Titlebook: Victorian Aesthetic Conditions; Pater Across the Art Elicia Clements (Assistant Professor of English an Book 2010 Palgrave Macmillan, a div

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有毒

stressors

完全

Pater’s Auxerre Tapestryo word, an act of intense imaginative energy by which the narrator seemingly transforms the lifeless Denys into a living creature who walks the rainy streets of the late nineteenth century. This framing device, the ekphrastic episode contained within a narrative detailing both an encounter with visu

EVICT

Sculpture, Style and Pater’s Imaginative Sense of Touchstudio. This ‘physiognomical landscape of suffering’ (Schmoll, 1983, p. 184), broken at the back and broken at the front, stands in glaring contrast to the Paterian mask itself, recollected in Henry James’s description of him as ‘the mask without the face’ or Arthur Symons’s evocation of Pater’s ‘wh

赦免

The Painting as Physical Object in a Verbal Portrait: Pater’s ‘A Prince of Court Painters’ and Wildeiction and poetry, and Pater’s ., the first series published in 1887 — and, it might be added, Henry James’s . of the same year — owe something to Sainte-Beuve (as does James’s collected short sketches, noted above).

Offbeat

Pater’s Musical Imagination: The Aural Architecture of ‘The School of Giorgione’ and rt as a way to prevent the ‘false generalisation of all art into forms of poetry’ (., p. 103)? What is it about music’s aural undecidability that satisfies Pater’s search for aesthetic pleasure rather than thwarts it? To explore some possible replies to such questions, I will focus on the aural dime

Nerve-Block

Acetaldehyde

Repatriate

The Art of the Novel: Pater and Fictionf his public association with the novel form as a practitioner. But Pater’s persistence in novel writing also suggests that he took a writerly pleasure in the freedoms of fiction, and in the possibilities of the novel as a form. In so doing, Pater was participating in an interrogation of the novel t