Tasma (Jessie Couvreur) wrote and published her best known Australian stories from Europe for a predominantly English and Australian readership. This article investigates Tasma's only known French publication, L'Amour aux Antipodes (Love in the Antipodes) which first appeared in August 1880 in the Parisian periodical La Nouvelle Revue, possibly to capitalise on the popularity of a series of lectures on Australia which she had delivered in various French and Belgian cities. I argue that the novella is designed specifically for a French readership, not only in terms of setting, but also because Tasma's usual critique of gender ideology is replaced with a determined anti-clericalism, possibly in response to current debates in Paris at the time and a wish to avoid the fraught gender politics of the Third Republic.
塔斯玛(Jessie Couvreur)在欧洲为主要的英国和澳大利亚读者撰写并出版了她最著名的澳大利亚故事。这篇文章调查了塔斯玛唯一为人所知的法国出版物《爱在澳洲》(L’amour aux Antipodes)，该出版物于1880年8月首次出现在巴黎期刊《新评论》(La Nouvelle Revue)上，可能是利用她在法国和比利时各个城市发表的一系列关于澳大利亚的演讲的知名度。我认为这部中篇小说是专门为法国读者设计的，不仅是在背景方面，还因为塔斯马对性别意识形态的一贯批评被坚定的反教权主义所取代，可能是对当时巴黎的争论的回应，也是为了避免第三共和国令人担忧的性别政治。
{"title":"L'Amour aux Antipodes: Tasma, Australia and the French Connection","authors":"Judith R. Johnston","doi":"10.4000/cve.5820","DOIUrl":"https://doi.org/10.4000/cve.5820","url":null,"abstract":"Tasma (Jessie Couvreur) wrote and published her best known Australian stories from Europe for a predominantly English and Australian readership. This article investigates Tasma's only known French publication, L'Amour aux Antipodes (Love in the Antipodes) which first appeared in August 1880 in the Parisian periodical La Nouvelle Revue, possibly to capitalise on the popularity of a series of lectures on Australia which she had delivered in various French and Belgian cities. I argue that the novella is designed specifically for a French readership, not only in terms of setting, but also because Tasma's usual critique of gender ideology is replaced with a determined anti-clericalism, possibly in response to current debates in Paris at the time and a wish to avoid the fraught gender politics of the Third Republic.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2009-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89613240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Trollope's 1 8 5 8 The Three Clerks, the coming of commuter railways generates a peculiarly modern image of suburbanised, starfish-like, London: "London will soon assume the shape of a great starfish. [...] The old town, extending from Poplar to Hammersmith, will be the nucleus, and the various railway lines will be the projecting rays." It is an outgrowth only to be understood as an otherworldly creature: from some undefined depths of alterity, an exotic animal rises to finger the English countryside. The centrality of changing urban space in Victorian literature and culture has spawned some of the best interdisciplinary research, but precisely this concentration on the city has elided suburbia's significance. In discussions of urban modernity, suburbs are marginalised; cliche d images of bourgeois self-confinement failing to raise more than a passing interest in these margins. What was new and different about Victorian suburbia and how the cultural fictions that have shaped our understanding of what constitutes "suburbanism" were created are rarely addressed issues. At the mid-nineteenth century, however, "the suburban" formed an expanding field for fictional explorations in which the association between urbanisation and ventures into foreign spaces powerfully drew into debate the promotion of "suburbanism" as the ultimate manifestation of the divorce of home and workplace. The construction of suburban fiction operated within a negotiation of domesticity and alterity that brought home the potentials and problems associated with urban expansion. In cutting across subgenres, it engendered some of the most pervasive cliches, but in an ambiguous process of redefinition that impels us to reconsider still current cultural myths. Writers as different as Anthony Trollope, Charles Dickens, Wilkie Collins, and also the little-known domestic novelist Emily Eden made the most of what had become a rapidly evolving space characterised by immense fluidity. They did so in markedly divergent ways that evince the versatility of suburban fiction.
