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  • 1.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    A Note on Some Unidentified Sources in Mansfield’s Reading from 19072017In: Katherine Mansfield and Russia / [ed] Galya Diment, Gerri Kimber, W Todd Martin, Edinburgh: Edinburgh University Press, 2017, p. 190-193Chapter in book (Refereed)
    Abstract [en]

    This chapter examines a number of unattributed quotations taken from Katherine Mansfield’s journals of 1907, documenting her previously unknown reading of the works of three popular Edwardian novelists: Anthony Hope Hawkins, Henry Seton Merriman and Horace Annesley Vachell.

  • 2.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    A Swine from Epicurus's Herd: The Culinary, Aesthetic, and Erotic in Wilde and Huysmans2019In: Modernism and Food Studies: Politics, Aesthetics and the Avant-Garde / [ed] Jessica Martell, Adam Fajardo, Philip Keel Geheber, University Press of Florida, 2019, p. 19-38Chapter in book (Refereed)
  • 3.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    An Oblique Allusion to Barbauld in The Mystery of Edwin Drood2017In: Dickens quarterly, ISSN 0742-5473, E-ISSN 2169-5377, Vol. 34, no 2, p. 172-175Article in journal (Refereed)
  • 4.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    An Unidentified French Quotation in Wilde’s Essay on ‘Historical Criticism’2017In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 64, no 1, p. 141-142Article in journal (Refereed)
  • 5.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    An Unnoted Quotation from Pater in Wilde’s Review of William Morris2017In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 64, no 4, p. 640-641Article in journal (Refereed)
  • 6.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Arthur Symons, Selected Early Poems, ed. Jane Desmarais and Chris Baldick; Arthur Symons, Spiritual Adventures, ed. Nicholas Freeman2018In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 65, no 3, p. 459-461Article, book review (Refereed)
  • 7.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Bertrand Russell and a Couplet on Empedocles2019In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 66, no 2, p. 316-317Article in journal (Refereed)
  • 8.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Blanchot’s L’ârret de mort: Allegory and the Trauma of History2016Conference paper (Other academic)
    Abstract [en]

    Blanchot’s L’ârret de mort (1948) has long been recognised as a seminal modernist text, but after Derrida it has tended to be read for its ‘writerly’ qualities. Perhaps for this reason, while scores of readings have focused on Blanchot’s meditations on questions such as the nature of writing, on the figure of night and language, and on parallels to his monumental ‘La Littérature et le droit à la mort’ (1948), the question of history as it is developed in the récit (the spectre of the Holocaust, ‘nach Auschwitz’) has been discussed (e.g. Hess 1999; Rothberg 2000) but not fully examined, nor have the ways in which L’ârret de mort may be reread after the publication of the semi-autobiographical L’instant de ma mort (1994). This paper will examine Blanchot’s translation of history and trauma in the récit, framed through a theoretical discussion of the nature of allegory as translation. Comparing Benjamin’s influential discussion of allegory in his Trauerspiels (1928) with Blanchot’s discussion of similar themes (somewhat differently) in ‘Le langage de la fiction’ (1949), the idea of allegory as a response to historical trauma will be introduced to challenge the idea that ‘there is simply no place for hermeneutical or rhetorical considerations’ (Shaviro 1990) when reading L’ârret de mort. The text operates as an allegory not simply of traumatic French political history (the Munich Crisis, Operation Paula, and more obliquely, the Holocaust), but of Blanchot’s own traumatic history, his experience of surviving a firing-squad recounted in the later récit. It is precisely insofar as Blanchot’s allegory refuses simplistic metaphrase (for instance, in the ways in which the very precision of the text’s dating is displaced - was 13th October 1938 a Wednesday or Thursday?) that we know it to be allegory as such: it is only thus that we know that what is at stake here is not simply a question of mourning but melancholia, the trauma of history, of a wound (τραύμα) which can never be fully healed.

