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Relevant bibliographies by topics / Pater, Walter Horatio, 1839-1894

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Academic literature on the topic 'Pater, Walter Horatio, 1839-1894'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 March 2023

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Journal articles on the topic "Pater, Walter Horatio, 1839-1894"

1

Millet-Gérard, Dominique. "Poétique symboliste de Psyché : Walter Pater (1839-1894), lecteur, traducteur et orchestrateur du conte d'Apulée." Bulletin de l'Association Guillaume Budé 1, no. 1 (1990): 48–71. http://dx.doi.org/10.3406/bude.1990.1417.

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Lee, A. "The Rhetorical Use of Provocation as a Means of Persuasion in the Writings of Walter Pater (1839-1894), English Essayist and Cultural Critic: Pater as Controversialist." British Journal of Aesthetics 52, no. 1 (November 16, 2011): 110–13. http://dx.doi.org/10.1093/aesthj/ayr038.

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Lambert-Charbonnier, Martine. "John Coates, The Rhetorical Use of Provocation as a Means of Persuasion in the Writings of Walter Pater (1839–1894), English Essayist and Cultural Critic. Pater as a Controversialist." Cahiers victoriens et édouardiens, no. 79 Printemps (June 1, 2014). http://dx.doi.org/10.4000/cve.1310.

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Dissertations / Theses on the topic "Pater, Walter Horatio, 1839-1894"

1

Gillard-Estrada, Anne-Florence. "The Greek Paradox : Walter Pater - L'hellénisme et la Grèce." Paris 7, 2002. http://www.theses.fr/2002PA070028.

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Cette recherche s'inscrit dans le cadre de l'étude de la place de la Grèce et de l'Hellénisme dans la littérature, l'histoire des idées, la critique d'art et l'esthétique de la seconde moitié du XIXè siècle en Grande-Bretagne. Elle montre comment Walter Pater joua un rôle central dans la construction d'une vision particulière de la Grèce. Pater, qui publia de nombreux essais et récits de fiction entre 1866 et 1894, formula un idéal de la Grèce aux contours très personnels. Sa conception de la Grèce s'inspirait du contexte oxonien dans lequel il évoluait et puisait dans une vaste érudition. Les études classiques de l'époque témoignent ainsi d'un regain pour Platon auquel Pater apporte sa propre contribution ; de nouvelles approches de la mythologie grecque influencent également l'écrivain, notamment pour sa fiction. Celui-ci répondait aux discours sur la Grèce de certains auteurs contemporains, notamment Matthew Arnold et Benjamin Jowett. Les réactions très critiques qui accueillirent parfois la publication de certains écrits de Pater mettent en relief la place problématique que tient la Grèce non seulement à l'époque victoriene, mais, plus particulièrement, dans l'oeuvre de Pater. Ce travail s'attache à montrer le rôle prépondérant pour l'auteur de cette "culture grecque" dont la définition est fort subjective, ainsi que le discours polémique que Pater veut attribuer à ce sujet. Une certaine conception de l'"idéal grec" met en jeu un projet plus audacieux encore, au centre duquel figure une approche nouvelle, moderne, voire scandaleuse, de la subjectivité, et principalement de l'identité masculine. Les stratégies de réécriture de l'écrivain sont à ce titre étudiées afin de déceler la trajectoire de cet "idéal grec" que Pater s'emploie à définir tout au long de sa carrière. Elles mettent au jour une conception de la Grèce et une approche de l'hellénisme riches en paradoxes et annonciatrices de nombreuses figures et thématiques du Décadentisme.

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2

MacLeod, Kirsten. "Walter Pater, Oscar Wilde, and audiences of aestheticism." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20442.

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By examining the process of production and reception of the works of Walter Pater and Oscar Wilde, this thesis explores the ways in which both conceptions of audience and actual audiences shaped these works. As proponents of "aestheticism," a philosophy which required the development of a highly specialised mode of perception and critical awareness, Pater and Wilde wrote with a fairly select audience in mind. Confronted, however, with actual readers who did not always meet the "aesthetic" criteria (even if they were supporters), they were forced to rethink their conceptions of audience. Pater's and Wilde's developing understandings of audience can be traced in their works, as they experiment with style and genre in an attempt to communicate effectively with their readers. Although at base Pater and Wilde advocated a similar "aesthetic" philosophy, their distinct conceptions of audience played a significant role in determining the nature of their particular versions of aestheticism.

