DOCSLIB.ORG

Lost Ladies: the Isolated Heroine in the Fiction of Hawthorne, James, Fitzgerald, Hemingway, and Faulkner

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lost Ladies: the Isolated Heroine in the Fiction of Hawthorne, James, Fitzgerald, Hemingway, and Faulkner University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 1973 LOST LADIES: THE ISOLATED HEROINE IN THE FICTION OF HAWTHORNE, JAMES, FITZGERALD, HEMINGWAY, AND FAULKNER SHARON WELCH DEAN Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation DEAN, SHARON WELCH, "LOST LADIES: THE ISOLATED HEROINE IN THE FICTION OF HAWTHORNE, JAMES, FITZGERALD, HEMINGWAY, AND FAULKNER" (1973). Doctoral Dissertations. 1022. https://scholars.unh.edu/dissertation/1022 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that die photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing' or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 73-25,782 DEAN, Sharon Welch, 1943- LOST LADIES: THE ISOLATED HEROINE IN THE FICTION OF HAWTHORNE, JAMES, FITZGERALD, HEMINGWAY, AND FAULKNER. University of New Hampshire, Ph.D., 1973 Language and Literature, modem University Microfilms, A XEROX Company, Ann Arbor, Michigan © 1973 SHAMON WKLCH DKAN ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. LOST LADIES* THE ISOLATED HEROINE IN THE FICTION OF HAWTHORNE, JAMES, FITZGERALD, HEMINGWAY, AND FAULKNER by Sharon Dean B.A., University of New Hampshire, 1965 M.A., University of New Hampshire, 1969 A DISSERTATION Submitted to the University of New Hampshire In Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy Graduate School Department of English June, 1973 This dissertation has been examined and approved. Dissertation director* Philip L. Nicoloff, Prof. of English Carl Dawson* Aeso. Prof. of English Hugh M. Potter III* Asst. Prof. of English l l Charles E. Clark* Asso. Prof. of History Peter S. Pemald* Asso. Prof. of Psychology Date ACKNOWLEDGEMENTS I am grateful to the University of New Hampshire for a dissertation grant-in-aid (1971) which enabled me to begin this study and to my doctoral committee for their helpful guidance, I wish especially to thank Dr. Philip Nicoloff who devoted many hours to reading and suggesting alterations in the manuscript and without whom this project might never have come into being. i i i TABLE OF CONTENTS ABSTRACT ......................... v I. INTRODUCTION i THE LOST L A D Y ............... 1 1. If Women Had Other Objects ......... 1 2. Critical Schools and Methods ..... 6 3. A Note on the T e x t s ............... 10 II. ANGEL OR DEVIL? HAWTHORNE'S HESTER, ZENOBIA, AND MIRIAM....................... 11 III. PORTRAITS OF A LOST LADY* JAMES'S THE WINGS OF THE DOVE AND THE GOLDEN B O W L ........... 41 IV. GOLDEN GIRLS AND LOST WOMENi THE HEROINES OF F. SCOTT FITZGERAID .................. 96 V. THE LOVELY CREATURE IN THE GREEN HATi THE HEROINES OF ERNEST HEMINGWAY........ 12fe VI. WILLIAM FAULKNER AND THE "HEART'S DARLING" . 158 VII. YOU DON'T MARRY SEMI RAMIS . .......... 186 FOOTNOTES............... 202 BIBLIOGRAPHY ............................. 231 i v ABSTRACT The plight of the lost lady is captured in Hawthorne's The Marble Faun when Miriam Schaefer cries out that "when women have other objects in life, they are not apt to fall in love." In much of the best American fiction, women do not have other objects beyond the domestic. The source of the lost woman's dilemma, however, is that even the domestic role is denied her. Because she is a sexual threat or because love is impossible in a wasteland society, she is exiled by women who conform more than she, by men, and by the world as a whole. As a result of her exile, she seeks an impossible escape from isolation, most often via an illicit love relationship. When this fails, she accepts— or even chooses— her isolation and in doing so practices some form of martyrdom as the only role left her. Such a woman appears frequently in the works of Hawthorne, James, Fitzgerald, Hemingway, and Faulkner. She is represented specifically by Hawthorne's Hester Prynne (The Scarlet Letter, 1950), Zenobia (The Blithedale Romance. 1852), and Miriam Schaefer (The Marble Faun. 1859)» by James's Kate Croy (The Wings of the Dove. 1902) and Charlotte Stant (The Golden Bowl, 190^), by Fitzgerald's v Gloria Gilbert (The Beautiful and Damned. 1922) and Nicole Diver (Tender Is the Night. 1933)t by Heming­ way* s Lady Brett Ashley (The Sun Also Rises. 1926), Catherine Barkley (A Farewell to Arms. 1929)» and Maria (For Whom the Bell Tolls. 19^0), and by Faulkner*s Caddy Comp son (The Sound and the Fury. 1929). Laveme Shumann (Pylon. 