Bøger af Vernon Lee

This collection of Vernon Lee's uniquely weird short stories and dark fantasies proves why she was once considered among the best of the genre, and why she deserves to return to those ranks today.

Vanitas: Polite Stories, a classical book, has been considered important throughout the human history, and so that this work is never forgotten we at Alpha Editions have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies of their original work and hence the text is clear and readable.

This collection of essays covers a wide range of aesthetic topics, from the nature of beauty to the psychology of music. Lee's clear and insightful prose makes this volume a pleasure to read, and her wide-ranging interests make it a valuable resource for anyone interested in the arts.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

A critical examination of the ways in which language and rhetoric can be used to obscure the truth and manipulate public opinion. Includes case studies of some of the most egregious examples of this phenomenon, as well as suggestions for how to combat it.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

A series of studies examining different varieties of recent obscurantism. Written by Vernon Lee, an esteemed scholar and philosopher, this book offers a thought-provoking analysis of the different ways in which lies can be used to obscure the truth.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

A collection of haunting and surreal stories in which reality and imagination blur together. From a pope who becomes obsessed with a statue of a woman, to a love triangle involving a waxwork figure, these tales are both disturbing and mesmerizing.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This collection of essays is both erudite and entertaining, exploring a range of topics related to art, beauty, and taste. The author's wit and intelligence make this an engaging read for anyone interested in aesthetics and cultural criticism.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This collection of essays by Vernon Lee (pseudonym of Violet Paget) explores the relationship between art and life. The author examines a wide range of topics, from the symbolism of flowers to the aesthetics of the Renaissance. Lee's lyrical prose and insightful commentary make this book an enjoyable and enlightening read for anyone interested in art and culture.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

In this collection of essays, Vernon Lee explores some of the most pressing social issues of the late 19th and early 20th centuries. With insights into anarchism, socialism, and other radical movements, Lee's writing remains relevant to this day.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

In this philosophical work, Vernon Lee explores questions of morality, self-improvement, and societal expectations through a series of dialogues between the title character, Althea, and her mentor. Lee's engaging and thought-provoking writing will inspire readers to reflect on their own aspirations and duties.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This collection of essays explores the relationship between gardens and personal growth, with a focus on the ways in which gardening can provide a framework for living a more meaningful and fulfilling life. Written by a diverse group of authors including poets, philosophers, and gardeners, this book is sure to inspire readers to think deeply about the connection between nature and the human experience.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

"The Beautiful: An Introduction to Psychological Aesthetics" by Vernon Lee is a groundbreaking exploration into the world of aesthetics and the psychology at the back of our perceptions of beauty. Published in the past due nineteenth century, Lee, a pseudonym for British creator and artwork critic Violet Paget, brings a completely unique mixture of philosophy, psychology, and art criticism to dissect the elaborate nature of beauty. The book delves into the subjective and often elusive concept of splendor, attempting to get to the bottom of the psychological processes that influence our aesthetic judgments. Lee demanding situations conventional aesthetic theories and proposes an extra nuanced knowledge that considers person differences and emotional responses to art and splendor. Drawing on insights from psychology, Lee examines the impact of feelings, cultural influences, and personal studies on our notion of beauty. The paintings stands as a pioneering attempt to bridge the gap among aesthetics and psychology, laying the foundation for next explorations into the intersection of artwork and the human thoughts. Lee's prose is each erudite and available, making "The Beautiful" a treasured useful resource for pupils and lovers alike.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ A Phantom Lover: A Fantastic Story Vernon Lee Roberts brothers, 1886