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3

Lambert, Martine-Marie. "Miroirs de la culture et images de soi : du portrait au "portrait imaginaire" chez Walter Pater." Paris 4, 1999. http://www.theses.fr/1999PA040211.

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Qu'est-ce qu'un « portrait imaginaire « ? Je mets l'expression entre guillemets parce qu'elle ne désigne pas seulement le recueil des Imaginary portraits de 1887. Elle permet de définir un ensemble d'œuvres de fiction, que Pater a écrites entre 1878 et 1894. S'inspirant du « portrait imaginaire » en peinture, Pater redonne au portrait une place noble dans la hiérarchie des genres. Le portrait peut prendre d'autres formes, en particulier celle de la maison, qui est une extension de la personne. Elle est l'image de son tempérament et de la phase de culture qu'il incarne. Pour montrer l'évolution du zeitgeist, Pater s'inspire des vestiges du passé. Les images funéraires reprennent vie, sous sa plume, dans un nouveau portrait, celui d'un personnage dont le génie permet de comprendre l'essence de la culture. Dans sa fiction comme dans ses essais critiques, Pater s'inspire d'œuvres d'art, peintures, sculptures ou monuments. Il marie le texte et l'image. Quand il part de sources historiques, le discours sur l'art et sur l'histoire demeure, mais Pater recréé aussi le passé dans un tableau vivant et colore. En outre, les « portraits imaginaires » ont tendance à la fragmentation. Le texte se constitue en journal, pour accueillir une confession voilée où peut se lire le développement infini de l'esprit. Cependant, Pater cherche aussi à composer un portrait, c'est-à-dire à rassembler les différentes phases du parcours spirituel en une image unique. Le « portrait imaginaire » a une double dimension psychologique et culturelle, que l'on retrouve dans les œuvres des « héritiers » de Pater, Vernon Lee, Maurice Hewlett, John Synge, Arthur Symons et Ernest Dowson.

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4

Hennessey, Jeanne. "Quatre portraits par Walter Pater : Ronsard, Montaigne, Giordano Bruno et Pascal." Paris 4, 1991. http://www.theses.fr/1991PA040309.

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Comme son maître Sainte-Beuve, Walter Pater a cherché dans le portrait littéraire un moyen de comprendre sa propre sensibilité artistique et religieuse ansi que celle des autres. Platonicien et hegelien, il a envisagé à la fin de sa vie une trilogie qui montrerait l'action de l'esprit à travers trois époques "négatives"- Rome des antonins, la France des derniers Valosi et l'Angleterre des lumières. Le premier roman de la trilogie Marius l'épicurien est le seul qui ait été achevé. Dans ce travail nous avons examiné les trois portraits litteraires qui s'insère dans le deuxième roman (inachevé) de la triologie Gaston de Latour, afin de démontrer que Pater essaie, à travers ce roman de suivre l'action de l'esprit dans cette deuxième période historique qui était capitale pour Hegel. "La modernite". Chaque rencontre avec les astres représentera une étape sur le chemin de la vérité poursuivi par Pater lui-même. Toutefois, ce ne sera pas dans Gaston de Latour que l'on trouvera la synthèse des vérités, et peut-être la vérité de Pater lui-même, mais dans son ouvrage ultime, Pascal la recherche de la vérité est aussi chez l'artiste la recherche d'un "style". Comme Sainte-Beuve, Pater trouve que la prose est l'art de la modernité. Tout en étant fasciné par la subjectivité moderne du style de Montaigne, il est convaincu que le style de Pascal, capable d'exprimer à la fois les pensées de la raison et du coeur a faconné le francais moderne
Disciple of Sainte-Beuve, Walter Pater sought int the literary portrait a means of understanding his own rich artistic and religious sensibility. Platonist and hegelian he envisaged, in his later years, a trilogy which would show the action of the spirit in three "negative" periods of history : antonine rome, France under the last of the valois and England of the "lumieres" Marius the epicurean was the only novel in the trilogy to be finished. In this thesis we have examined the three literary portraits inserted in the novel of the trilogy- Gaston de Latour in order to show that Pater endeavoured in this unfinished work to follow the action of the spirit in this second period of history which was capital for hegel- modernity. Each meeting with th "stars" of the renaissance represents a stage in the itinerary followed by Pater himself. However it is not in Gaston de Latour that Pater will find the synthesis of the different aspects of truth that he has found. To follow pater's itinerary to the end we must examine another work, also unfinished, the portrait pascal. For the artist the search for truth is also a search for a "style". Attracted by the subjectivity of Montaigne's sytle, Pater is convinced that Pascal's prose in its ability to express the thoughts of the mind and the heart, is the prose that has shaped modern french