在特罗洛普的《三个职员》(The Three clerk)中，通勤铁路的出现为伦敦的郊区化、海星般的现代形象塑造了一个独特的形象:“伦敦很快就会变成一只大海星的形状。[…从Poplar延伸到Hammersmith的老城区将成为核心，各种铁路线将成为投射光线。”它是一种只能被理解为一种超凡脱俗的生物的产物:一种奇异的动物从某种未知的深处出现，在英国乡村出没。在维多利亚时代的文学和文化中，城市空间变化的中心地位催生了一些最好的跨学科研究，但正是这种对城市的关注忽略了郊区的意义。在城市现代性的讨论中，郊区被边缘化了;资产阶级自我约束的陈词滥调形象未能引起人们对这些边缘地带的兴趣。维多利亚时代郊区的新颖和不同之处，以及塑造我们对“郊区主义”构成的理解的文化虚构是如何产生的，这些问题很少得到解决。然而，在19世纪中期，“郊区”形成了一个不断扩大的虚构探索领域，其中城市化与进入外国空间的冒险之间的联系有力地引发了对“郊区主义”作为家庭和工作场所离婚的最终表现形式的推广的辩论。郊区小说的构建是在家庭生活和另类的协商中进行的，这种协商将城市扩张的潜力和问题带回家。在跨越子类型的过程中，它产生了一些最普遍的陈词滥调，但在一个模棱两可的重新定义过程中，它促使我们重新考虑当前的文化神话。安东尼·特罗洛普、查尔斯·狄更斯、威尔基·柯林斯以及名不见大名的国内小说家艾米丽·伊登等作家都充分利用了这个以巨大流动性为特征的快速发展的空间。他们这样做的方式明显不同，这表明郊区小说的多样性。
{"title":"London's Great Starfish: The Construction of Mid-Victorian Suburban Fiction","authors":"T. Wagner","doi":"10.4000/cve.5854","DOIUrl":"https://doi.org/10.4000/cve.5854","url":null,"abstract":"In Trollope's 1 8 5 8 The Three Clerks, the coming of commuter railways generates a peculiarly modern image of suburbanised, starfish-like, London: \"London will soon assume the shape of a great starfish. [...] The old town, extending from Poplar to Hammersmith, will be the nucleus, and the various railway lines will be the projecting rays.\" It is an outgrowth only to be understood as an otherworldly creature: from some undefined depths of alterity, an exotic animal rises to finger the English countryside. The centrality of changing urban space in Victorian literature and culture has spawned some of the best interdisciplinary research, but precisely this concentration on the city has elided suburbia's significance. In discussions of urban modernity, suburbs are marginalised; cliche d images of bourgeois self-confinement failing to raise more than a passing interest in these margins. What was new and different about Victorian suburbia and how the cultural fictions that have shaped our understanding of what constitutes \"suburbanism\" were created are rarely addressed issues. At the mid-nineteenth century, however, \"the suburban\" formed an expanding field for fictional explorations in which the association between urbanisation and ventures into foreign spaces powerfully drew into debate the promotion of \"suburbanism\" as the ultimate manifestation of the divorce of home and workplace. The construction of suburban fiction operated within a negotiation of domesticity and alterity that brought home the potentials and problems associated with urban expansion. In cutting across subgenres, it engendered some of the most pervasive cliches, but in an ambiguous process of redefinition that impels us to reconsider still current cultural myths. Writers as different as Anthony Trollope, Charles Dickens, Wilkie Collins, and also the little-known domestic novelist Emily Eden made the most of what had become a rapidly evolving space characterised by immense fluidity. They did so in markedly divergent ways that evince the versatility of suburban fiction.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2009-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84758911","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Old age in Walter Pater's works is the time when the individual has the opportunity to think thoroughly upon life and culture. The feeling of growing old may first engender melancholy and bitterness as one considers all those lost days of youth. However, Pater's characters generally take the opportunity to start again and fulfill their quest of wisdom. Old people are more sympathetic with the sorrows of humankind. Looking back upon their own past, they remember their childhood and their first experiences and reflect on their own identity, on the human condition and on culture. Ageing is also an essential element in the arts, especially in architecture as buildings mature and ripen in the course of years and centuries. Old worn stones, old aesthetic forms are for future generations witnesses of immemorial times, allowing Pater's nineteenth-century arts critic to spiritually restore the past and contribute to the development of culture thoughout the ages.
