Abstract
In Fiction, Fair and Foul (1880-81) John Ruskin delves into his memory to recall the still rural environs of Dulwich and Herne Hill, celebrating the ‘green bye-road’ of Croxted Lane and the ‘slender rivulet’ with its ‘clear and deep pools’:
There, my mother and I used to gather the first buds of the hawthorn; and there, in after years, I used to walk in the summer shadows, as in a place wilder and sweeter than our garden.
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Notes
John Ruskin, ‘Fiction Fair and Foul’, in The Genius of John Ruskin, ed. J. D. Rosenberg (London: Routledge & Kegan Paul, 1979), 435, 436.
Walter Benjamin, ‘A Berlin Chronicle’, in One-Way Street, tr. E. Jephcott and K. Shorter (London: Verso, 1997), 314.
Carol Jacobs, ‘Benjamin, Topographically Speaking’, in Walter Benjamin: Theoretical Questions, ed. D. S. Ferris (Stanford: Stanford University Press, 1996), 107.
Sigrid Weigel, Body and Image Space (London: Routledge, 1996), 111.
John Ruskin, The Crown of Wild Olive (Orpington: George Allen, 1882), 2, 3.
Sheila Emerson, Ruskin: The Genesis of Invention (Cambridge: Cambridge University Press, 1993), 65.
David Carroll, ‘Pollution, Defilement and Decomposition’, in Ruskin and Environment, ed. M. Wheeler (Manchester: Manchester University Press, 1995), 65.
Mark Frost, “The Circles of Vitality”: Ruskin, Science and Dynamic Materiality’, Victorian Literature and Culture 39(2) (2011), 370.
Maurice Merleau-Ponty, The Phenomenology of Perception (London: Routledge & Kegan Paul, 1962), vii.
Michael Sheringham, French Autobiography: Devices and Desires (Oxford: Clarendon Press, 1993), 21.
Walter Benjamin, The Origin of German Tragic Drama, tr. J. Osborne (London: Verso, 1985), 224.
Martin Heidegger, ‘What Are Poets For?’ in Poetry, Language, Thought, tr. A. Hofstadter (New York: HarperCollins, 2001), 89.
John Ruskin, ‘The Storm Cloud of the Nineteenth Century’, in Selected Writings, ed. D. Birch (Oxford: Oxford University Press, 2004), 277.
Cited in Samuel Weber, Benjamin’s-abilities (Cambridge, MA: Harvard University Press, 2008), 232.
Letter of 1846, cited in Jonah Siegel, Desire and Excess (Princeton: Princeton University Press, 2000), 205.
Walter Benjamin, ‘The Work of Art in the Age of Mechanical Reproduction’, in Illuminations, tr. H. Zohn (London: Pimlico, 1999), 228.
Graeme Gilloch, Myth and Metropolis (Cambridge: Polity Press, 1997), 66, 91.
Walter Benjamin, Berlin Childhood Around 1900, tr. H. Eiland (Cambridge, MA: Belknap Press, 2006), 79.
On the cultural implications of Berlin Childhood, see Gerhard Richter, Walter Benjamin and the Corpus of Autobiography (Detroit: Wayne State University Press, 2000).
Bernd Huppauf, ‘Benjamin’s Imaginary Landscape’, in With the Sharpened Axe of Reason, ed. G. Fischer (Oxford: Berg, 1996), 36.
Diary entry, 13 May 1931, cited in Rainer Nagele, ‘Thinking Images’, in Benjamin’s Ghosts, ed. G. Richter (Stanford: Stanford University Press, 2002), 36, 37.
Maurice Blanchot, The Sirens’ Song, tr. S. Rabinovitch (Brighton: Harvester, 1982), 73.
Marcel Proust, Remembrance of Things Past, vol. 3, tr. C. K. Scott Moncrieff and T. Kilmartin (Harmondsworth: Penguin, 1981), 1020.
Georgio Agamben, Potentialities, tr. D. Heller-Roazen (Stanford: Stanford University Press, 1999), 267.
Esther Leslie, ‘Telescoping the Microscopic Object: Benjamin as Collector’, in The Optic of Walter Benjamin, ed. A. Coles (London: Black Dog Publishing, 1999), 68.
Walter Benjamin, The Arcades Project, tr. H. Eiland and K. McLaughlin (Cambridge, MA: Belknap Press, 2002), 420.
John Ruskin, Praeterita, ed. A. O. J. Cockshut (Keele: Ryburn Publishing, 1994), 448, 449.
T. W. Adorno, Aesthetic Theory, tr. R. Hullot-Kentor (Minnesota: University of Minnesota Press, 1997), 70.
William Arrowsmith, ‘Ruskin’s Fireflies’, in The Ruskin Polygon, ed. J. Dixon Hunt and F. M. Holland (Manchester: Manchester University Press, 1982), 212, 213.
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© 2013 Roger Ebbatson
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Ebbatson, R. (2013). The Springs of Wandel: Ruskin, Proust, Benjamin. In: Landscape and Literature 1830–1914. Palgrave Macmillan, London. https://doi.org/10.1057/9781137330444_12
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