pater

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Words related to pater

an informal use of the Latin word for father

References in periodicals archive ?
But, point two, Pater might have also resorted to the Fortnightly to disguise the identity of "Giordano Bruno" as a part of Gaston, hoping not to draw attention to the fact that his novel project had been left unfinished, without explanation, in Macmillan's.
To return, then, to my point about the origin of Pater's fiction in 1878 with "The Child in the House," it is the case with Pater that his fiction of the late 1870s and 1880s may be linked as closely to his essays and studies of historical figures of the 1860s and early 1870s (which themselves manifest many qualities of short fiction and might justly be called imaginary portraits), as they can to the periodical market for the short story.
To plumb this deeper, it might be said that in Pater's cultural time the phenomenon of a periodical press so flourishing that it was always beckoning and consuming meant that in nearly all his work Pater availed himself of the ready presence of this hegemonic form of publication, and that he likewise conformed to the genres the periodicals and their diverse readership favored--short, consumable pieces, either prose or prose fiction or, as in Pater's case, a mixture and sometimes a fudge that refused such clear generic distinctions.
The one instance we have of Pater attempting to publish long serialized fiction in Gaston suggests that he was unable within the matrix of university time to keep up with the requirements of serial fiction, which consumed a chapter per month, month after month.
We know that John Morley rejected Marius for serial publication in Macmillan's Magazine, (7) and anyone who has read that work may imagine they know why; Pater seemed to share Morley's view, though he regretted it, claiming to Alexander Macmillan that "its unfitness for serial publication having sometimes occurred to me, though for some reasons I should have preferred that mode.
Until this date, Pater had placed only two pieces in Macmillan's, "Romanticism" in 1876 and "Child in the House" in 1878, neither of which was for Morley.
It is this system of double profits for all involved (author, publisher, periodical, circulating library, and book seller) into which Pater is attempting to enter by publishing the imaginary portraits and Gaston initially in Macmillan's and only then in volume form, having failed to have a suitable periodical in which to place Marius earlier in the 1880s.
10) But it is not inapropos at all to speak of Pater's "politics," if we accept that "politics" comprises more than political parties, and that even critics such as Pater (and Bloom) "have" a politics of literature.
The purpose of Marucci's discussion of Pater's reputation is not only to establish its chronology, but also to suggest that Mario Praz's popularization of Pater as a decadent writer is finally losing its power to forestall other interpretations.
8) In regard to Modernism, he notes that Pater precedes Joyce and T.
Giovanna Franci's "Pater e Wilde: profeti di una nuova sensibilita estetica" presents Pater and Wilde as the creators of a relativistic aesthetic that is dangerously solipsistic.
Her essay, "Walter Pater e i Greci" ("Walter Pater and the Greeks"), centers on "The Myth of Demeter and Persephone" and the Botticelli essay.
In x878, Pater was discussing with Macmillan the publication of a collection of essays called "The School of Giorgione and Other Studies.
Pater compares Corot to Wordsworth and calls him the French equivalent in painting of the "English {school of} mystical [.
Pater acknowledges this incongruity; however, like Heine, he relished the idea of Greek gods visiting the modern world.