Pater's Portraits

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

Allegory and animals in Olive Schreiner’s Undine : A Queer Little Child (1929)

Written and abandoned in the 1870s, and published posthumously in 1929, Undine: A Queer Little Child has remained on the margins of Olive Schreiner (1855-1920) studies, repeatedly dismissed as a juvenile and poor antecedent to The Story of An African Farm (1883), or deemed valuable primarily for its autobiographical content. This article redresses these schematic readings by analysing how Schreiner draws on allegorical forms in order to explore aspects of her burgeoning radicalism. Focusing on one of the main allegorical thrusts of the novel, provided by the zoomorphic and anthropomorphic animal characters that descend from mythical, fairytale, and Ancient Greek philosophical origins, it investigates how the protagonist’s metaphorically significant associations with animals relate to freethinking, feminist, and anti-imperialist ideas introduced by the novel. Undine thus undermines dominant nineteenth-century models of the “primitive” human or animal as less evolutionarily developed and without political platform, which can be seen to be a liberating move when the novel is read in dialogue with Jacques Derrida’s lectures on animals, and with other recent work in postcolonial ecocriticism

Dream time and anti-imperialism in the writings of Olive Schreiner

This article explores how Olive Schreiner utilizes politicized modernist aesthetics, specifically the manipulation of time through allegory and dream, to resist structures of empire. The claim that Schreiner’s work should be received and analysed as modernist builds on recent work in global modernist studies that views modernisms as multiple, and occurring across various temporalities and geographies, whilst responding to the drive in postcolonial studies to reshape modernism with an awareness of empire. Analysis of the repetitive dream cycles within and across Schreiner’s texts reveals how she disrupts the conventional chronologies and associated ideologies introduced by colonizers in South Africa in ways that can be interpreted as modernist. Beginning with close readings of the opening scenes in the novels Undine: A Queer Little Child (written 1870s) and The Story of an African Farm (1883), the article then considers the role of alternative temporalities associated with dreams in the short allegory “Three Dreams in a Desert” (1887), to suggest that Schreiner’s “dream time” offers a form of postcolonial resistance to the imposed “imperial clock time” of life under colonial rule