Henry James: an Expatriate with an Aesthetic Tendency
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Henry James's Worldview in the Ambassadors
1 HENRY JAMES’S WORLDVIEW IN THE AMBASSADORS: A GENETIC STRUCTURALISM APPROACH RESEARCH PAPER Submitted as a Partial Fulfillment of the Requirements for Getting Bachelor Degree of Education in English Department by DANANG AGUSTOMO A.320 030 062 SCHOOL OF TEACHER TRAINING AND EDUCATION MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2008 1 CHAPTER I INTRODUCTION A. Background of the Study Literature is a social institution, using language as medium of social creation. Furthermore, literature represents life and life is in large measure, a social reality (Wellek 1959: 94). Hence, a literary work which is the author’s creation is an ideal reflection of social reality. The literary work and the author cannot be separated since; the literary work is a reproduction of the author’s mind. The author’s mind is a result of the author’s response towards the social reality where he or she lives. An author lives among the society which he or she associates and mingles with it. As human being an author is like the other people who are influenced by his or her religious conviction, social idea, settlement, culture and convention of his or her culture. However, an author does not always in harmony or agrees with the social circumstances in his or her society. He or she can also require a different view on it. The different view toward his or her social life force him or her to change and shape the behavior and the social view of his or her society. An author expresses his or her view by creating a work art. -
Roderick Hudson Ebook, Epub
RODERICK HUDSON PDF, EPUB, EBOOK Henry James | 400 pages | 01 Jul 1986 | Penguin Books Ltd | 9780140432640 | English | London, United Kingdom Roderick Hudson PDF Book Striker, the Yankee attorney, serves as a comic villain in Roderick Hudson's New England life, a provincial, puritanical antithesis Enabling JavaScript in your browser will allow you to experience all the features of our site. The final few chapters are somehow both completely superfluous page after page of 'the alps sto Very indirect plot spoilers here. Rowland Mallett believes Roderick has real genius -- this based solely on Roderick's bronze statuette that Rowland sees in his cousin Cecilia's garden. Why not perfect? View all 26 comments. The Portable Graham Greene. I haven't quite decided on a serious project for the rest of the year. Sinclair Lewis. The argument then touches briefly on The Marble Faun before turning to Roderick Hudson and its wary deployments of allegory Readers also enjoyed. Rowland admits that he is in love with Miss Garland. Finally, Roderick dies in a storm while on his way to Interlaken; Rowland and Sam find his dead body the next day. How then to reconcile the extravagance of 'Orlando Furioso' with HJ's much more down-to-earth story? Take a look at the figures of mothers. And with these words from the mouth of the elderly Italian cavalier, I have James to thank for helping me to understand the Hawthorne: "Ah, dear sir, Rome is Rome still: a place where strange things happen! Stay in Touch Sign up. Is it Orlando or Rinaldo who loves the modest maiden, we ask ourselves. -
A Novel, by Henry James. Author of "The Awkward Age," "Daisy Miller," "An International Episode," Etc
LIU Post, Special Collections Brookville, NY 11548 Henry James Book Collection Holdings List The Ambassadors ; a novel, by Henry James. Author of "The Awkward Age," "Daisy Miller," "An International Episode," etc. New York and London: Harper & Brothers Publishers, 1903. First American edition. Light blue boards with dark blue diagonal-fine-ribbed stiff fabric-paper dust jacket, lettered and ruled in gilt. - A58b The American, by Henry James, Jr. Boston: James R. Osgood and Company, late Ticknor and Fields, and Fields, Osgood & Company, 1877. First edition, third variant binding - in dark green cloth. Facing title page, advertisement of "Mr. James' Writings." - A4a The American, by Henry James, Jr. London: Ward, Lock & Co. [1877]. 1st English edition [unauthorized]. Publisher's advertisements before half- title page and on its verso. Advertisements on verso of title page. 15 pp of advertisements after the text and on back cover. Pictorial front cover missing. - A4b The American, by Henry James, Jr. London: Macmillan and Co., 1879. 2nd English edition (authorized). 1250 copies published. Dark blue cloth with decorative embossed bands in gilt and black across from cover. Variant green end- papers. On verso of title page: "Charles Dickens and Evans, Crystal Palace Press." Advertisements after text, 2 pp. -A4c The American Scene, by Henry James. London: Chapman and Hall, 1907. 1st edition. 1, 500 copies published. Second binding of red cross-grain cloth. " This is a remainder binding for 700 copies reported by the publisher as disposed of in 1913." Advertisements after text, 6 pp. - A63a The American Scene, by Henry James. New York and London: Harper &Brothers Publishers, 1907. -
