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Margaux L.R. Poueymirou Phd Thesis View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Andrews Research Repository =42 <5?=4 <28<2 , <@8.2<=42<5. .81 /;5=5<4 .2<=42=505<7 %*)$!%+$$ 7APGASV 6WMM ;NQA 9NSEWLIPNS . =HEQIQ <SBLIRRED FNP RHE 1EGPEE NF 9H1 AR RHE >MITEPQIRW NF <R .MDPEUQ &$$+ 3SKK LERADARA FNP RHIQ IREL IQ ATAIKABKE IM ;EQEAPCH-<R.MDPEUQ,3SKK=EVR AR, HRRO,##PEQEAPCH!PEONQIRNPW"QR!AMDPEUQ"AC"SJ# 9KEAQE SQE RHIQ IDEMRIFIEP RN CIRE NP KIMJ RN RHIQ IREL, HRRO,##HDK"HAMDKE"MER#%$$&'#+(& =HIQ IREL IQ OPNRECRED BW NPIGIMAK CNOWPIGHR THE SIXTH SENSE: SYNAESTHESIA AND BRITISH AESTHETICISM 1860-1900 Margaux Lynn Rosa Poueymirou A thesis presented for the degree of Doctor of Philosophy University of St. Andrews School of English June 2009 DECLARATIONS I, Margaux Lynn Rosa Poueymirou hereby certify that this thesis, which is approximately 85,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September, 2004 and as a candidate for the degree of Doctor of Philosophy in July, 2005; the higher study for which this is a record was carried out in the University of St Andrews between 2005 and 2009. Date Signature of candidate I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Doctor of Philosophy in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date Signature of supervisor In submitting this thesis to the University of St Andrews we understand that we are giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. We also understand that the title and the abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker, that my thesis will be electronically accessible for personal or research use unless exempt by award of an embargo as requested below, and that the library has the right to migrate my thesis into new electronic forms as required to ensure continued access to the thesis. We have obtained any third-party copyright permissions that may be required in order to allow such access and migration, or have requested the appropriate embargo below. The following is an agreed request by candidate and supervisor regarding the electronic publication of this thesis: Access to all or part of printed copy but embargo of all or part of electronic publication of thesis for a period of three years on the following ground: publication would preclude future publication; Date Signature of candidate Signature of supervisor ABSTRACT “The Sixth Sense: Synaesthesia and British Aestheticism 1860-1900” is an interdisciplinary examination of the emergence of synaesthesia conceptually and rhetorically within the ‘art for art’s sake’ movement in mid-to-late Victorian Britain. Chapter One investigates Swinburne’s focal role as both theorist and literary spokesman for the nascent British Aesthetic movement. I argue that Swinburne was the first to practice what Pater meant by ‘aesthetic criticism’ and that synaesthesia played a decisive role in ‘Aestheticising’ critical discourse. Chapter Two examines Whistler’s varied motivations for using synaesthetic metaphor, the way that synaesthesia informed his identity as an aesthete, and the way that critical reactions to his work played a formative role in linking synaesthesia with Aestheticism in the popular imagination of Victorian England. Chapter Three explores Pater’s methods and style as an ‘aesthetic critic.’ Even more than Swinburne, Pater blurred the distinction between criticism and creation. I use ‘synaesthesia’ to contextualise Pater’s theory of “Anders-streben” and to further contribute to our understanding of his infamous musical paradigm as a linguistic ideal, which governed his own approach to critical language. Chapter Four considers Wilde’s decadent redevelopment of synaesthetic metaphor. I use ‘synaesthesia’ to locate Wilde’s style and theory of style within the context of decadence; or, to put it another way, to locate decadence within the context of Wilde. Each chapter examines the highly nuanced claim that art should exist for its own sake and the ways in which artists in the mid-to-late Victorian period attempted to realise this desire on theoretical and rhetorical levels. For M[u]m. ACKNOWLEDGEMENTS I would like to thank the School of English at the University of St. Andrews for an annual academic merit scholarship. The Carnegie Trust for the Universities of Scotland provided generous support for a series of projects throughout my PhD. In 2005, the Trust funded archival research at the Whistler Centre (Glasgow) whilst enabling me to venture south to see the Tate’s Turner-Whistler-Monet exhibition and have a bucket of paint flung in my own face. In 2006, the Trust enabled me to spend two months in London researching at the British Library. I also received a Theodora Bosanquet Bursary from the British Federation of Women