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

By Daniel T. O'Hara | Go to book overview
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Aestheticism: in Bloom, 61, 79; Hartman and the aesthetic tradition, 115; in Pater, 21-30, 33, 44, 45, 51; and the aesthetic ideal, 21-30; Pater as the aesthetic critic, 29-36; aesthetic humanism in Hartman, 123, 127-28; meaning of the ascetic ideal in Nietzsche's Geneology of Morals, 94
Arac, Jonathan: on de Man's "Shelley Disfigured," 231-32
Bloom, Harold, 2, 55-91; anxiety of influence, 78; features of his criticism, 118; on Nietzsche, 81; Nietzsche's influence on, 67, 82-83; and Nietzsche's Zarathustra, 87; on Pater, 15-17, 237n1; family romance, 62-63, 79; ratios of revisionary defense, 56; the sublime, 78-79 -----works: Agon, 57-59, 62-63; The Anxiety of Influence, 55-56, 80, 111-12, 131; The Breaking of the Vessels, 57, 60, 62-64; Figures of Capable Imagination, 79; The Flight to Lucifer, 82-83, 90, 119; Kabbalah and Criticism, 80; A Map of Misreading, 59, 61, 80, 88; Poetry and Repression, 59, 80-81; Yeats, 83-84
Corngold, Stanley: on de Man, 210-13
Deconstruction, 3; compared to New Criticism, 98; Derrida, 115-16, 138; by de Man, 210-11, 228
De Man, Paul, 3, 205-35; aesthetic revisionism in, 212; American deconstruction, 233; and Stanley Corngold, 210-13; and Derrida's deconstruction, 215; on Derrida, 251n40; on Nietzsche, 251n32; on Poulet, 220-22, 225; on Yeats, 250n25 -----works: Blindness and Insight, 215-17; "Genesis and Geneology," 229-31; "Literary Modernity and Literary History," 226-26; "The Literary Self as Origin: The Work of Georges Poulet," 214-20, 228; "Lyric and Modernity," 223; "The Rhetoric of Temporality," 220; "Shelley Disfigured," 228-29, 233-34
Derrida, Jacques: as deconstructive writer, 12-14, 77, 115-16; Nietzsche's influence on, 76; on Nietzsche and Heidegger, 248n84
Donoghue, Denis: on Hartman, 98-100
Eliot, T.S., 10; on Joyce's Ulysses, 11-12; on Pater, 14-15, 238n2; and the romance of interpretation, 13-14 -----works: "Tradition and the Individual Talent," 11; "Ulysses, Order and Myth," 11; with Arnold and Coleridge, 246-47n36
Frye, Northrop, 2, 147-203; five modes and five forms of representation, 161; four narrative patterns and four genres, 162; Frederic Jameson on, 188-89; Frank Lentriccia on, 180-81; A. Walton Litz on, 179-80; and Nietzsche, 201-3; on Nietzsche, 199; on revisionism, 175-76; his revisionary style of writing, 182; romance forms in Anatomy, 131; and romance, 89, 170-71; and the romance of interpretation, 169, 172, 199, 200; on style, 157 -----works: Anatomy of Criticism, 130,


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