{"title":"Walter Pater et la vieillesse: humanité et esthétique de la culture","authors":"Martine Lambert-Charbonnier","doi":"10.4000/cve.5843","DOIUrl":"https://doi.org/10.4000/cve.5843","url":null,"abstract":"Old age in Walter Pater's works is the time when the individual has the opportunity to think thoroughly upon life and culture. The feeling of growing old may first engender melancholy and bitterness as one considers all those lost days of youth. However, Pater's characters generally take the opportunity to start again and fulfill their quest of wisdom. Old people are more sympathetic with the sorrows of humankind. Looking back upon their own past, they remember their childhood and their first experiences and reflect on their own identity, on the human condition and on culture. Ageing is also an essential element in the arts, especially in architecture as buildings mature and ripen in the course of years and centuries. Old worn stones, old aesthetic forms are for future generations witnesses of immemorial times, allowing Pater's nineteenth-century arts critic to spiritually restore the past and contribute to the development of culture thoughout the ages.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2009-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90517297","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
It is generally acknowledged that Newman’s influence was a significant factor in Pater’s rapprochement with Christianity in the 1880s. Drawn to Newman’s personality, Pater also found his intellectual approach congenial. Newman’s concepts of the organic developement of doctrine and of the ‘illative sense’, an innate human faculty which perceives when the convergence of probabilities amounts to truth, particularly appealed to him. However, the fact that Pater left his essay on ‘The Writings of Cardinal Newman’ unfinished is suggestive. As well as admiration for Newman, Pater had some reservations. In Marius the Epicurean, contemporary with the unfinished essay, he explores several points in which he differed from a writer he valued. The novel portrays a mind drawn to Christianity by a convergence of evidence such as Newman had envisaged but without the feeling of sin, pollution and retribution Newman considered universal. In a dialogic relation to Newman, and by examining the moral value of aesthetic experience, of isolated introspection and sublimated erotic instincts, Pater creates his own ‘grammar of assent’.
{"title":"Marius' grammar of assent : Pater's dialogue with Newman","authors":"John Coates","doi":"10.4000/CVE.7828","DOIUrl":"https://doi.org/10.4000/CVE.7828","url":null,"abstract":"It is generally acknowledged that Newman’s influence was a significant factor in Pater’s rapprochement with Christianity in the 1880s. Drawn to Newman’s personality, Pater also found his intellectual approach congenial. Newman’s concepts of the organic developement of doctrine and of the ‘illative sense’, an innate human faculty which perceives when the convergence of probabilities amounts to truth, particularly appealed to him. However, the fact that Pater left his essay on ‘The Writings of Cardinal Newman’ unfinished is suggestive. As well as admiration for Newman, Pater had some reservations. In Marius the Epicurean, contemporary with the unfinished essay, he explores several points in which he differed from a writer he valued. The novel portrays a mind drawn to Christianity by a convergence of evidence such as Newman had envisaged but without the feeling of sin, pollution and retribution Newman considered universal. In a dialogic relation to Newman, and by examining the moral value of aesthetic experience, of isolated introspection and sublimated erotic instincts, Pater creates his own ‘grammar of assent’.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2008-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84254011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Victorian women poets, along with certain Pre-Modernist ones (from Elizabeth Barrett Browning, Laetitia Landon or Christina Rossetti to other, less well-known ones today, such as Dora Greenwell or Adelaide Procter), have written some disturbing and informal poems that do not always meet accepted Victorian generic or thematic standards. As the reader peruses these poems, he/she feels strangely close to them since he/she is invited to share the enigma or secret that will remain concealed, provoking further frustration. Revelation is perpetually postponed to another space, strange and boundless as well as foreign, whose language the reader will have difficulty coming to terms with. This space therefore points towards another poetical, forever indeterminate, territory.