1935)» and Charlotte Rittenmeyer (The Wild Palms. 1939)* The elements of sexuality, isolation, and sacrifice are the dominant characteristics of these women. They reveal not just the author’s vision of womanhood but also his vision of life. For Hawthorne and James, the social order must survive and the woman who threatens to destroy this social order, most often by ignoring its laws against adultery, must atone for her sin. The Hawthorne and James lost woman, therefore, accepts isolation for society rather than continuing to seek isolation from society. On the other hand, Fitzgerald does not so clearly endorse the value of the social . orderi his heroine pays tribute to the isolated moments of love and practices her renunciation more for an individual than for society as a whole. Like Fitzgerald, Hemingway believes in the worth of the isolated moment, but like Hawthorne and James, he sees also that this isolation can destroy. Where the Hawthorne and James woman sacrifices for the social order which is valuable and the Fitzgerald woman sacrifices for the individual, vi the Hemingway woman sacrifices for her lover because the social order is necessary if a male is to live productively. Finally, in Faulkner, the value of society is neither asserted nor deniedt when Faulkner's lost woman renounces, she does so in order that some­ one else, most often a child, may at least have a chance for survival in society if he chooses this over isolation. Hawthorne, James, Fitzgerald, Hemingway, and Faulkner all use the lost lady as a vehicle for exploring the conflict between isolation and society. She is an especially appropriate vehicle because of her limited feminine role. Where the man may live hi8 life, the female must surrender hers. Where the man may find fulfillment outside of love, the female may not and, what is more, either loses the love that temporarily sustains her or never finds love at all. By forcing his lost lady into this kind of plight, the writer stresses the importance of maintaining male and female uniqueness. He finds inspiration from his heroine and yet keeps her always at an idealizing distance so that she cannot demand too much of him or plunge him into the inertia a perfect love relationship might engender. Most important, the heroine, by suffering and by sacrificing, attains the necessary depth needed for tragic stature., v i i The lost woman is remembered precisely because she is left with nothing but pain and because she self­ lessly endures this pain with humility and with dignity. v i i i CHAPTER I INTRODUCTION! THE LOST LADY 1. If Women Had Other Ob.jects In Hawthorne's The Marble Faun, Miriam Schaefer captures the essence of the dilemma that faces a type of woman in American literature who may appropriately be called the lost lady. "It is," she says, "a mistaken idea, which men generally entertain, that nature has made women especially prone to throw their whole being into what is technically called love. We have, to say the least, no more necessity for it than j men^j » only we have nothing else to do with our hearts. When women have other objects in life, they are not apt to fall in love” (659).
Load more

Recommended publications
  • Theater Matters: Female Theatricality in Hawthorne, Alcott, Brontë, and James
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 Theater Matters: Female Theatricality in Hawthorne, Alcott, Brontë, and James Keiko Miyajima 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/1059 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] Theater Matters: Female Theatricality in Hawthorne, Alcott, Brontë, and James by Keiko Miyajima 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 2015 Copyright @ 2015 Keiko Miyajima ALL RIGHTS RESERVED ii This manuscript has been read and accepted for the Graduate Faculty in English to satisfy the dissertation requirement for the degree of Doctor of Philosophy. Richard Kaye ___________________ ________________________ Date Chair of Examining Committee Mario DiGangi ___________________ ________________________ Date Executive Officer David Reynolds Talia Schaffer Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Theater Matters: Female Theatricality in Hawthorne, Alcott, Brontë, and James By Keiko Miyajima Advisor: Professor Richard Kaye This dissertation examines the ways the novelists on both sides of the Atlantic use the figure of the theatrical woman to advance claims about the nature and role of women. Theater is a deeply paradoxical art form: Seen at once as socially constitutive and promoting mass conformity, it is also criticized as denaturalizing, decentering, etiolating, queering, feminizing.