THE ASPERN PAPERS by Henry James
THE ASPERN PAPERS By Henry James I I had taken Mrs. Prest into my confidence; in truth without her I should have made but little advance, for the fruitful idea in the whole business dropped from her friendly lips. It was she who invented the short cut, who severed the Gordian knot. It is not supposed to be the nature of women to rise as a general thing to the largest and most liberal view—I mean of a practical scheme; but it has struck me that they sometimes throw off a bold conception—such as a man would not have risen to— with singular serenity. "Simply ask them to take you in on the footing of a lodger"—I don't think that unaided I should have risen to that. I was beating about the bush, trying to be ingenious, wondering by what combination of arts I might become an acquaintance, when she offered this happy suggestion that the way to become an acquaintance was first to become an inmate. Her actual knowledge of the Misses Bordereau was scarcely larger than mine, and indeed I had brought with me from England some definite facts which were new to her. Their name had been mixed up ages before with one of the greatest names of the century, and they lived now in Venice in obscurity, on very small means, unvisited, unapproachable, in a dilapidated old palace on an out-of-the- way canal: this was the substance of my friend's impression of them. She herself had been established in Venice for fifteen years and had done a great deal of good there; but the circle of her benevolence did not include the two shy, mysterious and, as it was somehow supposed, scarcely respectable Americans (they were believed to have lost in their long exile all national quality, besides having had, as their name implied, some French strain in their origin), who asked no favors and desired no attention. -
Henry James's the Aspern Papers
Henry James's The Aspern Papers "'Who should I be afraid of if I'm not afraid of you?'" (James, 65) - Juliana Bordereau This page was created by Aly Brown, Benny Ramos, Danny Snicker, and Jon Buchholz with the intention of aiding in scholarly research. To accomplish this, we have listed a plot synopsis as well as our understanding of the novella's motifs and overlying themes. In addition, near the bottom of our page, we have included various scholarly articles and cultural adaptations of Henry James' most beloved novella. Lastly, unless otherwise noted, all citations in MLA format come directly from the 1986 reprint from Penguin Classics. James, Henry. The Turn of the Screw and The Aspern Papers. Penguin, 1986. Print. James' Inspiration By Amelia Curran (1775-1849) [Public domain], via Wikimedia Commons Henry James' “The Aspern Papers” was inspired by a true story he overhead while in Italy. Captain Edward Augustus Silsbee was a retired mariner and devotee of the poet Percy Shelley. Shelley was close with Lord Byron, and wrote several of his greatest works while in Byron's company. The Shelleys were introduced to Byron through his mistress, Claire Clairmont, the stepsister of Mary Shelley. Clairmont long outlived Percy Shelley, becoming more reclusive by the year and shutting herself in with her middle-aged niece Pauline. Silsbee believed that Clairmont possessed rare documents that would shed light on Shelley and Byron's relationship. Silsbee traveled to her home in Florence, Italy, renting rooms with hopes “that the old lady in view of her age and failing condition would die while he was there, so that he might then put his hand upon the documents” (Berendt). -
Principles of Thematic and Technical Unity in Volume 12 of the Novels and Tales of Henry James (The New Yark Edition)
THE NOVELS AND TALES OF HENRY JAMES VOLUME 12 PRINCIPLES OF THEMA TIC AND TECHNICAL UNITY IN VOLUME 12 OF THE NOVELS AND TALES OF HENRY JAMES (THE NEW YORK EDITION) By THOMAS G. CORBETT. B. A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the degree Master of Arts MCMaster University June 1975 MASTER OF ARTS (1975) McMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: Principles of Thematic and Technical Unity in Volume 12 of The Novels and Tales of Henry James (the New Yark Edition) AUTHOR: Thomas George Corbett, B. A. (Oxford University) SUPERVISOR: Professor James D. Brasch NUMBER OF PAGES: iv, 177 ii I'.'.. ACKNOWLEDGMENTS I would like to thank Professor Richard Morton and Professor Maqbool Aziz for examining this thesis and for their helpful comments and suggestions. My particular thanks, however,· must be reserved for my supervisor, Professor James D. Brasch, not least for the patience with which he endured the long period during which this work was in progress. I am especially grateful for what James would have called, the many nutritive suggestions made by Professor Brasch which found their way into this study. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS iii: INTRODUCTION 1 l. HERO AND HISTORIAN: THE ASP ERN PAPERS 1. James on First-Person Narration 7 2. Inconsistency in the Anonymous Editor's Narrative 21 3. The Editor and the Romantic Quest 46 II. THE HEROINE'S OWN TALE: THE TURN OF THE SCREW 1. The Critical Controversy and James' Own Contribution 72 2. The Governess as Unreliable Narrator 83 3. -