  • 9.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Coleridge’s Quotation from Petronius in the Notebooks of 18302017In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 64, no 4, p. 603-604Article in journal (Refereed)
  • 10.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Cosmopolitan Space: Political Topographies in ‘Lord Arthur Savile's Crime’2017In: Victoriographies, ISSN 2044-2416, Vol. 7, no 2, p. 124-142Article in journal (Refereed)
    Abstract [en]

    This essay responds to Julian Wolfreys’s suggestion that Oscar Wilde’s London is primarily psycho-geographical by seeking to read his texts within the historical and spatial context of late nineteenth-century London. Taking as a test the short story ‘Lord Arthur Saville’s Crime’, this essay deploys the critical insights of Henri Lefebvre to suggest that Wilde’s city writing engages more closely with London life than has been hitherto suggested. Following Lord Arthur on his three perambulations across the city, from Hyde Park and Piccadilly to Covent Garden, through Soho, and finally from St James’s to the Embankment, the article focuses particularly on the ways in which Wilde’s use of what might easily be assumed to be an incidental location, namely Cleopatra’s Needle, invites us to reread the text’s revolutionary politics within the context of the French Revolution. Concluding with a discussion of Wilde’s treatment of London’s ‘cosmopolitan space’, the essay shows that the way in which seemingly stock imagery deployed in Wilde’s representation of the city may in fact be read as part of a wider and complex engagement with both the politics and the aesthetics of space.

  • 11.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Cosmopolitan space: traversing London with Oscar Wilde2017Conference paper (Other academic)
    Abstract [en]

    Taking up Julian Wolfreys’s suggestion that Wilde’s London is primarily psycho-geographical (1996), this paper responds by situating the topography his texts within the historical and spatial context of late nineteenth century cosmopolitan London. The significance of such an approach is twofold: it serves both to problematize the critical heritage (e.g. Brown 1995) which has tended to read Wilde’s cosmopolitanism as primarily a Kantian intellectual project rather than a product of his embodied experience of London, and it serves as an important case-study to help think-through the ways in which fin de siècle writers incorporated the insights of realist literary representations of the city in an aesthetics of space which anticipates modernism. Using the critical insights of Lefebrvre (1974) to suggest a more engaged treatment of the city at work in Wilde’s writing, this paper will focus primarily on ‘Lord Arthur Savile’s Crime (1887) and The Picture of Dorian Gray (1890/91), showing how Wilde constructs a London full of ‘curious effects’, to consider what is at stake in this representation of the city in the late nineteenth century. Focusing on the ways in which Wilde locates his action at loaded locations, such as Cleopatra’s Needle, what becomes apparent is the way in which the questions of politics and the revolutionary consistently underwrite his representational space, a cosmopolitanism based upon deconstructing national boundaries (and demonstrating how the fin de siècle city itself deconstructs discreet borders), so that London is figured variously as ‘bric-à-brac’ and as an art work which is constitutively ‘foreign’, containing alterity within it. The paper shows the way in which seemingly ‘stock’ imagery deployed in Wilde’s representation of the city may in fact be read as part of a wider and complex engagement with both the politics and the aesthetics of space.

  • 12.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Cosmopolitanism, Decadence and the Vernacular at the Fin de Siècle: Walter Pater and the Possibility of a Poetics for an Unpoetical Age2017Conference paper (Other academic)
    Abstract [en]

    It is curious that the mid-Victorian period, which saw Britain at the height of its imperial pomp, also witnessed the emergence of a deep insecurity over the status of English as a poetic literary language. Contextualized alongside Matthew Arnold’s break with poetry, this paper will focus on one influential fin de siècle response to this problem in Walter Pater’s historical novel Marius the Epicurean (1885). Set during the Rome of the Antonines, the novel historicizes a series of contemporary anxieties, allowing Pater to muse on the status of English as a literary language through a discussion of the use of Latin as a vernacular language during the age of Marcus Aurelius. The focus in particular will be on the chapters ‘Euphuism’ and ‘A Pagan End’, in which Marius’ friend Flavian constructs his new literary program, asserting ‘the rights of the proletariate of speech’, and writing the (anonymous) Pervigilium Veneris. Contextualising these passages alongside firstly the theme of cosmopolitanism, the utopian dream of the κοσμοπολίτης that frames so much of the novel, both historically and in contemporary fin de siècle discourse, alongside the (here related) discourse of decadence developed in these chapters and in Pater’s essay on ‘Style’ (1888), the paper will conclude by examine Pater’s own English as a kind of vernacular, one at once scholarly, decadent and cosmopolitan, mixing ‘racy Saxon monosyllables […] with those long, savoursome, Latin words, rich in “second intention”’, to consider seriously Mallarmé’s suggestion that Pater was ‘le prosateur ouvragé par excellence de ce temps’.

