Henry James, Impressionism, and the Public
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A01=Daniel Hannah
aesthete
aesthetic mediation
aestheticism
American Public Sphere
American Publicity
Author_Daniel Hannah
Bourgeois Public Sphere
british
British aestheticism
Category=DSB
Category=DSBF
child subjectivity
Clare Vawdrey
Coxon Fund
eq_bestseller
eq_biography-true-stories
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
fount
Impression's Capacity
impressionable
impressionism and national identity
Impression’s Capacity
James's Engagement
James's Essay
James's Responses
James's Tale
jamess
James’s Engagement
James’s Essay
James’s Responses
James’s Tale
Lancaster Gate
literary modernism
Lord Mark
Maisie Knew
Make Ups
Maria Gostrey
Merton Densher
Milly's Memory
Milly’s Memory
narrative
narrative theory
Partial Portraits
Peter Sherringham
public sphere studies
Restless Analyst
sacred
Sacred Fount
Sir Luke Strett
tale
Tragic Muse
writing
Young Man
Product details
- ISBN 9781138261471
- Weight: 430g
- Dimensions: 156 x 234mm
- Publication Date: 15 Nov 2016
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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Proposing a new approach to Jamesian aesthetics, Daniel Hannah examines the complicated relationship between Henry James's impressionism and his handling of 'the public.' Hannah challenges solely phenomenological or pictorial accounts of literary impressionism, instead foregrounding James's treatment of the word 'impression' as a mediatory unit that both resists and accommodates invasive publicity. Thus even as he envisages a breakdown between public and private at the end of the nineteenth century, James registers that breakdown not only as a threat but also as an opportunity for aesthetic gain. Beginning with a reading of 'The Art of Fiction' as both a public-forming essay and an aesthetic manifesto, Hannah's study examines James's responses to painterly impressionism and to aestheticism, and offers original readings of What Maisie Knew, The Wings of the Dove, and The American Scene that treat James's articulation of impressionism in relation to the child, the future of the novel, and shifts in the American national imaginary. Hannah's study persuasively argues that throughout his career James returns to impressionability not only as a site of immense vulnerability in an age of rapid change but also as a crucible for reshaping, challenging, and adapting to the public sphere’s shifting forms.
Daniel Hannah is Associate Professor in the Department of English at Lakehead University, Canada.