Azu Etd Mr 2013 0191 Sip1 M.Pdf
Western Sensibilities in Roman Chaos: The Italian Characters of James, Forster, and Lawrence Item Type text; Electronic Thesis Authors Rosen, Hannah Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 20:32:50 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/297749 1 Abstract The American and British have actively traveled to Italy since the late 17th century. The Grand Tours popularized by the British Upper Class in the 18th Century were fictionalized by many authors and led to a fascination with Italian culture. The novels that emerged about this country by authors such as E.M. Forster, Henry James and D.H. Lawrence focused on characters that were often hesitant to explore Italian culture. Three particular archetypes stand out in their writing: the corrupted foreigner, the female foreigner and the rare culturally engaged foreigner. This study explores each of these archetypes and their specific influence on this canon of literature. These works are still relevant to modern society and the continued difficulty of understanding people unlike ourselves. 3 Introduction “[Man] is constantly in the position of interacting with strangers so he must take the next step and begin to transcend his culture. This cannot be done in an armchair.”1 – Beyond Culture, Edward Hall A foreigner arriving in a new land is an idea as ancient as the Old Testament itself. -
Henry James╎s "The Ambassadors": Anatomy of Silence
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2006 Henry James’s "The Ambassadors": Anatomy of Silence Marie Leone Meyer Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1764 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] HENRY JAMES’S THE AMBASSADORS: ANATOMY OF SILENCE by MARIE LEONE MEYER A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2006 UMI Number: 3232005 Copyright 2006 by Meyer, Marie Leone All rights reserved. UMI Microform 3232005 Copyright 2006 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 ii © 2006 MARIE LEONE MEYER All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Joan Richardson____________________________ ____________ _________________________________________ Date Chair of Examining Committee Steven Kruger______________________________ ____________ __________________________________________ Date Executive Officer Joan Richardson___________________________ William Kelly_____________________________ Norman Kelvin____________________________ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract HENRY JAMES’S THE AMBASSADORS: ANATOMY OF SILENCE by Marie Leone Meyer Adviser: Professor Joan Richardson This dissertation examines the use of silence in Henry James’s novel The Ambassadors. -
Henry James and the Ethics of Reading Authors' Letters
‘No absolute privacy’: Henry James and the Ethics of Reading Authors’ Letters JAKOB STOUGAARD-NIELSEN Abstract: Authors’ private letters play a significant role in Henry James’s fiction, literary criticism and in his literary and authorial legacy. They are privileged discursive objects activating fundamental issues of privacy and publicity, canonicity and the material condition of literature. The letter is a contested discursive object in James’s work, since it is at one and the same time a potent figure for authenticity and interiority, and consequently poses a threat to the author’s desire to control his own literary corpus and his privacy. In this article, James’s personal and private investment in designing his literary testament (his private letters and his definitive collected edition) is discussed in the context of his ethical and aesthetic concerns with reading the publications of authors’ private correspondences. Contributor: Jakob Stougaard-Nielsen is a Lecturer in Scandinavian Literature at University College London since 2010. He received his PhD in 2007 from University of Aarhus with a project about Henry James's New York Edition and is currently working on a monograph provisionally entitled Facing Authorship: Henry James and the Culture of the Book. He has recently published articles on Henry James and print culture, Hans Christian Andersen and illustrated magazines, and digital philology and cultural memory. Henry James’s career and literary afterlife display a sustained and multifaceted engagement with the changing material, cultural and literary conditions of authorship around 1900. In his own time, James took measures to manage his authorship, his own author figure, and the public’s access to his private life by, for instance, destroying his private papers and manuscripts; by asking correspondents to destroy his own letters following his own example; and by revising, selecting and designing his own literary testament in the shape of a definitive collected edition of his novels and tales (The New York Edition, 1907−1909). -