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5

Khalip, Jacques. "Loss unlimited : sadness and originality in Wordsworth, Pater, and Ashbery." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0002/MQ43895.pdf.

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6

Walker, Stanwood Sterling. "The classical-historical novel in nineteenth-century Britain." Access restricted to users with UT Austin EID, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3036607.

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7

Emilsson, Wilhelm. "Epicurean aestheticism: De Quincey, Pater, Wilde, Stoppard." Thesis, 1997. http://hdl.handle.net/2429/8482.

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This is a study of what I argue is a neglected side of Aestheticism. A standard definition of Aestheticism is that its practitioners turn away from the general current of modernity to protest its utilitarian and materialistic values, but this generalization ignores the profound influence of contemporary philosophical and scientific thought on such major figures of British Aestheticism as Walter Pater and Oscar Wilde. This study focuses on Aesthetes who are not in flight from modernity. I call their type of Aestheticism "Epicurean Aestheticism" and argue that since this temperament is characterized by a willingness to engage with the flux of modern times it must be distinguished from the more familiar, escapist form of Aestheticism I call "Platonic Aestheticism." I propose that Aestheticism be viewed as a spectrum with Epicurean Aestheticism on one side and the Platonic variety on the other. While Platonic Aesthetes like W. B . Yeats and Stephane Mallarme continue the Romantic project of trying to counter modernity with various idealist and absolutist philosophies, Epicurean Aesthetes adopt materialist and relativistic strategies in their desire to make the most of modern life. I argue that the first unmistakable signs of Epicurean Aestheticism are to be found in Thomas De Quincey, that the sensibility is fully formulated be Pater, continued by Wilde, and finds a current representative in Tom Stoppard. All Aesthetes are dedicated to the pursuit of beauty, but Platonic Aesthetes seek beauty in an eternal and transcendent realm, while Epicurean Aesthetes have given up such absolutist habits of thought. Pater writes: "Modern thought is distinguished from ancient by its cultivation of the "relative" spirit in place of the "absolute." Epicurean Aesthetes want a new aesthetic that will parallel the paradigm shift from absolutism to relativism. While a nostalgic, quasi-religious longing for a purely ideal realm characterizes Platonic Aesthetes, Epicurean Aesthetes accept that the high, idealistic road to eternal beauty is closed. Instead of lamenting this fact, they start looking for beauty among the uncertainties of the phenomenal world: by viewing life as an aesthetic spectacle to be observed and experimented on with playful detachment they become Epicureans of the flux of modernity.

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8

Lozada, Jorge Alberto Uribe 1986. "Um drama da crítica: Oscar Wilde, Walter Pater e Matthew Arnold, lidos por Fernando Pessoa." Doctoral thesis, 2014. http://hdl.handle.net/10451/11341.

