The Romance of Interpretation: Visionary Criticism from Pater to de Man

By Daniel T. O'Hara | Go to book overview

Notes

1. Visionary Criticism: An Introduction
1.
See my "Revisionary Madness: The Prospects of American Literary Theory at the Present Time," Critical Inquiry ( June 1983), 9(4):726-742.
2.
See my "The Romance of Interpretation: A 'Post-modern' Critical Style," boundary 2, (Spring 1980), 8( 3):259-283.
3.
See my "Prophetic Criticism: Oscar Wilde and His Post-Modern Heirs," Contemporary Literature, (Summer 1984), 25(2):250-259.
4.
See my "The Genius of Technique" in Tragic Knowledge: Yeats's Autobiography and Hermeneutics ( New York: Columbia University Press, 1981), pp. 81-114.
5.
See, especially, my "The Unsummoned Image: T. S. Eliot's Unclassic Criticism," boundary 2 (Fall 1980), 9( 1): 91-124.
6.
See my "The Prophet of Our Laughter: Friedrich Nietzsche As--Educator?''" in "Why Nietzsche Now?" boundary 2 (Spring/Fall 1981), 9( 3) 10(1):1-18. This is a special double issue which I edited on Nietzsche's influence in modern culture.
7.
See my "The Spirit of Levity: Nietzsche's Influence?" the introduction to a forthcoming collection of critical essays on Nietzsche and modern culture which I edited for Indiana University Press.
8.
Friedrich Nietzsche, The Gay Science, Walter Kaufmann, trans. and ed. ( New York: Vintage, 1974), pp. 271-272.
9.
Walter Pater, "Apollo in Picarady" in Miscellaneous Studies ( London: Macmillan, 1910), pp. 143-144.

2. The Temptations of the Scholar: Walter Pater's Imaginary Portraits
1.
Walter Pater, Plato and Platonism ( London: Macmillan, 1910, p. 60; W. B. Yeats , Autobiography ( New York: Collier, 1965), p. 201. See J. Hillis Miller "Walter Pater, A Partial Portrait," Daedelus (Winter 1976), 24:97-113; see also Perry Meisel, The Absent Father: Virginia Woolf and Walter Pater ( New Haven: Yale University Press, 1980). And Gerald Monsman, Walter Pater's Art of Autobiography ( New Haven: Yale University Press, 1981). Harold Bloom has been the most aggressive of Pater's champions among contemporary critics. But perhaps

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