emergence of fascism.".
This, the first collection of essays on the aesthete and intellectual Vernon Lee, offers a wide range of critical writings by scholars. Key works are examined including Euphorion, Hauntings: Fantastic Stories and Music and Its Lovers . New light is shed on Lee's relationships with contemporaries such as Lee-Hamilton, Pater and Wilde.
This 1913 volume explores the philosophical significance of the concepts of beauty and aesthetic preference.
Vernon Lee was the pen name of Violet Paget - a prolific author best known for her supernatural fiction, her support of the Aesthetic Movement and her radical polemics. She was an active correspondent who included many well-known figures among her circle. This scholarly edition of her letters makes a selection from more than 30 archives worldwide.
George Washington, acutely aware of the accomplishments and potential of the American Revolution, used his Mount Vernon estate both to preserve the memory of events that had created a new nation and to forward his keen vision of what that nation might become. During the 1780s and 1790s, an era when neither public museums nor a national library existed, visitors to Mount Vernon viewed John Trumbull's iconic image of the signing of the Declaration of Independence, Houdon's famous bust of the countryís preeminent hero, and Washington's voluminous wartime correspondence. More important, they listened as the Washingtons recalled the remarkable events that had forged independence and the unique American experiment in representative government. At Mount Vernon, too, Washington and his guests discussed how best to secure the success and well-being of the United States. Here was a place to contemplate "what the nation, at its best, might be." Following George and Martha Washington's deaths, the estate passed to four successive heirs, the last of whom deeded it to the Mount Vernon Ladies' Association in 1860. While still in private hands, the property nonetheless attracted thousands of visitors each year, most of whom arrived after a fifteen-mile overland trek from Washington, D.C. With the establishment of regular steamboat access in the 1850s, the numbers swelled to ten thousand annually. The public claimed Mount Vernon as its own. In the words of a nineteenth-century Washington family member, "the Nation shares it with us." In a remarkable display of civic religion that testified to the siteís enormous hold on the public imagination, Americans pronounced Mount Vernon sacred ground and made it the nationís most important site of revolutionary memory and inspiration. The sacred ground was, nonetheless, contested ground: visitors criticized the heirs' management of the property; northerners abhorred the persistence of slavery at the estate. As pilgrims contemplated the highest ideals of the Revolution at Washington's home and tomb, they often found their own society wanting. Amid escalating sectional strife in the 1850s, some argued that if Mount Vernon could be saved for the nation, the nation might be preserved from ruin. In letters and journals, newspaper and magazine articles, and public speeches, visitors recorded, often in detail and with intense emotion, their varied reactions to the site. Experiencing Mount Vernon presents the most informative of these accounts, as well as selected documents from the Washington owners (beginning with Washington himself, who in 1784 prematurely wrote Lafayette that, at his beloved home, he had "retired from all public employments"). Numerous maps, contemporary images, and annotations complement the texts. This book constitutes the only eyewitness chronicle we have of the Washington estate's ascent to the status of national shrine, and it offers the closest possible evidence of Mount Vernonís singular role in helping forge American national identity.