Literary Architecture, Essays toward a Tradition: Walter Pater, Gerard Manley Hopkins, Marcel Proust, Henry James

1982 ◽  
Vol 34 (1) ◽  
pp. 88
Author(s):  
Jerome Bump ◽  
Ellen Frank
Keyword(s):  
Henry James ◽  
Marcel Proust ◽  
Walter Pater ◽  
Gerard Manley Hopkins ◽  
Literary Architecture

scholarly journals Gerard Manley Hopkins and Walter Pater : the labyrinths of transience

2016 ◽  
Vol 49 (1-2) ◽  
pp. 85-108 ◽  
Author(s):  
Mirko Starčević
Keyword(s):  
Primary Particle ◽  
Artistic Expression ◽  
Walter Pater ◽  
Gerard Manley Hopkins ◽  
Indelible Mark ◽  
Poetic Image ◽  
Creative Experience ◽  
The Individual

Transience forming life's very essence left an indelible mark on the creative explorations of Gerard Manley Hopkins and Walter Pater. The permanently indeterminable presence of mutability made both of them face the umbrous and unknowable aspect of death, thus revealing unto them the task of determining the role of art in life ruled by ceaseless corrosion. Pater accepts the flux of mutability as the primary particle in the revelatory act of the authentic creative experience. The power of that which is frolicsome in art augments the constitution of life's essence submerged in the unsettled condition of fate. Hopkins the priest particularly in his theoretic excursions recognizes in art itself only an approximate value to the timeless grandeur of God's ubiquity. His poetry, however, presents a dissimilar narrative. The poetic image that Hopkins forges corresponds to the mode of exposed individuality of the Romantic spirit, which Pater perceives as the harmony of strangeness and beauty. During Hopkins' student days at Oxford, Pater's relationship to the young poet was not confined to coaching only. Much of their time they spent in conversation, meditating upon the essential principles of artistic expression. Pater influenced Hopkins greatly and contributed impressively to the discipline of his poetic heart. Traces of this companionship do not find the path to Hopkins' religious ruminations; they announce their own existence, although very subtly, upon the individual levels of Hopkins' poetic yearnings.

scholarly journals MODERNISM IN MRS.DALLOWAY

2019 ◽  
Vol 34 (6) ◽  
pp. 1609-1613
Author(s):  
Fatbardha Doko ◽  
Hyreme Gurra ◽  
Lirije Ameti
Keyword(s):  
World War I ◽  
Virginia Woolf ◽  
Henry James ◽  
Joseph Conrad ◽  
Marcel Proust ◽  
Stream Of Consciousness ◽  
World War ◽  
Figures Of Speech ◽  
Life Path ◽  
Style Of Writing

Modernism is a very interesting and important movement in literature, characterized by a very self-conscious break with traditional ways of writing, in both poetry and prose fiction. However, the most important literary genre of modernism is the novel. Although prewar works by Henry James, Joseph Conrad, and other writers are considered Modernist, Modernism as a literary movement is typically associated with the period after World War I. Other European and American Modernist authors whose works rejected chronological and narrative continuity include Virginia Woolf, Marcel Proust, Gertrude Stein, and William Faulkner. After First World War a lot of developments took place, new inventions opened up the mind of artists in the 1920s, one of them was Virginia Woolf, a very specific novelist. So, this paper deals with Virginia Woolf’s novel, Mrs. Dalloway, and the main focus is on the elements of modernism in this masterpiece. It is a modern novel which has also most of the features of modernism, or we can say that there are several ways in which one can see Mrs. Dalloway as a Modernist novel. The most dominant characteristic is the content and the narrative style. Virginia Woolf overstepped the traditional writing by describing characters not only superficially but also their inner thoughts. Rather than having a straightforward narrative with a beginning and end and a narrator who knows it all, with Mrs Dalloway we have several narrators, flashbacks, stream-of-consciousness style, and a totally fragmented story. Also there is a connection of the author and her characters; she putted a piece of herself in each one of them. This is how you can find about the author’s life path and how her sufferings, mental illness affected into her writing. Thus, Virginia Woolf is considered an iconic modernist writer and pioneer not only of the stream of consciousness narrative technique, but of the use of free indirect speech, psychological as well as emotional motives of characters. Nevertheless, the unconventional use of figures of speech also makes a great characteristic and a symbol of her novels. Stream of consciousness writing allows readers to “listen in” on a character's thoughts. This will make you explore yourself in ways you have never thought before. Specifically, in Clarissa Dalloway’s preparations to host a party that evening Virginia Woolf records all her thoughts, remembrances and impressions, as well as the thoughts of other characters. There is no actual story, no plots or sub-plots, in fact, there is no action in the traditional sense in this novel, except from the “myriad of impressions” created by Virginia Woolf’s new style of writing.

scholarly journals Retratos da vida

2020 ◽  
Vol 11 (15) ◽  
pp. 144-172
Author(s):  
Hugo Lenes Menezes
Keyword(s):  
Henry James ◽  
Marcel Proust ◽  
Machado De Assis ◽  
Belle Epoque ◽  
Thomas Wolfe ◽  
Eca De Queiros ◽  
Belle Époque

