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Dr. Conlon focuses on Pater's unique role as the English interpreter of a new "Matter of France," an extraordinary body of French Romantic literature, history, and criticism. More than Arnold or Swinburne, Pater made a major contribution to the Victorian awareness of French literature.
The first collected study of Pater's significance to criticism, revealing his pivotal role in establishing principles of the literary essay.
As a teacher of Plato in Oxford's Literae Humaniores, Walter Pater was informed by philosophy from his earliest essays to his last book. The Platonism of Walter Pater examines Pater's deep engagement with Platonism throughout his career. It overturns his reputation as a superficial aesthete known mainly for his 'Conclusion' to The Renaissance to reposition his contribution to literature and the history of ideas. In his criticism and fiction, including his studies on myth, Pater was influenced by several of Plato's dialogues. Phaedrus, Symposium, Theaetetus, Cratylus, and The Republic informed his philosophy of beauty, history, myth, knowledge, ethics, language, and style. As a philosopher, critic, and artist, Plato embodied what it meant to be an author to Pater, who imitated his creative practice from vision to expression. For Pater Platonism was also a point of contact with his contemporaries, including Matthew Arnold and Oscar Wilde, offering a means to take new measure of their literary relationships. Using the interdisciplinary critical tools of Pater's own educational milieu which combined literature, philosophy, and classics, The Platonism of Walter Pater repositions the importance Pater's contribution to literature and the history of ideas.
This volume examines the anxieties that caused many nineteenth-century writers to insist on literature as a laboured and labouring enterprise. Following Isaac D’Israeli’s gloss on Jean de La Bruyère, it asks, in particular, whether writing should be ‘called working’. Whereas previous studies have focused on national literatures in isolation, this volume demonstrates the two-way traffic between British and French conceptions of literary labour. It questions assumed areas of affinity and difference, beginning with the labour politics of the early nineteenth century and their common root in the French Revolution. It also scrutinises the received view of France as a source of a ‘leisure ethic’, and of British writers as either rejecting or self-consciously mimicking French models. Individual essays consider examples of how different writers approached their work, while also evoking a broader notion of ‘work ethics’, understood as a humane practice, whereby values, benefits, and responsibilities, are weighed up.
Just over a century after his death, Walter Pater's critical reputation now stands as high as it has ever been. In the English-speaking world, this has involved recovery from the widespread neglect and indifference which attended his work in the first half of the twentieth century. In Europe, however, enthusiastic disciples such as Hugo von Hofmannsthal in the German-speaking world and Charles Du Bos in France, helped to fuel a growing awareness of his writings as central to the emergence of modernist literature. Translations of works like Imaginary Portraits, established his distinctive voice as an aesthetic critic and his novel, Marius the Epicurean, was enthusiastically received in Paris in the 1920s and published in Turin on the eve of the Second World War. This collection traces the fortunes of Pater's writings in these three major literatures and their reception in Spain, Portugal, Poland, Hungary, and the Czech Republic.
The 1890s, the Naughty Nineties, was an exciting and flamboyant time in British life and literature. First published in 1993, this title traces the genesis of the literary culture of the 1890s through some of the popular novels and literary texts of the period. By examining works by such writers as Oscar Wilde, Bram Stoker, W. B. Yeats, and Walter Pater, Murray Pittock analyses the nature of the ‘Decadent era’ and the artistic theories of Symbolism and Aestheticism. Significantly, he provides a full assessment of the lasting impact that the thought of the period has had on our own understanding of our cultural past. Spectrum of Decadence explores the confrontations between art and science, sex and mortality, desire and virtue, which, the author argues are as much a part of modern society’s fin-de-siécle as they were of the nineteenth century’s. This reissue bridges the gap between literary texts, historical context, and contemporary critical theory.
Walter Pater and Persons investigates the vital concept of the Person in the work of Walter Pater, a major influence on late nineteenth- and early twentieth-century literature. Stephen Cheeke explores the intersections of the person, persona, and personality in Pater's work; re-examines arguments about his famously personal prose style; traces Pater's ambivalent fascination with impersonality and asceticism; considers the poetics of personification in his writings about Greek myth and religion, in the divine logos of early Christianity, and in the theory of Platonic Universals; and explores his fascination with metempsychosis (the many persons through whom the individual soul transmigrates). Cheeke also explores the networks in which Pater was interpreted and misinterpreted by different persons and personalities, such as Oscar Wilde, Arthur Symons, and W.B Yeats. Their (mis)readings of Pater, and rebellions against his work from Decadent, antinomian, and 'mystical' perspectives, reveal the ways in which Pater's writing had always been in a critical dialogue with its own thinking, as well as a prescient one in relation to his reception. The philosophical question of 'what is a person?'--a crucial one for the nineteenth century, and with an increasing urgency in our own times--is illuminated throughout this work.
Walter Pater and the Language of Sculpture is the first monograph to discuss the Victorian critic Walter Pater's attitude to sculpture. It brings together Pater's aesthetic theories with his theories on language and writing, to demonstrate how his ideas of the visual and written language are closely interlinked. Going beyond Pater's views on sculpture as an art form, this study traces the notion of relief (rilievo) and hybrid form in Pater, and his view of the writer as sculptor, a carver in language. Alongside her treatment of rilievo as a pervasive trope, Lene ?termark-Johansen also employs the idea of rivalry (paragone) more broadly, examining Pater's concern with positioning himself as an art critic in the late Victorian art world. Situating Pater within centuries of European aesthetic theories as never before done, Walter Pater and the Language of Sculpture throws new light on the extraordinary complexity and coherence of Pater's writing: The critic is repositioned solidly within Victorian art and literature.
This study of Baudelaire and English modernism observes his protean influence on poets from Swinburne, who wrote the first English review of Les Fleurs du Mai, to T. S. Eliot. Documenting Baudelaire's impact on Swinburne, Pater, Wilde, Arthur Symons, Aldous Huxley, Edith and Osbert Sitwell, D. H. Lawrence, the Imagists, John Middleton Murry, Eliot, and others, Patricia Clements describes the Baudelaire who is the creation of the English poets and identifies some major lines in the development of modernism in English literature. Originally published in 1986. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.