CAHIERS VICTORIENS & EDOUARDIENS最新文献

{"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}

{"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}

{"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}

{"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}

{"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}

{"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}

{"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}

{"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}

{"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}

{"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}