O Impressionismo não constitui estilo exclusivo das estéticas plásticas, pois outras manifestações artísticas da etapa finissecular oitocentista e da Modernidade são tocadas pela tendência. Na Belle Époque, praticamente todos os artistas, literários ou não, são-lhe tributários. Entre os literatos lusófonos, destacamos Raul Pompeia, o último Machado de Assis e Eça de Queirós; Graça Aranha e Adelino Magalhães; todos no gênero narrativo. De línguas estrangeiras e mesmo gênero, mencionamos Edmond e Jules Goncourt, a pintar descrições cromático-verbais; Marcel Proust e Thomas Wolfe, num memorialismo das sensações; e Henry James, da perspectiva do impreciso. No teatro, citamos Anton Tchekhov, identificado com uma filosofia do momento. Dessa maneira, no presente artigo, abordamos o gênero dramático, sobretudo na Modernidade, em relação à pintura impressionista, mais exatamente numa visada sobre criações tchekhovianas para representação no palco, e detemo-nos por fim, com mais vagar, numa abordagem da peça As três irmãs (1901), obra-prima universal do Impressionismo cênico.

THE CASTRATO AND THE CRY IN VERNON LEE’S WICKED VOICES

2002 ◽  
Vol 30 (2) ◽  
pp. 421-437 ◽  
Author(s):  
Patricia Pulham
Keyword(s):  
Short Stories ◽  
Henry James ◽  
Edith Wharton ◽  
Walter Pater ◽  
Central Importance ◽  
Aesthetic Object ◽  
Art Object ◽  
Critical Attention ◽  
The Aesthetic

FOR MANY YEARS “VERNON LEE” (Violet Paget 1856–1935) has received scant critical attention. More recently, however, her eclectic oeuvre, and her literary stature amongst contemporaries such as Walter Pater, Henry James, and Edith Wharton have attracted increasing interest. Despite this, Lee’s collections of supernatural short stories remain relatively unexplored. With the notable exceptions of Carlo Caballero, Jane Hotchkiss, and Catherine Maxwell, who have used the richness of Lee’s language to examine the fascinating tensions that underlie these tales, little has been done to investigate the central importance of the aesthetic object in Lee’s fantasies and its wider implications in the context of the supernatural space. This essay intends to highlight the role played by the art object (in this case the operatic voice), and the significance of the supernatural in the development of Lee’s professional and private subjectivity.

Material Inspirations

2020 ◽  
Author(s):  
Jonah Siegel
Keyword(s):  
Henry James ◽  
George Eliot ◽  
William Blake ◽  
Walter Pater ◽  
John Ruskin ◽  
Critical Writing ◽  
Close Analysis ◽  
Wide Range ◽  
Pressure Shaping ◽  
History Of

This book is a study of the relationship between matter and idea that shaped the nineteenth-century culture of art, and that in turn determined the course of still-current accounts of art’s nature and value. Drawing on recent scholarship on the history of art and its institutions, Material Inspirations places cultural developments such as the emergence of new sites for exhibition and the astonishing proliferation of printed reproductions alongside a wide range of texts including novels, poems, travel guidebooks, compendia of antiquities, and especially the great line of critical writing that emerged in the period. The study aims to vivify a dynamic era, too often seen as static and unchanging, by emphasizing the transformations taking place throughout the period in precisely those areas that have appeared to promise little more than repetition or continuity: collection, exhibition, and reproduction. The book culminates with the two great critics of the period, John Ruskin and Walter Pater, but it also includes close analysis of other prose writers, as well as poets and novelists ranging from William Blake to Robert Browning, George Eliot to Henry James. Significant developments addressed include the vogue for the representation of Old Masters in the first half of the century, ongoing innovations in the creation and diffusion of reproductions, and the emergence of the field of art history itself. At the heart of each of these the book identifies a material pressure shaping concepts, texts, and works of art.

Flaubert, Gustave (1821–1880)

2018 ◽  
Author(s):  
Adam R. McKee
Keyword(s):  
Henry James ◽  
Marcel Proust ◽  
Gustave Flaubert ◽  
Emile Zola ◽  
Close Friend ◽  
Law School ◽  
Guy De Maupassant ◽  
Modern Novel ◽  
Jean Paul ◽  
French Writer

A primary innovator of the modern novel, French writer Gustave Flaubert was one of the most influential literary artists of the nineteenth century. Primarily associated with Realism, Flaubert is best remembered for his magnum opusMadame Bovary (1857). A close friend of many of his contemporaries including Ivan Turgenev, Henry James, and Guy de Maupassant, Flaubert was one of the moving forces in the early stages of modern literature. He is widely acknowledged as one of the originators of the modern novel’s form, and his work has influenced such literary figures as Émile Zola, Franz Kafka and Jean-Paul Sartre. Perhaps his legacy is best understood through Marcel Proust, who referred to Flaubert as a ‘génie grammatical’ (grammatical genius). Born in the northern French city of Rouen in 1821, Flaubert was the second of three children. Flaubert’s father was a surgeon in Rouen. After attending secondary school at Collège Royal de Rouen, Flaubert enrolled in law school in Paris in 1842. He would spend almost two years living in Paris before suffering the first epileptic seizure of his life in January 1844. As a result, Flaubert’s career as a writer would begin as he moved to a family property in Croisset, outside Rouen. Here Flaubert would write his masterpieces.

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