Thesis (Ph. D.)--Yale University, 1980. / Illustrations not photocopied. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 262-277).

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Thesis (M.A.)--University of Detroit, 1934. / "June 1934." Includes bibliographical references (p. 139-142).

Inaug.-Diss.--Erlangen. / "Literatur": p. 70-72.

This is the first single study of the relationship between John Ruskin and Dante Gabriel Rossetti, and the first to claim a similarity between their Aesthetic ideas. The assumption that Rossetti merely tolerated Ruskin for the sake of his patronage has discouraged the search for any significant intellectual exchange. No previous explanation has been sought for Ruskin's insistence, despite even Rossetti's opposition, that Rossetti was the intellectual leader of the Pre-Raphaelite Movement. This analysis reveals that Ruskin favoured Rossetti's art for qualities which he is not usually held to have admired in Pre-Raphaelitism, and which he began to emphasise soon after meeting Rossetti. Although Rossetti's reputed indifference to Ruskin is partly the result of the one-sided impression afforded by the imbalance of the extant correspondence it is also because all previous accounts of the relationship have been selective and have therefore perpetrated a superficial impression of conflict. A comprehensive and detailed examination of the correspondence has revealed that the particular disagreements were made possible by a fundamental sympathy. The relationship which emerged seems to have been, contrary to prevailing opinion, initiated by common aims, sustained by mutual professional respect, and dissolved by developing ideological differences. Having established the possibility of mutual influence between Ruskin and Rossetti, the thesis analyses the common theory of creativity underlying the work produced during their ten-year friendship. There follows a discussion of two aspects of Rossetti f s creative practice towards which Ruskin showed unequalled sensitivity, presumably as a result of his own artistic preoccupations: the Symbolic or Grotesque power, and the reliance upon Memory. Ruskin's collection of Rossettis;- is discussed, and an explanation offered for the apparent discrepancy between his public and private opinions of Rossetti's work. Finally it is claimed that Rossetti's affinity with Ruskin modifies his links with Aestheticism. This study hopes not only to justify the analysis of the Aesthetic ideas common to Ruskin and Rossetti, but also to consider its implications for both Pre-Raphaelitism and Aestheticism.

Undergraduate honors paper--Mount Holyoke College, 2009. Dept. of Art. / Includes bibliographical references (leaves 121-126).

by Linda Pui-ling Wong. / Thesis (Ph.D.)--Chinese University of Hong Kong, 1995. / Includes bibliographical references (leaves 277-299). / Acknowledgements --- p.i / Abstract --- p.iii / Abbreviations --- p.v / Chapter Chapter One --- Chinese Modernity Reconsidered --- p.1 / Chapter Chapter Two --- The Presence of the Pre-Raphaelites in China --- p.21 / Chapter Chapter Three --- The Cross-cultural Counterparts: The Pre-Raphaelite Brotherhood and the Crescent Moon Society in China --- p.44 / Chapter Chapter Four --- "New Images of Lovers: Chinese Adaptations of Dante Rossetti's ""The Blessed Damozel""" --- p.66 / Chapter Chapter Five --- The Lyrical and Melancholic Women: The Reconstruction of Christina Rossetti --- p.132 / Chapter Chapter Six --- Utopian Thinking in May Fourth China: The Rise of William Morris --- p.152 / Chapter Chapter Seven --- A Patriotic Model for Modern China: The Early W.B. Yeats as a New Romantic --- p.172 / Chapter Chapter Eight --- "The Chinese ""Decadents"": Indebtedness to Algernon Swinburne, Aubrey Beardsley and Oscar Wilde" --- p.193 / Chapter Chapter Nine --- "The ""Fleshly School of Poetry""in China?" --- p.244 / rllustrations --- p.272 / Glossary --- p.274 / Bibliography --- p.277

The ephemeral life of the Pre-Raphaelite Brotherhood belies the importance of an organization that grows from and transcends its originally limited aesthetic principles and circumscribed credo. The founding of the Pre-Raphaelite Brotherhood in 1848 really marks the beginning of a movement that metamorphizes into Aestheticism/Decadence. It is the purpose of this dissertation to demonstrate that, from its inception, Pre-Raphaelitism is the first English manifestation of Aestheticism/Decadence. Although the connection between Pre- Raphaelitism and the Aesthete/Decadent movement is proposed or mentioned by several writers, none has written a coherent justification for the viewing of Pre-Raphaelitism as the starting point for English Decadence This dissertation attempts to establish the primacy of Pre-Raphaelitism in the development of Aestheticism/Decadence.

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