    [Show full text]
  • L'équipe Des Scénaristes De Lost Comme Un Auteur Pluriel Ou Quelques Propositions Méthodologiques Pour Analyser L'auctorialité Des Séries Télévisées
    Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées Quentin Fischer To cite this version: Quentin Fischer. Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées. Sciences de l’Homme et Société. 2017. dumas-02368575 HAL Id: dumas-02368575 https://dumas.ccsd.cnrs.fr/dumas-02368575 Submitted on 18 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. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License UNIVERSITÉ RENNES 2 Master Recherche ELECTRA – CELLAM Lost in serial television authorship : L'équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l'auctorialité des séries télévisées Mémoire de Recherche Discipline : Littératures comparées Présenté et soutenu par Quentin FISCHER en septembre 2017 Directeurs de recherche : Jean Cléder et Charline Pluvinet 1 « Créer une série, c'est d'abord imaginer son histoire, se réunir avec des auteurs, la coucher sur le papier. Puis accepter de lâcher prise, de la laisser vivre une deuxième vie.
    [Show full text]
  • Hawthorne's Concept of the Creative Process Thesis
    48 BSI 78 HAWTHORNE'S CONCEPT OF THE CREATIVE PROCESS THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Retta F. Holland, B. S. Denton, Texas December, 1973 TABLE OF CONTENTS Chapter Page I. HAWTHORNEIS DEVELOPMENT AS A WRITER 1 II. PREPARATION FOR CREATIVITY: PRELIMINARY STEPS AND EXTRINSIC CONDITIONS 21 III. CREATIVITY: CONDITIONS OF THE MIND 40 IV. HAWTHORNE ON THE NATURE OF ART AND ARTISTS 67 V. CONCLUSION 91 BIBLIOGRAPHY 99 iii CHAPTER I HAWTHORNE'S DEVELOPMENT AS A WRITER Early in his life Nathaniel Hawthorne decided that he would become a writer. In a letter to his mother when he was seventeen years old, he weighed the possibilities of entering other professions against his inclinations and concluded by asking her what she thought of his becoming a writer. He demonstrated an awareness of some of the disappointments a writer must face by stating that authors are always "poor devils." This realistic attitude was to help him endure the obscurity and lack of reward during the early years of his career. As in many of his letters, he concluded this letter to his mother with a literary reference to describe how he felt about making a decision that would determine how he was to spend his life.1 It was an important decision for him to make, but consciously or unintentionally, he had been pre- paring for such a decision for several years. The build-up to his writing was reading. Although there were no writers on either side of Hawthorne's family, there was a strong appreciation for literature.
    [Show full text]
  • Hawthorne's Conception of History: a Study of the Author's Response to Alienation from God and Man
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1979 Hawthorne's Conception of History: a Study of the Author's Response to Alienation From God and Man. Lloyd Moore Daigrepont Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Daigrepont, Lloyd Moore, "Hawthorne's Conception of History: a Study of the Author's Response to Alienation From God and Man." (1979). LSU Historical Dissertations and Theses. 3389. https://digitalcommons.lsu.edu/gradschool_disstheses/3389 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy.
    [Show full text]
  • György Rákosi: Beyond Identity: the Case of a Complex Hungarian
    BEYOND IDENTITY: THE CASE OF A COMPLEX HUNGARIAN REFLEXIVE György Rákosi University of Debrecen Proceedings of the LFG09 Conference Miriam Butt and Tracy Holloway King (Editors) 2009 CSLI Publications http://csli-publications.stanford.edu/ 459 Abstract It is a well-known typological universal that long distance re- flexives are generally monomorphemic and complex reflexives tend to be licensed only locally. I argue in this paper that the Hungarian body part reflexive maga ‘himself’ and its more complex counterpart önmaga ‘himself, his own self’ represent a non-isolated pattern that adds a new dimension to this typology. Nominal modification of a highly grammaticalized body part re- flexive may reactivate the dormant underlying possessive struc- ture, thereby granting the more complex reflexive variant an in- creased level of referentiality and syntactic freedom. In particu- lar, the reactivation of the possessive structure in önmaga is shown to be concomitant with the possibility of referring to rep- resentations of the self, as well as a preference for what appears to be coreferential readings and the loss or dispreference of bound-variable readings. 1. Introduction According to an established typology, complex reflexives are expected to be local and relatively well-behaved from a binding theoretical perspective, whereas long distance reflexives tend to be monomorphemic (see Faltz 1985, Pica 1987 and subsequent work, as well as Dalrymple 1993 and Bresnan 2001 in the LFG literature). Polymorphemic reflexives, however, are not uniform as they may show different types of morphological complexity. In particular, body part reflexives, which owe their complexity to their historical origin as possessive structures, are often grammatical outside of the local domain in which their antecedent is located.
