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- Whiteley, Giles, 1981-
(författare)
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'A Memnon waiting for the day' : Ancient Egypt in Aestheticism and Decadence
- 2020
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Ingår i: Victorian literary culture and ancient Egypt. - Manchester : Manchester University Press. - 9781526141880 ; , s. 139-161
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Bokkapitel (refereegranskat)abstract
- This chapter turns to ancient Egypt in the literature of the aesthetic and decadent movements, exploring how this differs from the so-called classical ‘ideal’ of Greece and Rome. Beginning with Baudelaire’s influential use of ancient Egypt in the ‘Spleen’ poems of Les Fleurs du mal (1857), it locates three interrelated, but also competing and seemingly contradictory, discursive deployments of ancient Egypt in literature of the period: firstly, in an argument derived from Hegel’s Aesthetics (1818–29), Egypt as ‘Symbolic’ mystery, whose art is underdeveloped by comparison to the ‘Classical Ideal’, waiting for the day of the ‘Greek spirit … with its power of speech’; secondly, Egypt as a site of ennui, where the ‘symbolic’ dimensions are linked intrinsically to a melancholic decadence and to death; and thirdly, Egypt as exoticism, and Orientalist sensuality, linking also to the significance of contemporary fin-de-siècle Egypt in homosexual culture. This chapter examines Walter Pater’s essay on ‘Winckelmann’ from The Renaissance (1873), and Oscar Wilde’s poem The Sphinx (1894) amongst other materials to argue that ancient Egypt was a marginal but nevertheless significant subject for the aesthetes and decadents.
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- Whiteley, Giles, 1981-
(författare)
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A Note on Some Unidentified Sources in Mansfield’s Reading from 1907
- 2017
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Ingår i: Katherine Mansfield and Russia. - Edinburgh : Edinburgh University Press. - 9781474426138 ; , s. 190-193
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Bokkapitel (refereegranskat)abstract
- This chapter examines a number of unattributed quotations taken from Katherine Mansfield’s journals of 1907, documenting her previously unknown reading of the works of three popular Edwardian novelists: Anthony Hope Hawkins, Henry Seton Merriman and Horace Annesley Vachell.
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- Whiteley, Giles, 1981-
(författare)
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Adam Lee, The Platonism of Walter Pater: Embodied Equity
- 2021
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Ingår i: Victoriographies. - : Edinburgh University Press. - 2044-2416 .- 2044-2424. ; 11:3, s. 341-344
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- According to Edmund Gosse, Walter Pater protested misrepresentations of Studies in the History of the Renaissance (1873), commenting: ‘I wish they wouldn’t call me “a hedonist”; it produces such a bad effect on the minds of people who don’t know Greek.’1 This focus on the classical heritage was characteristic: remembered today for his leading role in the aestheticism movement and as a novelist and art critic, Pater was, by profession, fellow of Brasenose, lecturing throughout his career on classical philosophy, literature, and art. Whereas earlier critics such as Richard Jenkyns dismissed Pater’s quality as a classical scholar, the topic has been the subject of renewed interest in recent years, most notably with Charles Martindale, Stefano Evangelista, and Elizabeth Prettejohn’s Pater the Classicist (2017). Adam Lee’s monograph sides with these recent reassessments, making the case that Plato’s philosophy was central to everything that Pater wrote and thought.
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- Whiteley, Giles, 1981-
(författare)
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Aestheticism and Decadence in Britain and France
- 2021
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Ingår i: The Palgrave Handbook of Steam Age Gothic. - Cham : Palgrave Macmillan. - 9783030408664 ; , s. 771-790
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Bokkapitel (refereegranskat)abstract
- This chapter surveys the Gothic writers associated with the aestheticism and decadence movement in Britain and France. Contextualising the movement’s roots in the Romantic tradition, the chapter focuses on the work of Charles Baudelaire, Charles Algernon Swinburne, Walter Pater, Stéphane Mallarmé, Joris-Karl Huysmans, Oscar Wilde, Vernon Lee and Arthur Machen. It shows the ways in which these authors gained mutual inspiration from one another, using the Gothic to shed light on both the modernity of the nineteenth century and to problematise its pretentions towards having all the answers. In the course of the chapter, we meet aesthetic and decadent fauns, lamia, werewolves and vampires, consider the ways in which the tradition treats sexual desire and violence, and its interest in a world ‘beyond’, both in its discussions of witchcraft, the occult and Satanism, and in its use of the trope of the ‘gods in exile’. The chapter concludes by arguing for the significance of the aesthetic and decadent tradition on the development of twentieth-century Gothic.
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