  • 13.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Dickens and Southey: The Mystery of Edwin Drood and The Curse of Kehama2018In: Dickens quarterly, ISSN 0742-5473, E-ISSN 2169-5377, Vol. 35, no 3, p. 262-266Article in journal (Refereed)
  • 14.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    ‘Dishonours of the Grave’: Jeremy Taylor and De Quincey’s Confessions2017In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 64, no 4, p. 589-592Article in journal (Refereed)
  • 15.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Fantasy and the Curse of Kehama: Dickens Reading Southey in The Mystery of Edwin Drood2017Conference paper (Other academic)
  • 16.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Henry Longueville Mansel's Phrontisterion (1852)2018In: Victorian literature and culture (Print), ISSN 1060-1503, E-ISSN 1470-1553, Vol. 46, no 2, p. 485-514Article in journal (Refereed)
    Abstract [en]

    Established in 1859, as a merger of the Whigs, Radicals and Peelites, the British Liberal Party and their ideological forerunners won 15 out of a total of 20 parliamentary elections between 1832–1910. Responsible for passing socially progressive legislation domestically, Victorian liberalism can lay claim to being the most significant political ideology of the period. By bringing together aspects of classical social liberalism and liberal free-market conservatism, this specifically Victorian brand of liberalism enabled Britain to take a place at the center of world affairs. Indeed, by the mid-1850s, the emergence of Victorian liberalism had begun to be seen as something of a political necessity, as demonstrated by Thomas Babington Macaulay's The History of England from the Accession of James II (1848–61), a foundational text of Whig historicism, in which Lord Charles Grey's 1832 Reform Bill was characterized as the teleological culmination of British history. But while the liberals styled themselves as progressives and their opponents as reactionaries, Whig history has tended to oversimplify the dynamics of this narrative. In this context, Henry Longueville Mansel's closet drama Phontisterion offers a fascinating glimpse into a contemporary Tory response to the seemingly irresistible rise of Victorian liberalism.

  • 17.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Ian Small (ed.), The Complete Works of Oscar Wilde Volume VIII: The Short Fiction2019In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 66, no 1, p. 154-155Article, book review (Other academic)
  • 18.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Inspir’d Bards : An Unidentified Quotation in Pope’s Dunciad Variorum2017In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 64, no 3, p. 478-480Article in journal (Refereed)
  • 19.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    ‘Inverted Rites’: Girard reading Pater reading Shakespeare2017Conference paper (Other academic)
  • 20.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    “Inverted Rites”: Reading Girard reading Pater reading Shakespeare2017In: Anthropoetics, ISSN 1083-7264, E-ISSN 1083-7264, Vol. 23, no 1Article in journal (Refereed)
    Abstract [en]

    This essay traces the provenance of René Girard’s familiarity with Walter Pater’s idea of “inverted rights” in relation to Shakespeare’s Richard II. It demonstrates the likelihood that Girard likely did not have extensive first-hand knowledge of Pater’s essay “Shakespeare’s English Kings,” but learned about it from Ernst Kantorowicz’s book The King’s Two Bodies. The essay continues by argued that Girard does not give proper credit to Pater’s astute anthropological insight regarding the inherent doubleness of the originary rite of coronation, which carries within itself the shadow of the “inverted rite” of deposition.

  • 21.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    John Ruskin and London2018In: The Palgrave Encyclopedia of Urban Literary Studies, London: Palgrave Macmillan, 2018Chapter in book (Refereed)
  • 22.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Katherine Mansfield, Arthur Symons, Gabriele D’Annunzio and The Virgins of the Rocks2018In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 65, no 3, p. 402-405Article in journal (Refereed)
  • 23.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Kipling the Plagiarist? The Case of ‘O Baal, Hear Us!’2017In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 64, no 1, p. 149-151Article in journal (Refereed)
  • 24.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Myth and Melancholia: Schelling on Aesthetic Autonomy2016Conference paper (Other academic)
    Abstract [en]

    This paper will seek to examine Schelling’s philosophy of art, in particular in how it develops between his Naturphilosophie of the System (1800) and his 1840s lectures on positive philosophy. Schelling’s philosophy is widely misunderstood, marginalized in a syntactic footnote of the journey from Kant to Hegel, but his philosophy of art is even less fully comprehended. By showing how Schelling breaks from Kant in the late 1790s and early 1800s, this paper will reposition him at the forefront of the aesthetic debates of the German idealists. Schelling’s theory of art, based upon a cultural and historical reconsideration of the Bewusstlosigkeit prior to the work of art as such, focuses more and more on the complex historical and social relationships between myth, art and society, and in so doing compares with the work of two key later German philosophers of art, Benjamin and Heidegger.

