Titlebook: Vernon Lee; Decadence, Ethics, A Catherine Maxwell (Reader in Victorian Literature) Book 2006 Palgrave Macmillan, a division of Macmillan P

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‘Warming Me Like a Cordial’: The Ethos of the Body in Vernon Lee’s Aestheticsctric shocks to herself (Lewis 1927, 111). Some decades earlier, Virginia Woolf had given herself a warning in her diary that she must not ‘let the pen write without guidance; for fear of becoming slack and untidy like Vernon Lee. Her ligaments are too loose for my taste’ (Woolf 1977, 266). These co

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Vernon Lee, Decadent Contamination and the Productivist Ethosmost enduring characterizations of her work and of the novel . (1884) in particular. The label has misleadingly positioned her closer in values to men who had little appreciation for the Decadent aesthetics that held an attraction for her — writers such as W. H. Mallock, author of the novelistic sat

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The Snake Lady and the Bruised Bodley Head: Vernon Lee and Oscar Wilde in the ,created’ (Colby 2003, 227). Surely that is an accurate pronouncement, for Lee’s 1896 short story takes place in a parallel aesthetic universe, in which certain imaginary works of art did exist once and still supposedly live on at the end of the nineteenth century. In that other world, there is a tap

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Duality and Desire in ,ess in the novel form eluded her. Vineta Colby, somewhat unfairly perhaps, appears to agree with the general opinion of these works. In her literary biography of her, Colby writes: ‘Vernon Lee’s novels — those, that is, that were written in the popular modes of social realism (.) and the neo-gothic

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acrobat

Plural Anomalies: Gender and Sexuality in Bio-Critical Readings of Vernon Lee03, 235–304). Gillian Beer has written that ‘Vernon Lee does not “fit”’ (Beer 1997, 109) and this statement seems to hold especially true for Lee’s numerous writings on the perception of form, beauty and ugliness, as well as on psychological and physiological aesthetics. In this chapter I take a new

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: Reader Response Victorian Stylenew connections have been forged, not only between these two periods, but also between the Victorians and ourselves. The beginnings of postmodern critical theories have been traced back to the aesthetically and psychologically charged cultural transformations of the late nineteenth and early twentie

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Plural Anomalies: Gender and Sexuality in Bio-Critical Readings of Vernon Leeexisting and potential readings of similar writings by the connoisseur and art historian, Bernard Berenson, Lee’s acquaintance and neighbour in Florence who famously accused Lee of plagiarism in 1897.