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Volume 1-35, works. Volume 36-37, letters. Volume 38 provides an extensive bibliography of Ruskin's writings and a catalogue of his drawings, with corrections to earlier volumes in George Allen's Library Edition of the Works of John Ruskin. Volume 39, general index.
Praeterita is perhaps the best-loved of all the fruits of Ruskin's many-sided and tormented genius. This exceptional biography - the first of Ruskin's works in the Whitehouse edition - simultaneously presents a deeply reflective portrait of an early 19th-century Protestant family - its genuine piety, its severities, its suffocating possessive affections - and the product (at once intellectually brilliant and emotionally damaged) of its educational system.
In this unique collection of essays, ten distinguished critics and biographers consider what it means to narrate a life. Their illustrative texts are largely taken from nineteenth-century biography, autobiography, and the novel, but narrative is the broader genre that unites their various inquiries. The principal issues are framed by Margaret Atwood, J. Hillis Miller, and Phyllis Rose. Atwood compares and contrasts the biographer and the novelist as creators of narratives, emphasizing that the difference is in the "ground rules". Determining what these ground rules are is a recurring theme in these essays. Some of the subjects discussed are the boundaries of fact and fiction, the professed power of the narrator, and the figurative underpinnings of autobiography. Many of these pieces are delightful and provocative biographical and autobiographical excursions in themselves. Atwood describes her early fear of biography, Morton Cohen narrates an exciting bit of detective work he conducted into the life of Lewis Carroll, and John Rosenberg gives a vivid and frequently revisionary reading of many aspects of Darwin's life. Other critics--Carl Woodring, Richard Altick, Norman Kelvin, Margaret Stetz and Robert Kiely--consider related topics. The contributors, as well as the editors, have all been colleagues or students of the eminent critic and biographer, Jerome Hamilton Buckley, in whose honor these essays have been written.
In this ambitious and imaginative study, Margaretta M. Lovell analyzes the large body of accomplished, sometimes startling, often brilliant work of American artists drawn to Venice's ragged splendor in the last century. Including major works by such diverse and talented painters as James McNeill Whistler, John Singer Sargent, and Maurice Prendergast, these richly varied paintings portray sleepy canals, architectural monuments, and scenes of picturesque everyday life while they also reveal surprising aspects of American culture.
For many years Ruskin has seemed, at best, a conservative thinker on gender roles. At worst, his lecture On Queens' Gardens from Sesame and Lilies was read as a locus classicus of Victorian patriarchal oppression. These essays challenge such assumptions, presenting a wide-ranging revaluation of Ruskin's place in relation to gender, and offering new perspectives on continuing debates on issues of gender - in the Victorian period, and in our own.
This volume offers an exciting new reading of John Ruskin's economic and social criticism, based on recent research into rhetoric in economics. Willie Henderson uses notions derived from literary criticism, the rhetorical turn in economics and more conventional approaches to historical economic texts to reevaluate Ruskins economic and social criticism. By identifying Ruskin's rhetoric, and by reading his work through that of Plato, Xenophon, and John Stuart Mill, Willie Henderson reveals how Ruskin manipulated a knowledge base. Moreover in analysis of the writings of William Smart, John Bates Clark and Alfred Marshall, the author shows that John Ruskin's influence on the cultural significance of economics and on notions of economic well-being has been considerable.
John Ruskin's critical commentary on culture and society, transformative in his own time, established him as a leading critic of the 19th century. His prescient thinking resonates powerfully with today’s issues in cultural heritage conservation. This volume presents his ideas in context, key extracts from his works and future directions for his foundational ideas. Ruskin’s passionate responses to the environmental and social changes of his day chime with contemporary ideas on themes like sustainability, ethical production and environmentalism. Though widely recognised as a key figure in preservation history, his heritage work is rarely appreciated in full context and breadth. This volume presents six stimulating essays on Ruskin’s readership and reception, his transformative perceptions of heritage futures and provocative writing on cultural landscapes and the arts and crafts. Extracts from both well-known and lesser-known works accompany each chapter to reflect the distinctive vocality of his texts, from his writing on architecture and buildings, to landscape and cultural heritage. The volume offers a richer description of cultural context and meaning than usually afforded to Ruskin’s work in conservation and critical heritage studies finding its resonance and relevance. Written for an academic and professional audience in heritage studies and historic building conservation and particularly relevant for cultural heritage management, this is a core text and reference work for undergraduate and postgraduate students in history of art and architecture, heritage studies and architectural/building conservation, also central to interests of cultural historians and scholars of nineteenth-century/Victorian history and literature.