Graduates, which provided an apartment in Bloomsbury. Finally, the Carnegie Trust sponsored a trip to California to work in the archives of the Huntington Library and the Clark Memorial Library (UCLA). Due to the generous support of the Russell Trust Bursary (University of St. Andrews), I was able to extend my time at the Clark; this research proved invaluable to my understanding of the 1890s. My thanks to the Stapley Educational Trust for an academic merit scholarship (2006). Additionally, I was awarded a grant from The European Society for the Study of English to undertake archival research in the Pater archives at the Houghton Library (Harvard University), an experience that was particularly enjoyable and fruitful. I am also very grateful to Harvard University for allowing me to reprint from Pater’s unpublished manuscript “The Aesthetic Life.” These grants immeasurably benefited my doctoral work and my skills as an independent researcher; they also satisfied my wanderlust. Finally, I would like to thank the W.E.B. Dubois institute at Harvard University for awarding me a two-year nonresident fellowship to see this doctorate through to the next stage. Not even a decadent synaesthetic metaphor could express my gratitude to Dr. Emma Sutton, my primary supervisor and a primary inspiration. Encouraging, rigorous and warm, it has been a real privilege to work with you. As I embark on this next stage in my academic life, I hope that our paths continue to converge: Thank You, Emma. Dr. Chris Jones, I am indebted to your generosity, diligence, sensitivity and support. When in your hands, I was never in doubt. I would also like to extend a heartfelt thanks to my secondary supervisor, Phillip Mallet, for bringing aspects of my thesis into critical focus; Prof. Laurel Brake, for a challenging viva followed by a challenging year of reconsideration and revision; and Jalal, Eric, Nora & Don & Frances, Donovan, Stine, Eli, Alfonso, Residents/Occupants/Reverends of 68, Sandra & Neil & Douglas, James, Seth & Nik: Thank You. Last but never least, my family: for persistently asking me to describe what I was doing in 30 words or less. Grandpa Ted/Grandma Dolly: Thank You. Dad & S & K: Thank You. And finally, my mother, to whom this work is dedicated: you read all the drafts and let me read them to you, visited, called, inspired, encouraged, sent hundreds of emails about ‘synaesthesia’, and during this final year of revision, ensured that I was well fed 1 with good food and great ideas: Thank You So Much For Your Bright Love & Support. 1 Despite this unwavering exuberance, I take full responsibility for any and all mistakes. CONTENT Introduction. 1-23 Chapter 1. ‘A Sense Beyond the Senses’: Swinburne, Synaesthesia and the Emergence of ‘Aesthetic Criticism’ Introduction 24-29 Aesthetic vs. Fleshly 29-40 Swinburne and the Spectator 40-44 Synaesthesia as Mimesis: The Existentialism of Intersensory Aesthetics 44-54 Swinburne, Solomon and the Ideal of the “Compound Genius” 55-61 ‘Aesthetic Criticism’ as Poetry as Antiphony 62-82 Chapter 2. James McNeill Whistler and the Gentle Art of Synaesthesia Introduction 83-90 Whistler and Colour: The Making of an Aesthete 90-103 Whistler and his Critics 104-133 A Battle Between the Pen and the Brush: Whistler vs. Ruskin 134-144 Chapter 3. Walter Pater’s Theory and Practice of “Anders-streben”: Towards the Condition of Aesthetic Experience Introduction 145-153 “Anders-streben” as Theory 154-182 “Anders-streben” as Practice 183-199 Chapter 4. Oscar Wilde and the Decadence of Synaesthesia Introduction 200-208 Oscar Wilde and Synaesthesia’s Decadent Revival 208-247 Afterword 248-250 Bibliography 251-269 Introduction. THE SIXTH SENSE SYNAESTHESIA AND BRITISH AESTHETICISM 1860-1900 The term ‘synaesthesia’ derives from the Greek prefix, ‘syn’: ‘joint,’ ‘together’, and the stem, ‘aesthesis’: to feel and perceive, from which ‘aesthetic’ and ‘aesthete’ are also derived. This intimate etymological relationship—‘synaesthesia’ encloses ‘aesthetic’— could be interpreted as a metaphor for synaesthesia’s role within Aestheticism or the ‘art for art’s sake’ movement in mid-to-late Victorian Britain.1 For this, too, was an intimate, dynamic and ‘enclosed’ relationship. This thesis examines the role and representation of synaesthesia in the work and critical reception of four individuals who were identified as representatives of the Aesthetic movement. However, Algernon Charles Swinburne, James McNeill Whistler, Walter Pater and Oscar Wilde—Britain’s principal aesthetes, and the principal figures of this study—never likely heard of the term ‘synaesthesia.’ This thesis, on the other hand, grants ‘synaesthesia’ a seminal role in their aesthetic theories and practices.
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