Contents
Acknowledgments
Contributors
Introduction
Ann Heilmann and Mark Llewellyn
Part One: Influence
Chapter 1: The Fin de Siècle Meets French Realism: Moore, Balzac
and the Peculiarity of Writers Adrian Frazier
Chapter 2: “A Visit to an Impressionist Exhibition” in Moore’s
Confessions of a Young Man Anna Gruetzner Robins
Chapter 3: Reading the Notes, Knowing the Score
Mary S. Pierce
Chapter 4: “Literature at Nurse”: George Moore, Ouida and
Fin-de-Siècle Literary Censorship
Jane Jordan
Chapter 5: “The sort of girl I’d like to see behind the bar at the
King’s Head”: Barmaids and Censorship in George Moore
Katherine Mullin
Chapter 6: Alice Barton: A Portrait of the Artist as a Young (New)
Woman?
Ann Heilmann and María Elena Jaime de Pablos
Chapter 7: “Not fitted for marriage”: “Mildred Lawson” and the New
Woman
Nathalie Saudo-Welby
Chapter 8: Gossip, Art and the Public Secret: Moore on his
Contemporaries
Elizabeth Grubgeld
Chapter 9: Readers, Writers and Friends: George Moore and John
Eglinton
Michel Brunet
Chapter 10: Celtic Cousins? George Moore’s The Untilled Field and
Caradoc Evans’s My People Kirsti Bohata
Chapter 11: Moore, Wagnerism, and the Shape of the Later Career
Stoddard Martin
Part Two: Collaboration
Co-authorship, Desire and Conflict: Introduction to the
Moore/Craigie Collaboration
Ann Heilmann
The Fool’s Hour: A play by John Oliver Hobbes [Pearl Craigie] and
George Moore
edited by Ann Heilmann
Journeys End in Lovers Meeting: Manuscript by George Moore
edited and introduced by Mark Llewellyn
Ann Heilmann is Professor of English literature at Cardiff
University.
Mark Llewellyn is Director of Research at the Arts and Humanities
Research Council.
The work of George Moore (1852-1933) has received revived attention
in recent years, and there have been many reconsiderations of the
importance of Moore’s diverse body of work. Heilmann and Llewellyn
have previously played a part in this revival, having coedited The
Collected Short Stories of George Moore (5v, 2007). The essays in
the present volume reconsider Moore's collaborations with and
impact on his literary and artistic contemporaries. Part 1,
'Influence,' offers new readings of his various interactions with
writers and artists in France, Ireland, and Wales and England,
locating Moore at the center of important cultural encounters and
debates. Essays explore his art criticism, his literary
self-fashioning, his interest in music, and his understanding of
gossip as a form of art. Three chapters consider his various
depictions of women and their relationship to similar figures in
new woman fiction. In part 2, 'Collaboration,' the editors examine
Moore's partnerships with other authors, especially Pearl Craigie,
and provide annotated transcripts of two coauthored plays. This
collection will help to raise awareness of Moore’s largely
unrecognized contributions to the cultural movements of the fin de
siècle. Summing Up: Recommended. Upper-division undergraduates and
above.
*CHOICE*
[T]he essays in this latest collection navigate . . . [Moore's]
contradictory character . . . singularly well. . . .[I]t is
certainly work such as this that will turn the recent enthusiasm
for "Moore studies" into a more long-term change of heart towards
Moore, allowing genuinely new and exciting insights into his
creative processes.
*The Cambridge Quarterly*
George Moore was a central figure in turn-of-the-century British
literature because he was involved in and influenced so many
different movements. Ironically, this is why he remains difficult
for many to assess. George Moore: Influence and Collaboration
brings together experts on Moore that offer a range of discussions
that coherently addresses his varied influence on writers and
artists of the era. This is a very fine collection of essays of
keen interest not only to readers of Moore but also those
interested in the Transition age at large.
*Professor Robert Langenfeld, Editor, English Literature in
Transition, 1880–1920*
 |
Ask a Question About this Product More... |
|
