There have been no biographies of Pater in English (except for a rather slight, commemorative outline by Arthur Symons) since the brief or inaccurate tributes and studies before World War I, and the time has come for a full-length study to combine such facts of Pater's life as can be established with a careful analysis of his art. Centering on the Aesthetic hero, this study attempts to present Pater's fiction and biography as lucidly as possible, so that the general reader, the undergraduate, and the fledgling graduate student will benefit from its critical reading as much as the Victorian specialist. Since the scope of a few hundred pages limits consideration to the more significant writings, this study has been weighted in the direction of Pater's completed imaginative work, utilizing his reviews, lectures, critical appreciations, and unfinished fiction and other fragments only when the occasion warrants. And finally, inasmuch as any new line of critical inquiry that also aspires to be a broad-based reassessment of Pater's theory of culture must build upon a core of established insights, I have not hesitated when appropriate both to incorporate my previously published readings or to draw on the excellent recent work of Lawrence Evans, Harold Bloom, J. Hillis Miller, Ian Fletcher, and a number of others who have enriched my understanding of the subject.--author's preface.
Originally published in 1967. Monsman undertakes a comprehensive critical analysis of Walter Pater's fiction, which presents the critic with numerous causes of frustration, not the least of which is a lack of both dramatic narration and description. Pater is rarely vivid and firsthand in his fiction; he tends instead toward exposition. Monsman's emphasis in Pater's Portraits is "tracing out" the conscious artistic structure of Pater's fiction. The scope of Pater's writings comprises nothing less than Western culture itself; its subject is all that man has written, thought, said, sung, hoped, or prayed as a civilized creature over two and one-half millennia. Pater's success in handling such panoply is attributable to his discovery of a coherent pattern by which art, religion, and life can be organized. Monsman aims to discover in Pater's fiction the use of old scientific-religious patterns of myth to explain moments of religious and cultural awakening, to reveal the way in which one man arrived at a credo that would answer to the desolation of life and culture.
Originally published in 1967. Monsman undertakes a comprehensive critical analysis of Walter Pater's fiction, which presents the critic with numerous causes of frustration, not the least of which is a lack of both dramatic narration and description. Pater is rarely vivid and firsthand in his fiction; he tends instead toward exposition. Monsman's emphasis in Pater's Portraits is "tracing out" the conscious artistic structure of Pater's fiction. The scope of Pater's writings comprises nothing less than Western culture itself; its subject is all that man has written, thought, said, sung, hoped, or prayed as a civilized creature over two and one-half millennia. Pater's success in handling such panoply is attributable to his discovery of a coherent pattern by which art, religion, and life can be organized. Monsman aims to discover in Pater's fiction the use of old scientific-religious patterns of myth to explain moments of religious and cultural awakening, to reveal the way in which one man arrived at a credo that would answer to the desolation of life and culture.
There have been no biographies of Pater in English (except for a rather slight, commemorative outline by Arthur Symons) since the brief or inaccurate tributes and studies before World War I, and the time has come for a full-length study to combine such facts of Pater's life as can be established with a careful analysis of his art. Centering on the Aesthetic hero, this study attempts to present Pater's fiction and biography as lucidly as possible, so that the general reader, the undergraduate, and the fledgling graduate student will benefit from its critical reading as much as the Victorian specialist. Since the scope of a few hundred pages limits consideration to the more significant writings, this study has been weighted in the direction of Pater's completed imaginative work, utilizing his reviews, lectures, critical appreciations, and unfinished fiction and other fragments only when the occasion warrants. And finally, inasmuch as any new line of critical inquiry that also aspires to be a broad-based reassessment of Pater's theory of culture must build upon a core of established insights, I have not hesitated when appropriate both to incorporate my previously published readings or to draw on the excellent recent work of Lawrence Evans, Harold Bloom, J. Hillis Miller, Ian Fletcher, and a number of others who have enriched my understanding of the subject.--author's preface.
This is the first book-length study of H. R. H.'s African fiction. It revised the image of Rider Haggard (1836-1925) as a mere writer of adventure stories, a brassy propagandist for British imperialism. Professor Monsman places Haggard's imaginative works both in the context of colonial fiction writing and in the framework of subsequent postcolonial debates about history and its representation."--BOOK JACKET.
The life of the Anglo-African writer Ernest Glanville (1855-1925) was the stuff of fiction. As a young colonist he took long, lonely treks in the border country of the Eastern Cape, absorbing the superstitions and folklore of the Xhosa. He served as a war correspondent for the London Daily Chronicle in the Zulu War, riding with Basutos, Boers, colonials, mounted infantry, and regular cavalry scouts. After the war the venturesome Glanville wrote for and edited several London-based and South African publications, most notably the oldest newspaper in that part of the British empire, Cape Argus. Throughout his seventeen adventure novels and several collections of short fiction he wrote of what he had seen, done, or heard from eyewitnesses. Historical facts are mixed with supernatural elements of local myth and magic not merely to give his tales a powerful exoticism but to explore the borderland spaces of his time and place."--Project Muse.
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