  • 25.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    ‘Neither for God, Nor for His Enemies’: Wilde’s ‘Theoretikos’ and Pater’s Essay on Botticelli2017In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 64, no 4, p. 624-626Article in journal (Refereed)
  • 26.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Oscar Wilde and the Simulacrum: the Truth of Masks2015Book (Refereed)
    Abstract [en]

    Oscar Wilde is more than a name, more than an author. From precocious Oxford undergraduate to cause célèbre of the West End of the 1890s, to infamous criminal, the proper name Wilde has become an event in the history of literature and culture. Taking Wilde seriously as a philosopher in his own right, Whiteley’s groundbreaking book places his texts into their philosophical context in order to show how Wilde broke from his peers, and in particular from idealism, and challenges recent neo-historicist readings of Wilde which seem content to limit his irruptive power. Using the paradoxical concept of the simulacrum to resituate Wilde’s work in relation to both his precursors and his contemporaries, Whiteley’s study reads Wilde through Deleuze and postmodern philosophical commentary on the simulacrum. In a series of striking juxtapositions, Whiteley challenges us to rethink both Oscar Wilde’s aesthetics and his philosophy, to take seriously both the man and the mask. His philosophy of masks is revealed to figure a truth of a different kind — the simulacra through which Wilde begins to develop and formulate a mature philosophy that constitutes an ethics of joy.

  • 27.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Oscar Wilde’s Reading of Popular Science2017In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 64, no 1, p. 142-144Article in journal (Refereed)
  • 28.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Pater’s Conclusion: A New Source2017In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 64, no 1, p. 128-130Article in journal (Refereed)
  • 29.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Pater’s Heraclitus: Irony and the Historical Method2017In: Pater the classicist: classical scholarship, reception, and aestheticism / [ed] Charles Martindale, Stefano Evangelista, Elizabeth Prettejohn, Oxford: Oxford University Press, 2017, p. 261-273Chapter in book (Refereed)
    Abstract [en]

    This chapter examines Pater’s reading of Heraclitus as it developed through his career, from the conclusion to the Renaissance onwards. Setting Pater’s classicism in dialogue with his comments on the ‘historical method’ in Plato and Platonism, the chapter contextualises Pater’s discussion of Heraclitus alongside that of his friend Ingram Bywater and nineteenth century German traditions, and particularly Schleiermacher’s hermeneutics. From Marius onward, Pater rereads Heraclitus, distancing himself from a ‘popular’ image of the philosophy of flux, emphasising terms such as ‘logos’ and ‘harmony’, before discussing the philosopher’s political significance in Plato and Platonism. The chapter concludes by suggesting that Pater’s classicism as it is exemplified in his reading of Heraclitus, always a reading proceeding through the prism of other readings, is somewhat ‘ironic’, always displaced.

  • 30.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Pater's Parerga: Framing the Imaginary Portraits2013In: Victoriographies, ISSN 2044-2416, Vol. 3, no 2, p. 119-135Article in journal (Refereed)
    Abstract [en]

    Walter Pater’s late-nineteenth-century literary genre of the imaginary portrait has received relatively little critical attention. Conceived of assomething of a continuum between his role as an art critic and hisfictional pursuits, this essay probes the liminal space of the imaginary portraits, focusing on the role of the parergon, or frame, in his portraits. Guided by Pater’s reading of Kant, who distinguishes between thework (ergon) and that which lies outside of the work (the parergon), between inside and outside, and contextualised alongside the analysis of Derrida, who shows how such distinctions have always already deconstructed themselves, I demonstrate a similar operation at work in the portraits. By closely analysing the parerga of two of Pater’s portraits, ‘Duke Carl of Rosenmold’ (1887) and ‘Apollo in Picardy’ (1893), focusing on his partial quotation of Goethe in the former, and his playful autocitation and impersonation of Heine in the latter, I arguethat Pater’s parerga seek to destabilise the relationship between text and context so that the parerga do not lie outside the text but are implicated throughout in their reading, changing the portraits constitutively. As such, the formal structure of the parergon in Pater’s portraits is also a theoretical fulcrum in his aesthetic criticism and marks that space where the limits of, and distinctions between, art and life become blurred.