Vernon Lee was the pseudonym of the British writer Violet Paget (14 October 1856 - 13 February 1935). She is remembered today primarily for her supernatural fiction and her work on aesthetics. An early follower of Walter Pater, she wrote over a dozen volumes of essays on art, music, and travel. Biography: Violet Paget was born in France on 14 October1856, at Château St Leonard, Boulogne, to British expatriate parents, Henry Ferguson Paget and Matilda Lee-Hamilton (née Abadam). Violet Paget was the half-sister of Eugene Jacob Lee-Hamilton (1845-1907)[3] by her mother's first marriage, and from whose surname she adapted her own pseudonym. Although she primarily wrote for an English readership and made many visits to London, she spent the majority of her life on the continent, particularly in Italy.Her longest residence was just outside Florence in the Palmerino villa from 1889 until her death at San Gervasio, with a brief interruption during World War I. Her library was left to the British Institute of Florence and can still be inspected by visitors. In Florence she knit lasting friendships with the painter Telemaco Signorini and the learned Mario Praz, and she encouraged his love of learning and English literature. An engaged feminist, she always dressed à la garçonne. During the First World War, Lee adopted strong pacifist views, and was a member of the anti-militarist organisation, the Union of Democratic Control. She was also a lesbian, and had long-term passionate friendships with three women, Mary Robinson, Clementina Anstruther-Thomson, and British author Amy Levy. She played the harpsichord and her appreciation of music animates her first major work, Studies of the Eighteenth Century in Italy (1880). In her preface to the second edition of 1907, she recalled her excitement as a girl when she came across a bundle of 18th-century music. She was so nervous that it wouldn't live up to her expectations that she escaped to the garden and listened rapturously through an open window as her mother worked out the music on the piano.[citation needed] Along with Pater and John Addington Symonds, she was considered an authority on the Italian Renaissance, and wrote two works that dealt with it explicitly, Euphorion (1884) and Renaissance Fancies and Studies (1895). Her short fiction explored the themes of haunting and possession. The most famous were collected in Hauntings (1890) and her story "Prince Alberic and the Snake Lady" (1895) was first printed in the notorious The Yellow Book. She was instrumental in the introduction of the German concept of 'Einfühlung', or 'empathy' into the study of aesthetics in the English-speaking world. She developed her own theory of psychological aesthetics in collaboration with her lover, Kit Anstruther-Thomson, based on previous works by William James, Theodor Lipps, and Karl Groos. She claimed that spectators "empathise" with works of art when they call up memories and associations and cause often unconscious bodily changes in posture and breathing.[6][9] She was known for her numerous essays about travel in Italy, France, Germany, and Switzerland, which attempted to capture the psychological effects of places rather than to convey any particular piece of information.[citation needed] Like her friend Henry James, she wrote critically about the relationship between writers and their audience, pioneering the idea of critical assessment among all the arts as relating to an audience's personal response. She was a proponent of the Aesthetic movement, and after a lengthy written correspondence met the movement's effective leader, Walter Pater, in England in 1881, just after encountering one of Pater's most famous disciples, Oscar Wilde.[citation needed] Her open resistance against World War I and her work Satan the Waster led to her being ostracized by the younger generation of scholars and writers. Feminist research led to a rediscovery since the 1990s..........

