Abstract
The ‘subject’ of Pater in the 1890s may be constituted in a variety of ways: via the texts and subjects circulated and suppressed by the author; the ways and locations in which Pater is inscribed in Decadence by contemporaries; and in terms of discourse and its cultural contexts, gendered and homoerotic for example. I want to take a brief look at Pater’s part in the production of 1890s Decadence, his presence and absence.
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Notes
the Century Guild Hobby Horse: Selwyn Image, ‘In November Last at the London Institution, and Covent Garden Opera House’, 6 (January 1891), pp. 29–32
L. Johnson, [review of] Appreciations, 5 (1890), pp. 36–40
C. Kegan Paul, ‘On English Prose Style’, 4 (January 1889), pp. 11–26
Arthur Galton, ‘An Examination of Certain Schools and Tendencies in Contemporary Literature’, 4 (Tune 1889), pp. 98–108
Selwyn Image, ‘Two Critical Notices: Mr Pater’s Imaginary Portraits’, 3 (January 1888), pp. 14–18
J. A. Symonds, ‘Is Music the Type or Measure of All Arts’, 3 (April 1888), pp. 42–51.
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© 2001 Laurel Brake
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Brake, L. (2001). Pater, Symons and the Culture of the Fin de Siècle in Britain. In: Print in Transition, 1850–1910. Palgrave Macmillan, London. https://doi.org/10.1057/9780230005709_14
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DOI: https://doi.org/10.1057/9780230005709_14
Publisher Name: Palgrave Macmillan, London
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