  • 31.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Philosophical Wilde: Michael Y. Bennett (ed.): Philosophy and Oscar Wilde, Basingstoke: Palgrave Macmillan, 20172017In: The Oscholars, E-ISSN 2045-0753Article, book review (Other academic)
  • 32.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Robert Southey, Thomas Lindley and the Zombi2017In: Wordsworth circle, ISSN 0043-8006, Vol. 48, no 3, p. 164-168Article in journal (Refereed)
  • 33.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Schelling’s Reception in Nineteenth-Century British Literature2018Book (Refereed)
    Abstract [en]

    This book examines the various ways in which the German philosopher Friedrich Schelling was read and responded to by British readers and writers during the nineteenth century. Challenging the idea that Schelling’s reception was limited to the Romantics, this book shows the ways in which his thought continued to be engaged with across the whole period. It follows Schelling’s reception both chronologically and conceptually as it developed in a number of different disciplines in British aesthetics, literature, philosophy, science and theology. What emerges is a vibrant new history of the period, showing the important role played by reading and responding to Schelling, either directly or more diffusely, and taking in a vast array of major thinkers during the period. This book, which will be of interest not only to historians of philosophy and the history of ideas, but to all those dealing with Anglo-German reception during the nineteenth century, reveals Schelling to be a kind of uncanny presence underwriting British thought.

  • 34.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Some Unnoted Sources in Oscar Wilde’s Commonplace Book2017In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 64, no 4, p. 628-634Article in journal (Refereed)
  • 35.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Some Unnoted Sources in Oscar Wilde’s Oxford Notebook2017In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 64, no 4, p. 626-628Article in journal (Refereed)
  • 36.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    ‘Tenebrific Constellations’: Carlyle, Addison and Burns2018In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 65, no 3, p. 368-372Article in journal (Refereed)
  • 37.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    The Count Marsigli and De Quincey’s ‘The Dark Interpreter’2018In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 65, no 3, p. 378-381Article in journal (Refereed)
  • 38.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    The Earliest Literary Reference to Manchester Pudding?2017In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 64, no 4, p. 613-614Article in journal (Refereed)
  • 39.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    The origin of the words ‘tenebrific’ and ‘tenebrificous’2018In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 65, no 3, p. 310-314Article in journal (Refereed)
  • 40.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    The ‘Thaumaturgic Art of Thought’: Bram Stoker and Thomas Carlyle2017In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 64, no 4, p. 622-623Article in journal (Refereed)
  • 41.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    The Tree of Knowledge: New Insights on Katherine Mansfield, Oscar Wilde and ‘A Woman’2017In: Katherine Mansfield and Russia / [ed] Galya Diment, Gerri Kimber, W Todd Martin, Edinburgh: Edinburgh University Press, 2017, p. 175-189Chapter in book (Refereed)
    Abstract [en]

    This chapter examines in detail a number of unattributed quotations taken from the journals of 1907, signed ‘O.W.’, ‘A Woman’ and ‘A.W.’. I call into question the critical heritage on these signatures, which has taken them to refer to Oscar Wilde and to Mansfield herself, an error traced to the early work of John Middleton Murry. This article instead establishes Mansfield’s hitherto unknown source as the novel The Tree of Knowledge, by an anonymous author, and offers a close reading of the Mansfield’s use of the novel in these pages. The article concludes by speculating as to the author, and as to how Mansfield came to read the text.

  • 42.
    Whiteley, Giles
    Stockholm University, Faculty of Humanities, Department of English.
    Wilde's Plagiarism in the Essay on "Historical Criticism”2017In: Notes and Queries, ISSN 0029-3970, E-ISSN 1471-6941, Vol. 64, no 1, p. 139-141Article in journal (Refereed)
1 - 42 of 42
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