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Vernon Lee was the pseudonym of the British writer Violet Paget (14 October 1856 - 13 February 1935). She is remembered today primarily for her supernatural fiction and her work on aesthetics. An early follower of Walter Pater, she wrote over a dozen volumes of essays on art, music, and travel. Biography: Violet Paget was born in France on 14 October1856, at Château St Leonard, Boulogne, to British expatriate parents, Henry Ferguson Paget and Matilda Lee-Hamilton (née Abadam). Violet Paget was the half-sister of Eugene Jacob Lee-Hamilton (1845-1907)[3] by her mother's first marriage, and from whose surname she adapted her own pseudonym. Although she primarily wrote for an English readership and made many visits to London, she spent the majority of her life on the continent, particularly in Italy.Her longest residence was just outside Florence in the Palmerino villa from 1889 until her death at San Gervasio, with a brief interruption during World War I. Her library was left to the British Institute of Florence and can still be inspected by visitors. In Florence she knit lasting friendships with the painter Telemaco Signorini and the learned Mario Praz, and she encouraged his love of learning and English literature. An engaged feminist, she always dressed à la garçonne. During the First World War, Lee adopted strong pacifist views, and was a member of the anti-militarist organisation, the Union of Democratic Control. She was also a lesbian, and had long-term passionate friendships with three women, Mary Robinson, Clementina Anstruther-Thomson, and British author Amy Levy. She played the harpsichord and her appreciation of music animates her first major work, Studies of the Eighteenth Century in Italy (1880). In her preface to the second edition of 1907, she recalled her excitement as a girl when she came across a bundle of 18th-century music. She was so nervous that it wouldn't live up to her expectations that she escaped to the garden and listened rapturously through an open window as her mother worked out the music on the piano.[citation needed] Along with Pater and John Addington Symonds, she was considered an authority on the Italian Renaissance, and wrote two works that dealt with it explicitly, Euphorion (1884) and Renaissance Fancies and Studies (1895). Her short fiction explored the themes of haunting and possession. The most famous were collected in Hauntings (1890) and her story "Prince Alberic and the Snake Lady" (1895) was first printed in the notorious The Yellow Book. She was instrumental in the introduction of the German concept of 'Einfühlung', or 'empathy' into the study of aesthetics in the English-speaking world. She developed her own theory of psychological aesthetics in collaboration with her lover, Kit Anstruther-Thomson, based on previous works by William James, Theodor Lipps, and Karl Groos. She claimed that spectators "empathise" with works of art when they call up memories and associations and cause often unconscious bodily changes in posture and breathing.[6][9] She was known for her numerous essays about travel in Italy, France, Germany, and Switzerland, which attempted to capture the psychological effects of places rather than to convey any particular piece of information.[citation needed] Like her friend Henry James, she wrote critically about the relationship between writers and their audience, pioneering the idea of critical assessment among all the arts as relating to an audience's personal response. She was a proponent of the Aesthetic movement, and after a lengthy written correspondence met the movement's effective leader, Walter Pater, in England in 1881, just after encountering one of Pater's most famous disciples, Oscar Wilde.[citation needed] Her open resistance against World War I and her work Satan the Waster led to her being ostracized by the younger generation of scholars and writers. Feminist research led to a rediscovery since the 1990s...........

Vernon Lee was the pseudonym of the British writer Violet Paget (14 October 1856 - 13 February 1935). She is remembered today primarily for her supernatural fiction and her work on aesthetics. An early follower of Walter Pater, she wrote over a dozen volumes of essays on art, music, and travel. Biography: Violet Paget was born in France on 14 October1856, at Château St Leonard, Boulogne, to British expatriate parents, Henry Ferguson Paget and Matilda Lee-Hamilton (née Abadam). Violet Paget was the half-sister of Eugene Jacob Lee-Hamilton (1845-1907)[3] by her mother's first marriage, and from whose surname she adapted her own pseudonym. Although she primarily wrote for an English readership and made many visits to London, she spent the majority of her life on the continent, particularly in Italy.Her longest residence was just outside Florence in the Palmerino villa from 1889 until her death at San Gervasio, with a brief interruption during World War I. Her library was left to the British Institute of Florence and can still be inspected by visitors. In Florence she knit lasting friendships with the painter Telemaco Signorini and the learned Mario Praz, and she encouraged his love of learning and English literature. An engaged feminist, she always dressed à la garçonne. During the First World War, Lee adopted strong pacifist views, and was a member of the anti-militarist organisation, the Union of Democratic Control. She was also a lesbian, and had long-term passionate friendships with three women, Mary Robinson, Clementina Anstruther-Thomson, and British author Amy Levy. She played the harpsichord and her appreciation of music animates her first major work, Studies of the Eighteenth Century in Italy (1880). In her preface to the second edition of 1907, she recalled her excitement as a girl when she came across a bundle of 18th-century music. She was so nervous that it wouldn't live up to her expectations that she escaped to the garden and listened rapturously through an open window as her mother worked out the music on the piano.[citation needed] Along with Pater and John Addington Symonds, she was considered an authority on the Italian Renaissance, and wrote two works that dealt with it explicitly, Euphorion (1884) and Renaissance Fancies and Studies (1895). Her short fiction explored the themes of haunting and possession. The most famous were collected in Hauntings (1890) and her story "Prince Alberic and the Snake Lady" (1895) was first printed in the notorious The Yellow Book. She was instrumental in the introduction of the German concept of 'Einfühlung', or 'empathy' into the study of aesthetics in the English-speaking world. She developed her own theory of psychological aesthetics in collaboration with her lover, Kit Anstruther-Thomson, based on previous works by William James, Theodor Lipps, and Karl Groos. She claimed that spectators "empathise" with works of art when they call up memories and associations and cause often unconscious bodily changes in posture and breathing.[6][9] She was known for her numerous essays about travel in Italy, France, Germany, and Switzerland, which attempted to capture the psychological effects of places rather than to convey any particular piece of information.[citation needed] Like her friend Henry James, she wrote critically about the relationship between writers and their audience, pioneering the idea of critical assessment among all the arts as relating to an audience's personal response. She was a proponent of the Aesthetic movement, and after a lengthy written correspondence met the movement's effective leader, Walter Pater, in England in 1881, just after encountering one of Pater's most famous disciples, Oscar Wilde.[citation needed] Her open resistance against World War I and her work Satan the Waster led to her being ostracized by the younger generation of scholars and writers. Feminist research led to a rediscovery since the 1990s.