{"title":"« Anywhere out of this room » : les poèmes énigmatiques des poétesses victoriennes","authors":"F. Moine","doi":"10.4000/CVE.7948","DOIUrl":"https://doi.org/10.4000/CVE.7948","url":null,"abstract":"Victorian women poets, along with certain Pre-Modernist ones (from Elizabeth Barrett Browning, Laetitia Landon or Christina Rossetti to other, less well-known ones today, such as Dora Greenwell or Adelaide Procter), have written some disturbing and informal poems that do not always meet accepted Victorian generic or thematic standards. As the reader peruses these poems, he/she feels strangely close to them since he/she is invited to share the enigma or secret that will remain concealed, provoking further frustration. Revelation is perpetually postponed to another space, strange and boundless as well as foreign, whose language the reader will have difficulty coming to terms with. This space therefore points towards another poetical, forever indeterminate, territory.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2008-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76675783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Le rapport de Walter Pater a la Decadence est complexe et necessite une explicitation de son rapport a la temporalite afin de constater que les concepts de renaissance et de decadence finissent par se recouper a travers l'elevation de l'articulation temporelle a la dignite d'un culte ou au trivial de la mode ou de la babiole. Semblable rapport a l'instant donne lieu a une reflexion poetique qui se deploie dans l'oeuvre de Pater sous la forme d'une definition de l'euphuisme dans Marius l'Epicurien.
报告a la Decadence Walter Pater复杂且需要解释报告注意temporalite以文艺思想和Decadence终将穿越了时空衔接l’elevation重叠了一个礼拜的尊严或琐碎的时尚还是微不足道的。在佩特的作品中，类似的关系引发了一种诗意的反思，这种反思以伊壁鸠鲁的马吕斯对euphuism的定义的形式展开。
{"title":"« Pater : de la Décadence à l’euphuisme »","authors":"B. Coste","doi":"10.4000/cve.7832","DOIUrl":"https://doi.org/10.4000/cve.7832","url":null,"abstract":"Le rapport de Walter Pater a la Decadence est complexe et necessite une explicitation de son rapport a la temporalite afin de constater que les concepts de renaissance et de decadence finissent par se recouper a travers l'elevation de l'articulation temporelle a la dignite d'un culte ou au trivial de la mode ou de la babiole. Semblable rapport a l'instant donne lieu a une reflexion poetique qui se deploie dans l'oeuvre de Pater sous la forme d'une definition de l'euphuisme dans Marius l'Epicurien.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2008-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76910667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper asserts that Pater's essay title, "Diaphaneite", a modified version of the French word, enables one to trace the possible presence of Victor Hugo in Pater's earliest essay. In the opening chapter of Les Miserables, Hugo describes the pure nature of a deeply religious elderly lady. The woman here seems to be no longer a physical being, but has become, in her old age, a transparence, so to speak, as everything in her expresses her angelic nature. Hugo's phrase "cette diaphaneite" is very similar to Pater's essay title. It is interesting that Hugo again uses the idiosyncratic word "diaphaneite" when pondering the diaphanous creatures in his Les Travailleurs de la mer. Hugo attributes the quality of "diaphaneite" to the "meduse" (jellyfish) in the limpid sea water. Hugo's Gilliatt thinks that "since living transparencies inhabit the water, other transparencies, equally living, might also inhabit the air." A Paterian echo from this passage could be found in Florian's thinking of the "home-returning ghosts."