The Cult of Art in Henry James's ''The Aspern Papers'' (1888)
The Cult of Art in Henry James’s ”The Aspern Papers” (1888) Aristie Trendel To cite this version: Aristie Trendel. The Cult of Art in Henry James’s ”The Aspern Papers” (1888). Alizés : Revue angliciste de La Réunion, Faculté des Lettres et Sciences humaines (Université de La Réunion), 2008, Dilemnas, pp.25-37. hal-02343092 HAL Id: hal-02343092 https://hal.univ-reunion.fr/hal-02343092 Submitted on 1 Nov 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. The Cult of Art in Henry James’ s “The Aspern Papers” (1888) And as I fixed upon the down-turned face That pointed scrutiny with which we challenge The first-met stranger in the waning dusk I caught the sudden look of some dead master T.S. Eliot, “Little Gidding” Henry James’s “The Aspern Papers” is both a popular and, ac- cording to critics, very fine story composed in a period of rich creativ- ity, while the author was writing The Tragic Muse and Princess Casamassima. It belongs to a series of texts described by James as tales, that is narratives which develop a single anecdote and are too long to be short stories and too short to be novels. -
ANALYSIS the Ambassadors (1903) Henry James (1843-1916)
ANALYSIS The Ambassadors (1903) Henry James (1843-1916) “Frankly, quite the best, ‘all round,’ of my productions.” Henry James “The scenario is interesting, but it does not promise a popular novel. The tissues of it are too subtly fine for general appreciation. It is subjective, fold within fold of a complex mental web, in which the reader is lost if his much-wearied attention falters. A good proportion of the characters are American, but the scene is chiefly in Paris. The story (in its mere plot) centres about an American youth in Paris who has been captivated by a charming French woman (separated from her husband) and the critical situations are developed in connection with the efforts of his friends and relatives to rescue him. The moral in the end is that he is better off in this captivity than in the conditions to which his friends would restore him. I do not advise acceptance. We ought to do better.” H. M. Alden Memorandum on “Project of Novel by Henry James” (1902) (Harper & Brothers) “James makes an ironic study of the ‘deteriorating’ influence of Europe’s ‘wickedness’ on Americans. ‘Chad’ Newsome refuses to come back from Paris to Woollett, Mass., to take care of his legitimate business; his widowed other, a woman of wealth and social position, suspects the worst. She sends two ambassadors to find out what’s wrong and bring her son home. The first, Lambert Strether, who is about to marry Mrs. Newsome, is himself seduced by the charm of France and is convinced that Chad’s relationship with Mme. -
The Library of America Interviews Ross Posnock About Henry James
The Library of America interviews Ross Posnock about Henry James In connection with the publication in January 2011 of Henry James: Novels 1903 –1911 , edited by Ross Posnock, Rich Kelley conducted this exclusive interview for The Library of America e-Newsletter. Sign up for the free monthly e-Newsletter at www.loa.org . Henry James: Novels 1903 –1911 collects the last three novels James pub - lished: The Ambassadors (1903), The Golden Bowl (1904), and The Outcry (1911). Could you help us place them in the canon of James’s twenty novels? The Ambassadors and The Golden Bowl , along with The Wings of the Dove , are the three great novels of James’s late period, the so-called “major phase.” They rep - resent the rarest of literary achievements—an aging novelist, nearing the end of a long career, still evolving, still experimenting, still inspired by what he calls “the religion of doing” to “make it new.” Ever since his breakthrough in The Portrait of a Lady (1881) when he makes, late in the novel, Isabel Archer’s mere motionless act of “ seeing ” have as much vividness and drama as “the surprise of a caravan or the identification of a pirate,” James had been devising a variety of ways to “show what an ‘exciting’ inward life may do for the person leading it.” What James’s three crowning late novels do, with an unprecedented intensity, is to make plot largely synonymous with depicting mental life—the inner workings of consciousness, the thoughts and feelings of characters. “We see very few persons in The Golden Bowl , but the scheme of the book, to make up for that, is that we shall really see about as much of them as a coherent lit - erary form permits,“ James tells us in his preface to the novel.