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Tese de doutoramento, Estudos da Literatura e da Cultura (Teoria da Literatura), Universidade de Lisboa, Faculdade de Letras, 2014
Sendo os primeiros comentaristas pessoanos, José Régio e João Gaspar Simões identificaram como elemento problemático mas fulcral para a leitura de Fernando Pessoa o facto de, na sua obra, coexistirem um elemento crítico e um elemento poético. Régio associou esta particularidade da obra de Pessoa directamente a uma ampla erudição do autor, mas considerou que esta podia ter efeitos negativos face ao que ele considerava serem valores mais puramente criativos. A consideração estava certa a respeito do reconhecimento da constituição compósita da obra, mas o que no caso de Pessoa pode ser distinguível como crítica está associado às suas leituras de Oscar Wilde, Walter Pater e Matthew Arnold. Transversalmente, nas obras desses três autores, as figuras do crítico e do artista foram o centro de uma polémica a respeito da arte após o romantismo. Destas leituras, praticadas durante um período que abarca boa parte da vida do autor, depreenderam-se características e elementos constitutivos do que Pessoa chamou «um drama em gente», e que constitui a parte mais largamente célebre da sua produção escrita.
José Régio and João Gaspar Simões, first readers and commentators of Fernando Pessoa’s work, identified in it the coexistence of a critical and a poetical component as a problematic but fundamental element in order to understand his literary production. In considering this fact as dependent on Pessoa’s vast erudition, Régio judged this characteristic as damaging over other creative values he understood to be essential in any literary work. This reflection was accurate in relation to the composite constitution of Pessoa’s work, but what criticism could mean in Pessoa’s context is deeply related with what he read about that concept in the works of Oscar Wilde, Walter Pater and Matthew Arnold. What being an Artist and a Critic meant is a key-note issue in those authors’ works regarding what art could be after Romanticism. The characteristics and cornerstones of what Pessoa called «um drama em gente», which represents the most famous part of his writing production, actually came from such almost lifelong readings.
Fundação para a Ciência e a Tecnologia (FCT)

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Books on the topic "Pater, Walter Horatio, 1839-1894"

1

Brake, Laurel. Walter Pater. Plymouth, U.K: Northcote House in association with the British Council, 1994.

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Walter Pater and the language of sculpture. Farnham, Surrey, UK, England: Ashgate, 2011.

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Walter Pater: Lover of strange souls. New York: Knopf, 1995.

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Shuter, William. Rereading Walter Pater. New York: Cambridge University Press, 1997.

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Fellows, Jay. Tombs, despoiled and haunted: "under-textures" and "after-thoughts" in Walter Pater. Stanford, Calif: Stanford University Press, 1991.

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Iser, Wolfgang. Walter Pater, the aesthetic moment. Cambridge [Cambridgeshire]: Cambridge University Press, 1987.

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The sensible spirit: Walter Pater and the modernist paradigm. Tampa: University Presses of Florida, 1986.

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Pater, Walter. Essays on literature and art. London: J.M. Dent, 1990.

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Aestheticism and deconstruction: Pater, Derrida, and De Man. Princeton, N.J: Princeton University Press, 1991.

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Liebregts, P. Th. M. G. and Tigges Wim, eds. Beauty and the beast: Christina Rossetti, Walter Pater, R.L. Stevenson and their contemporaries. Amsterdam: Rodopi, 1996.

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Book chapters on the topic "Pater, Walter Horatio, 1839-1894"

1

Loesberg, Jonathan. "John Ruskin (1819-1900) and Walter Pater (1839-1894): Aesthetics and the State." In Introducing Literary Theories, 650–58. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474473637-084.

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Evangelista, Stefano. "Things Said by the Way." In On Essays, 241–57. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198707868.003.0013.

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Walter Pater (1839–1894) saw the essay as the quintessentially modern literary form: a dialectic of philosophy and poetry, yoking together the precious and the commonplace, capable of embodying the scepticism and relativism of the nineteenth century. At the same time, the literary essay was for him a rich source of experimentation in his own writing. In his critical works Pater explored the genealogy and features of essayistic style in a highly self-conscious way, tracing a history of the genre that goes from the Platonic dialogues to Montaigne, while his historical novels are punctuated with a series of digressions that gives them a distinctly hybrid, essayistic quality. In Gaston de Latour, Pater even stages an encounter between his fictional protagonist and Montaigne, in which he brings into focus his theory of the essay as revealing the importance of things found ‘at some random turn by the way’.

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Weir, David. "1. Rome." In Decadence: A Very Short Introduction, 13–33. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780190610227.003.0002.

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Ancient Roman writers whose work inspired latter-day decadents include the biographer Suetonius (69–122 CE) and the historian Tacitus (56–120 CE), who both wrote about the depraved behavior of Caligula, Nero, Vitellius, and other decadent emperors. Their accounts of outrageous behavior, as well as The Satyricon (an important novel about first-century Rome attributed to Petronius), form the classical model of Roman decadence. Later influential commentators on the fall of Rome were the French moral philosopher Montesquieu (1689–1755) and the British historian Edward Gibbon (1737–1794). Historical novels about ancient Rome by Gustave Flaubert (1821–1880) and Walter Pater (1839–1894) also had a bearing on the development of decadence.

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