Bøger af Vernon Lee

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. The English writer and translator Montague Summers described Vernon Lee as "the greatest [...] of modern exponents of the supernatural in fiction." E. F. Bleiler has claimed that "Lee's stories are really in a category by themselves. Intelligent, amusingly ironic, imaginative, original, they deserve more than the passing attention that they have attracted." Neil Barron described the contents of Lee's collection Hauntings thus "The stories are powerful and very striking, among the finest of their kind."

Il libro ""Il Settecento In Italia Letteratura, Teatro, Musica V1 (1882)"" di Lee, Vernon, ����� una raccolta di saggi sulla cultura italiana del XVIII secolo. Il libro si concentra su tre aspetti principali della cultura italiana: la letteratura, il teatro e la musica. Il primo volume del libro ����� stato pubblicato nel 1882 e contiene una vasta gamma di argomenti, tra cui la poesia, la prosa, il dramma e l'opera. Il libro ����� stato scritto in inglese, ma offre una panoramica completa della cultura italiana del XVIII secolo. Il libro ����� un'importante fonte di informazioni per gli studiosi e gli appassionati di storia italiana e della cultura del Settecento.This Book Is In Italian.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. 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 their original work.

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.

To MADAME TH: BLANC-BENTZON Maiano, near Florence, June 20, 1903. MY DEAR MADAME BLANC, The first copy of this little book was, of course, to have been for Gabrielle Delzant. I am fulfilling her wish, I think, in giving it, instead, to you, who were her oldest friend; as I, alas! had time to be only her latest. She had read nearly all these essays; and, during those weeks of her illness which I spent last autumn in Gascony, she had made me rewrite several among them. She wanted to learn to read English aloud, and it amused her and delighted me that she should do so on my writings.

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. The English writer and translator Montague Summers described Vernon Lee as "the greatest [...] of modern exponents of the supernatural in fiction." E. F. Bleiler has claimed that "Lee's stories are really in a category by themselves. Intelligent, amusingly ironic, imaginative, original, they deserve more than the passing attention that they have attracted." Neil Barron described the contents of Lee's collection Hauntings thus "The stories are powerful and very striking, among the finest of their kind."

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.

That sketch up there with the boy's cap? Yes; that's the same woman. I wonder whether you could guess who she was. A singular being, is she not? The most marvellous creature, quite, that I have ever met: a wonderful elegance, exotic, far-fetched, poignant; an artificial perverse sort of grace and research in every outline and movement and arrangement of head and neck, and hands and fingers. Here are a lot of pencil sketches I made while I was preparing to paint her portrait. Yes; there's nothing but her in the whole sketchbook. Mere scratches, but they may give some idea of her marvellous, fantastic kind of grace. Here she is leaning over the staircase, and here sitting in the swing. Here she is walking quickly out of the room. That's her head. You see she isn't really handsome; her forehead is too big, and her nose too short. This gives no idea of her. It was altogether a question of movement. Look at the strange cheeks, hollow and rather flat; well, when she smiled she had the most marvellous dimples here. There was something exquisite and uncanny about it. Yes; I began the picture, but it was never finished. I did the husband first. I wonder who has his likeness now? Help me to move these pictures away from the wall. Thanks. This is her portrait; a huge wreck. I don't suppose you can make much of it; it is merely blocked in, and seems quite mad. You see my idea was to make her leaning against a wall--there was one hung with yellow that seemed almost brown--so as to bring out the silhouette.

This Is A New Release Of The Original 1910 Edition.

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.

This Is A New Release Of The Original 1884 Edition.

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.Violet Paget was born in France on 14 October 1856, at Chateau St Leonard, Boulogne, to British expatriate parents, Henry Ferguson Paget and Matilda Lee-Hamilton (nee Abadam). Violet Paget was the half-sister of Eugene Jacob Lee-Hamilton (1845-1907) 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 a la garconne. 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, Kit 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. 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 'Einfuhlung', or 'empathy' into the study of aesthetics in the English-speaking world

Genius Loci, Notes on Places by Vernon Lee. This book is a reproduction of the original book published in 1899 and may have some imperfections such as marks or hand-written notes.

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[1] 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.[5] She was also a lesbian, and had long-term passionate friendships with three women, Mary Robinson, Clementina Anstruther-Thomson, and British author Amy Levy.[6] 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).[7] 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.[8] 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. ++++ 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: ++++ The Legend Of Madame Krasinska; Issue 41 Of The Brocade Series Vernon Lee T. B. Mosher, 1903

Vanitas is a novel written by Vernon Lee, originally published in 1892. The story is set in Florence, Italy, during the 16th century and follows the life of a young Englishman named Arthur Severn. Arthur is an artist who has come to Florence to study the works of the great masters and to find inspiration for his own work.While in Florence, Arthur becomes enamored with a young woman named Elena, who is the daughter of a wealthy merchant. However, Elena is already engaged to another man, and Arthur must navigate his feelings for her while also trying to establish himself as an artist.As Arthur becomes more involved with Elena, he begins to uncover a dark secret about her family and their connection to a mysterious painting known as the Vanitas. The Vanitas is said to hold a curse that brings death and misfortune to anyone who possesses it.As Arthur delves deeper into the mystery surrounding the Vanitas, he finds himself in danger and must use all his skills as an artist and his courage as a man to uncover the truth and save himself and Elena.Vanitas is a gripping tale of love, art, and mystery set against the backdrop of Renaissance Italy. Lee's vivid descriptions of Florence and its people bring the story to life, and her exploration of the themes of love, death, and the power of art make this a timeless classic.""Dear me, dear me, what a dreadful place!"" he kept ejaculating, as he followed Lady Atalanta, carrying her bags of oranges and rolls, among the vociferating, grabbing beldames in bed, and the indifferent nuns and serving wenches toiling about noisily: Lady Tal going methodically her way, businesslike, cheerful, giving to one some snuff, to another an orange or a book, laughing, joking in her bad Italian, settling the creatures' disagreeable bed-clothes and pillows for them, as if instead of cosseting dying folk, she was going round to the counters of some huge shop. A most painful exhibition, thought Marion.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. 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 their original work.

Hortus Vitae: Essays On The Gardening Of Life is a collection of essays written by Vernon Lee, a British writer and intellectual, on the topic of gardening and its metaphorical implications for life. The book explores the idea that gardening is not just a practical activity, but a way of cultivating the mind and soul. Lee draws on her own experiences as a gardener, as well as the works of other writers and philosophers, to explore themes such as the relationship between nature and culture, the importance of beauty, and the role of art in life. The essays are written in a poetic and lyrical style, with a focus on the sensory experience of gardening and the natural world. The book is a meditation on the human condition and our relationship with the natural world, and offers insights into how we can cultivate a meaningful and fulfilling life.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. 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 their original work.

This is a new release of the original 1925 edition.

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.