{"title":"Diaphaneitè Pater's enigmatic term","authors":"M. Uemura","doi":"10.4000/cve.7811","DOIUrl":"https://doi.org/10.4000/cve.7811","url":null,"abstract":"This paper asserts that Pater's essay title, \"Diaphaneite\", a modified version of the French word, enables one to trace the possible presence of Victor Hugo in Pater's earliest essay. In the opening chapter of Les Miserables, Hugo describes the pure nature of a deeply religious elderly lady. The woman here seems to be no longer a physical being, but has become, in her old age, a transparence, so to speak, as everything in her expresses her angelic nature. Hugo's phrase \"cette diaphaneite\" is very similar to Pater's essay title. It is interesting that Hugo again uses the idiosyncratic word \"diaphaneite\" when pondering the diaphanous creatures in his Les Travailleurs de la mer. Hugo attributes the quality of \"diaphaneite\" to the \"meduse\" (jellyfish) in the limpid sea water. Hugo's Gilliatt thinks that \"since living transparencies inhabit the water, other transparencies, equally living, might also inhabit the air.\" A Paterian echo from this passage could be found in Florian's thinking of the \"home-returning ghosts.\"","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2008-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87926578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The hypertext is becoming a new medium for scholarship, allowing quick and universal sharing of knowledge as well as providing for scholarly criticism a new text model. Walter Pater raised the issue of scholarship in his time and his view may help us assess how the hypertext could best be used in Paterian studies. The hypertext may be appropriate for highlighting intertextuality and presenting Pater's extensive culture. However, is the author's intention not undermined when texts are opened to other texts while Pater saw his works as fully composed structures? The problem is even more complex when it comes to hypermedia. The hypertext suggests a new area of research around time/space scale shifts in Pater's works, for which Jacques Fontanille's comparative semiotics provide a methodology. After raising the issue of scholarship, the hypertext then leads us to consider Pater's style in a new light and to explore relations between literature and the spatial arts in his works.
{"title":"Pater's scholar and the hypertext","authors":"Martine Lambert-Charbonnier","doi":"10.4000/cve.7788","DOIUrl":"https://doi.org/10.4000/cve.7788","url":null,"abstract":"The hypertext is becoming a new medium for scholarship, allowing quick and universal sharing of knowledge as well as providing for scholarly criticism a new text model. Walter Pater raised the issue of scholarship in his time and his view may help us assess how the hypertext could best be used in Paterian studies. The hypertext may be appropriate for highlighting intertextuality and presenting Pater's extensive culture. However, is the author's intention not undermined when texts are opened to other texts while Pater saw his works as fully composed structures? The problem is even more complex when it comes to hypermedia. The hypertext suggests a new area of research around time/space scale shifts in Pater's works, for which Jacques Fontanille's comparative semiotics provide a methodology. After raising the issue of scholarship, the hypertext then leads us to consider Pater's style in a new light and to explore relations between literature and the spatial arts in his works.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2008-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87018028","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Walter Pater's Plato and Platonism (1893) is too often considered as distinct or exempt from the author's usual idiosyncrasies of style. Building on William Shuter's 1997 challenge to this traditional view, the aim of this paper is to demonstrate Pater's unchanged attitudes and assign a positive value to his difficult, puzzling but eventually coherent use of imagery and inter-textual self-reference. Deconstructing Plato's supposed rejection of "Poikilia" (confusing variety of imitative reference), Pater is shown to go beyond the dialectic opposition of Plurality vs. Unity or Movement vs. Rest. Evidencing still active longings to fulfil the initial Heraclitean intentions set out in "Diaphaneite" (1864), the last work to be published in his life-time thus reasserts its position in the continuum of Pater's permanently interconnected writing and time-conscious quest for "dry light".
