000			02053 a2200289 4500
001			113862070X
005			20250317100417.0
008			250312042020GB eng
020			_a9781138620704
037			_bTaylor & Francis _cGBP 21.99 _fBB
040			_a01
041			_aeng
072	7		_aKNTP2 _2thema
072	7		_aNH _2thema
072	7		_aJBCT _2thema
072	7		_aKNTJ _2bic
072	7		_aH _2bic
072	7		_aJFD _2bic
072	7		_aLIT000000 _2bisac
072	7		_a828.80809 _2bisac
100	1		_aJason Camlot
245	1	0	_aStyle and the Nineteenth-Century British Critic _bSincere Mannerisms
250			_a1
260			_aOxford _bRoutledge _c20201218
300			_a206 p
520			_bIn analyzing the nonfiction works of writers such as John Wilson, J. S. Mill, De Quincy, Ruskin, Arnold, Pater, and Wilde, Jason Camlot provides an important context for the nineteenth-century critic's changing ideas about style, rhetoric, and technologies of communication. In particular, Camlot contributes to our understanding of how new print media affected the Romantic and Victorian critic's sense of self, as he elaborates the ways nineteenth-century critics used their own essays on rhetoric and stylistics to speculate about the changing conditions for the production and reception of ideas and the formulation of authorial character. Camlot argues that the early 1830s mark the moment when a previously coherent tradition of pragmatic rhetoric was fragmented and redistributed into the diverse, localized sites of an emerging periodicals market. Publishing venues for writers multiplied at midcentury, establishing a new stylistic norm for criticism-one that affirmed style as the manifestation of English discipline and objectivity. The figure of the professional critic soon subsumed the authority of the polyglot intellectual, and the later decades of the nineteenth century brought about a debate on aesthetics and criticism that set ideals of Saxon-rooted 'virile' style against more culturally inclusive theories of expression.
999			_c3054 _d3054