Chapter 3, continuing Chapter 2’s intellectual history of the impression, begins by exploring British aestheticism and its roots in Kant and romanticism (Walter Pater, Oscar Wilde, Immanuel Kant, Samuel Taylor Coleridge, William Wordsworth). It then turns to twentieth-century theories of performativity, which, it argues, combine elements of the empiricist and the aesthetic (J. L. Austin, Jacques Derrida, Paul de Man, Judith Butler, J. Hillis Miller). James followed Pater in resurrecting the ‘impression’. Pater found in Hume’s impression a role for the imagination at the heart of consciousness. But the interpretive excesses of James’s protagonists’ cognitive impressions must also be understood alongside the more flamboyant aestheticism of Pater’s disciple Wilde, and his ‘critic as artist’. The most active of James’s impressions, however, are performative: they are impressions made, not received. Performativity helps frame an account of the impression that encompasses both the receiving and making of impressions, and the confusion between the two.