{"title":"Pater's Poikilia : auto-références, métaphores et impressions dans Platon et le platonisme (1893)","authors":"Jean-Baptiste Picy","doi":"10.4000/cve.7817","DOIUrl":"https://doi.org/10.4000/cve.7817","url":null,"abstract":"Walter Pater's Plato and Platonism (1893) is too often considered as distinct or exempt from the author's usual idiosyncrasies of style. Building on William Shuter's 1997 challenge to this traditional view, the aim of this paper is to demonstrate Pater's unchanged attitudes and assign a positive value to his difficult, puzzling but eventually coherent use of imagery and inter-textual self-reference. Deconstructing Plato's supposed rejection of \"Poikilia\" (confusing variety of imitative reference), Pater is shown to go beyond the dialectic opposition of Plurality vs. Unity or Movement vs. Rest. Evidencing still active longings to fulfil the initial Heraclitean intentions set out in \"Diaphaneite\" (1864), the last work to be published in his life-time thus reasserts its position in the continuum of Pater's permanently interconnected writing and time-conscious quest for \"dry light\".","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2008-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76746023","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since the advent of the Computer Age, there has been a veritable explosion in late Victorian studies in general and in Pater studies in particular. While it is true that he was still somewhat under a cloud in the early 1970s, that cloud has dissipated. In November 2005, for example, there were 109,000 hits on him on the Internet. Whole schools of thought have arisen about the man and his oeuvre. Leading scholars have devoted the better part of their professional lives to him and have become far more reliable and candid authorities than any who wrote between the 1860s and the 1970s. It is high time for scholars concerned about his literary reputation to assess 20th and 21st century perceptions of Pater, to elucidate his continuing hold on the modern literary imagination, and to review the critical tradition of the last 35 years. This paper attempts to do just that. By showing the shift from hostile modernism to a more open and inclusive conception of his literary persona, I explain why Pater is no longer dismissed as precieux and inconsequential by the guardians of High Culture (such as Eliot) but is recognized as an original who synthesized personal preoccupations and aesthetic/critical response to various art forms, nature, and persons. Since Western culture no longer upholds the restrictions under which Pater labored to define his Weltanschauung, his genius in the use of suggestion-association, transparency, diaphaneity, masochistic delay-has become more recognizable. The hallmark of a master craftsman is that he can keep the rules of his genre or Sitz im Leben, but, because he has thoroughly internalized those rules, make his performance appear graceful, even spontaneous. In this regard, Pater has few equals. No longer burdened with the need to condemn his orientation, desire, or lifestyle, recent critics can readily appreciate the subtlety with which Pater interweaves intellectual history, aesthetic method, and sensual self-indulgence. What scandalized some of his contemporaries and those who considered him, however dismissively, in the middle of the 20th century, can now be regarded as an aspect of what Lawrence S. Kubie called the neurotic distortion of the creative process, a distortion bom primarily of intolerance and repression. The last part of the essay explains why, as inclusion and acceptance gain ground in the wider culture, Pater will be found more relevant and interesting. His foundational affirmation of the modern spirit, relativism linked with sensual exploration, will seem more congenial to 21st century readers than it did to those grounded in a "facile orthodoxy." As Pater's response to the beautiful, in art and life, becomes better understood, it will be seen that he is at once the culmination of a long line of theoretical rebels and the beginning of a post-modern, existential methodology that values art after the debacle of the 20th century and the collapse of ideologies that once sought to discredit him. He will then assume