"A Phantom Lover" is a novella written by Vernon Lee, the pseudonym of British writer Violet Paget. It was first published in 1886 and is considered one of Lee's notable works. The novella falls within the genre of Gothic fiction and supernatural literature. Here's a brief description of "A Phantom Lover":Plot:The story revolves around a young Englishman named Louis O'Reilly, who becomes entangled in a mysterious and haunting love affair. Louis falls in love with a beautiful but enigmatic woman named Helene, who is said to be the ghostly reincarnation of a Venetian lady named Eline. Helene seems to appear and disappear, and her ethereal presence creates an atmosphere of both romance and unease.As the narrative unfolds, Louis becomes increasingly obsessed with Helene, leading to a complex and supernatural exploration of desire, passion, and the boundaries between the living and the dead. The novella weaves elements of the Gothic tradition with psychological and supernatural themes, creating an atmospheric and mysterious tale.Themes:"A Phantom Lover" explores themes common to Gothic literature, including the supernatural, the uncanny, and the mysterious. Lee delves into the psychological aspects of love and desire, using the ghostly figure of Helene to examine the impact of the past on the present.Writing Style:Vernon Lee is known for her eloquent and atmospheric prose, and "A Phantom Lover" is no exception. The novella is characterized by its evocative language and its ability to create a haunting atmosphere that enhances the supernatural elements of the story.While Vernon Lee's works may not be as widely read today, "A Phantom Lover" is considered a significant contribution to Victorian supernatural literature, and it showcases Lee's skill in blending psychological and spectral elements in her storytelling. If you enjoy Gothic fiction and tales of the supernatural, "A Phantom Lover" may be of interest.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

A little while ago I told you that I wished this collection of studies to be more especially yours: so now I send it you, a bundle of proofs and of MS., to know whether you will have it. I wish I could give you what I have written in the same complete way that a painter would give you one of his sketches; that a singer, singing for you alone, might give you his voice and his art; for a dedication is but a drop of ink on a large white sheet, and conveys but a sorry notion of property. Now, this book is intended to be really yours; yours in the sense that, were it impossible for more than one copy of it to exist, that one copy I should certainly give to you. Because these studies represent the ideas I have so far been able to work out for myself about art, considered not historically, but in its double relation to the artist and the world for whom he works; ideas which it is my highest ambition should influence those young enough and powerful enough to act upon them; and, this being the case, my first thought is to place them before you: it is, you see, a matter of conversion, and the nearest, most difficult, most desired convert, is yourself.

Euphorion is the name given by Goethe to the marvellous child born of the mystic marriage of Faust and Helena. Who Faust is, and who Helena, we all know. Faust, of whom no man can remember the youth or childhood, seems to have come into the world by some evil spell, already old and with the faintness of body and of mind which are the heritage of age; and every additional year of mysterious study and abortive effort has made him more vacillating of step and uncertain of sight, but only more hungry of soul.