自计算机时代到来以来，维多利亚时代晚期的研究总体上出现了真正的爆炸式增长，尤其是对佩特的研究。虽然在20世纪70年代初，他确实有些阴云笼罩，但那阴云已经消散了。例如，2005年11月，他在互联网上的点击率为10.9万。关于这个人和他的作品，出现了各种各样的思想流派。领先的学者们把他们职业生涯的大部分时间都奉献给了他，与19世纪60年代到70年代之间的任何作家相比，他们已经成为更可靠、更坦率的权威。关注他的文学声誉的学者们是时候评估20世纪和21世纪对佩特的看法，阐明他对现代文学想象力的持续影响，并回顾过去35年的批评传统。本文试图做到这一点。通过展示他的文学人格从敌对的现代主义到更开放和包容的观念的转变，我解释了为什么帕特不再被高雅文化的捍卫者(如艾略特)视为珍贵和无关紧要的，而是被认为是一个原创的人，他综合了个人的关注和对各种艺术形式、自然和人物的审美/批判反应。由于西方文化不再支持帕特努力定义他的世界观的限制，他在使用暗示方面的天才——联想、透明、透明、受虐延迟——变得更加明显。一个大师级的工匠的标志是，他可以保持他的流派或Sitz im Leben的规则，但是，因为他已经完全内化了这些规则，使他的表演显得优雅，甚至是自发的。在这方面，很少有人能与帕特匹敌。最近的评论家们不再需要谴责他的取向、欲望或生活方式，他们很容易就能欣赏到帕特将思想史、美学方法和感官自我放纵交织在一起的微妙之处。在20世纪中期，让他的一些同时代人以及那些对他不屑一顾的人感到震惊的事情，现在可以被视为劳伦斯·s·库比(Lawrence S. Kubie)所说的创作过程的神经质扭曲的一个方面，这种扭曲主要源于不宽容和压抑。文章的最后一部分解释了为什么，随着包容和接受在更广泛的文化中获得基础，帕特将被发现更相关和有趣。他对现代精神的基本肯定，即与感官探索相联系的相对主义，似乎更适合21世纪的读者，而不是那些以“肤浅的正统”为基础的读者。随着人们对帕特在艺术和生活中对美的回应得到更好的理解，我们将看到，他既是一长列理论反叛的顶点，也是后现代存在主义方法论的开端，在20世纪的崩溃和曾经试图诋毁他的意识形态崩溃之后，这种方法论重视艺术。然后他将承担起他应有的地位。
{"title":"The contemporary critical reception of Walter Pater : retrospective and proleptical views","authors":"G. Sadock","doi":"10.4000/cve.7781","DOIUrl":"https://doi.org/10.4000/cve.7781","url":null,"abstract":"Since the advent of the Computer Age, there has been a veritable explosion in late Victorian studies in general and in Pater studies in particular. While it is true that he was still somewhat under a cloud in the early 1970s, that cloud has dissipated. In November 2005, for example, there were 109,000 hits on him on the Internet. Whole schools of thought have arisen about the man and his oeuvre. Leading scholars have devoted the better part of their professional lives to him and have become far more reliable and candid authorities than any who wrote between the 1860s and the 1970s. It is high time for scholars concerned about his literary reputation to assess 20th and 21st century perceptions of Pater, to elucidate his continuing hold on the modern literary imagination, and to review the critical tradition of the last 35 years. This paper attempts to do just that. By showing the shift from hostile modernism to a more open and inclusive conception of his literary persona, I explain why Pater is no longer dismissed as precieux and inconsequential by the guardians of High Culture (such as Eliot) but is recognized as an original who synthesized personal preoccupations and aesthetic/critical response to various art forms, nature, and persons. Since Western culture no longer upholds the restrictions under which Pater labored to define his Weltanschauung, his genius in the use of suggestion-association, transparency, diaphaneity, masochistic delay-has become more recognizable. The hallmark of a master craftsman is that he can keep the rules of his genre or Sitz im Leben, but, because he has thoroughly internalized those rules, make his performance appear graceful, even spontaneous. In this regard, Pater has few equals. No longer burdened with the need to condemn his orientation, desire, or lifestyle, recent critics can readily appreciate the subtlety with which Pater interweaves intellectual history, aesthetic method, and sensual self-indulgence. What scandalized some of his contemporaries and those who considered him, however dismissively, in the middle of the 20th century, can now be regarded as an aspect of what Lawrence S. Kubie called the neurotic distortion of the creative process, a distortion bom primarily of intolerance and repression. The last part of the essay explains why, as inclusion and acceptance gain ground in the wider culture, Pater will be found more relevant and interesting. His foundational affirmation of the modern spirit, relativism linked with sensual exploration, will seem more congenial to 21st century readers than it did to those grounded in a \"facile orthodoxy.\" As Pater's response to the beautiful, in art and life, becomes better understood, it will be seen that he is at once the culmination of a long line of theoretical rebels and the beginning of a post-modern, existential methodology that values art after the debacle of the 20th century and the collapse of ideologies that once sought to discredit him. He will then assume","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2008-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90944653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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