Real and Ideal-these are the handy terms, admiring or disapproving, which criticism claps with random facility on to every imaginable school. This artist or group of artists goes in for the real-the upright, noble, trumpery, filthy real; that other artist or group of artists seeks after the ideal-the ideal which may mean sublimity or platitude.

It may seem curious to begin with Dante and pass on to the Children's Rabbits' House; but I require both to explain what it is I mean by Limbo; no such easy matter on trying. For this discourse is not about the Pious Pagans whom the poet found in honourable confinement at the Gate of Hell, nor of their neighbours the Unchristened Babies; but I am glad of Dante's authority for the existence of a place holding such creatures as have just missed a necessary rite, or come too soon for thorough salvation. And I am glad, moreover, that the poet has insisted on the importance-"gente di molto valore"-of the beings thus enclosed; because it is just with the superior quality of the things in what I mean by Limbo that we are peculiarly concerned.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.

Vernon Lee was the pseudonym of the British writer Violet Paget (14 October 1856 - 13 February 1935). She is remembered today primarily for her supernatural fiction and her work on aesthetics. An early follower of Walter Pater, she wrote over a dozen volumes of essays on art, music, and travel. Biography: Violet Paget was born in France on 14 October1856, at Château St Leonard, Boulogne, to British expatriate parents, Henry Ferguson Paget and Matilda Lee-Hamilton (née Abadam). Violet Paget was the half-sister of Eugene Jacob Lee-Hamilton (1845-1907)[3] by her mother's first marriage, and from whose surname she adapted her own pseudonym. Although she primarily wrote for an English readership and made many visits to London, she spent the majority of her life on the continent, particularly in Italy.Her longest residence was just outside Florence in the Palmerino villa from 1889 until her death at San Gervasio, with a brief interruption during World War I. Her library was left to the British Institute of Florence and can still be inspected by visitors. In Florence she knit lasting friendships with the painter Telemaco Signorini and the learned Mario Praz, and she encouraged his love of learning and English literature. An engaged feminist, she always dressed à la garçonne. During the First World War, Lee adopted strong pacifist views, and was a member of the anti-militarist organisation, the Union of Democratic Control. She was also a lesbian, and had long-term passionate friendships with three women, Mary Robinson, Clementina Anstruther-Thomson, and British author Amy Levy. She played the harpsichord and her appreciation of music animates her first major work, Studies of the Eighteenth Century in Italy (1880). In her preface to the second edition of 1907, she recalled her excitement as a girl when she came across a bundle of 18th-century music. She was so nervous that it wouldn't live up to her expectations that she escaped to the garden and listened rapturously through an open window as her mother worked out the music on the piano.[citation needed] Along with Pater and John Addington Symonds, she was considered an authority on the Italian Renaissance, and wrote two works that dealt with it explicitly, Euphorion (1884) and Renaissance Fancies and Studies (1895). Her short fiction explored the themes of haunting and possession. The most famous were collected in Hauntings (1890) and her story "Prince Alberic and the Snake Lady" (1895) was first printed in the notorious The Yellow Book. She was instrumental in the introduction of the German concept of 'Einfühlung', or 'empathy' into the study of aesthetics in the English-speaking world. She developed her own theory of psychological aesthetics in collaboration with her lover, Kit Anstruther-Thomson, based on previous works by William James, Theodor Lipps, and Karl Groos. She claimed that spectators "empathise" with works of art when they call up memories and associations and cause often unconscious bodily changes in posture and breathing.[6][9] She was known for her numerous essays about travel in Italy, France, Germany, and Switzerland, which attempted to capture the psychological effects of places rather than to convey any particular piece of information.[citation needed] Like her friend Henry James, she wrote critically about the relationship between writers and their audience, pioneering the idea of critical assessment among all the arts as relating to an audience's personal response. She was a proponent of the Aesthetic movement, and after a lengthy written correspondence met the movement's effective leader, Walter Pater, in England in 1881, just after encountering one of Pater's most famous disciples, Oscar Wilde.[citation needed] Her open resistance against World War I and her work Satan the Waster led to her being ostracized by the younger generation of scholars and writers. Feminist research led to a rediscovery since the 1990s..........................

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.