    [Show full text]
  • Wishing to Be Interviewed in Henry James's the Reverberator [Access Article in HTML] [Access Article in PDF] Subjects: ❍ James, Henry, 1843-1916
    Wishing to Be Interviewed in Henry James’s The Reverberator By Matthew Rubery, University of Leeds When Henry James wrote about the age of “newspaperism” he was really writing about the “age of interviewing” (CN 86). While newspapers had existed for over two centuries, the interview was a controversial invention of the late-nineteenth-century press that dramatically influenced the way audiences thought about private life. The public’s willingness to share their most intimate experiences with journalists through this conversational form was even more alarming to James than the invasion of pri- vacy by newspapers. Matthias Pardon of The Bostonians (1885–86) has been taken to embody the invasive style of American journalism described in James’s notebooks: “There must, indispensably, be a type of newspaper man—the man whose ideal is the energetic reporter. I should like to bafouer the vulgarity and hideousness of this—the impudent invasion of privacy—the extinction of all concept of privacy, etc.” (CN 19). The notebooks characterize the loss of privacy in a way that attributes to the over- zealous reporter sole responsibility for any revelations to come in the novel. Pardon begins his career in just such a fashion by collecting potentially scandalous names from hotel registers, although he makes his reputation through nothing more intrusive than speaking with hotel guests on behalf of The Boston Evening Transcript: [He] was the most brilliant young interviewer on the Boston press. He was particularly successful in drawing out the ladies; he had condensed into shorthand many of the most celebrated women of his time—some of these daughters of fame were very voluminous—and he was supposed to have a remarkably insinuating way of waiting upon prime donne and actresses the morning after their arrival, or sometimes the very evening, while their luggage was being brought up.
    [Show full text]
  • Lost Season 6 Episode 6 Online
    Lost season 6 episode 6 online click here to download «Lost» – Season 6, Episode 6 watch in HD quality with subtitles in different languages for free and without registration! Lost - Season 6: The survivors must deal with two outcomes of the detonation of a Scroll down and click. Watch Lost Season 6 Episode 6 - Sayid is faced with a difficult decision, and Claire sends a warning to the. Watch Lost Season 6 Episode 6 online via TV Fanatic with over 5 options to watch the Lost S6E6 full episode. Affiliates with free and. Watch Lost - Season 6 in HD quality online for free, putlocker Lost - Season 6. Watch Lost - Season 6, Episode 6 - Sundown: Sayid faces a difficult decision, and. free lost season 6 episode 6 watch online Download Link www.doorway.ru? keyword=free-lost-seasonepisodewatch-online&charset=utf Watch Lost Season 6 Online. The survivors of a plane crash are Watch The latest Lost Season 6 Video: Episode What They Died For · 35 Links, 18 May. Lost - Season 6. Home > Lost - Season 6 > Episode. Episode May 24, Episode May 24, Episode May 24, Episode May www.doorway.ru Watch Lost Season 6 Episode 6 "Sundown" and Season 6 Full Online!"Lost Tras la detonación de la bomba nuclear al final de la anterior temporada, se producen dos consecuencias. En una de las?€œrealidades?€? el avión de. Watch Lost - Season 6, Episode 6 - Sundown: Sayid faces a difficult decision, and Claire sends a Watch Online Watch Full Episodes: Lost. Watch Lost in oz season 1 Episode 6 online full episodes streaming.
    [Show full text]
  • The Construction of Mother Archetypes in Five Novels by Doris Lessing
    ADVERTIMENT. Lʼaccés als continguts dʼaquesta tesi queda condicionat a lʼacceptació de les condicions dʼús establertes per la següent llicència Creative Commons: http://cat.creativecommons.org/?page_id=184 ADVERTENCIA. El acceso a los contenidos de esta tesis queda condicionado a la aceptación de las condiciones de uso establecidas por la siguiente licencia Creative Commons: http://es.creativecommons.org/blog/licencias/ WARNING. The access to the contents of this doctoral thesis it is limited to the acceptance of the use conditions set by the following Creative Commons license: https://creativecommons.org/licenses/?lang=en Ph.D. Thesis Closing Circles: The Construction of Mother Archetypes in Five Novels by Doris Lessing. Anna Casablancas i Cervantes Thesis supervisor: Dr. Andrew Monnickendam. Programa de doctorat en Filologia Anglesa. Departament de Filologia Anglesa i Germanística. Facultat de Filosofia i Lletres. Universitat Autònoma de Barcelona. 2016. Als meus pares, que mereixen veure’s reconeguts en tots els meus èxits pel seu exemple d’esforç i sacrifici, i per saber sempre que ho aconseguiria. Als meus fills, Júlia i Bernat, que són la motivació, la força i l’alegria en cadascun dels projectes que goso emprendre. ACKNOWLEDGEMENTS I would like to thank my thesis supervisor, Dr. Andrew Monnickendam, for the continuous support and guidance of my Ph.D. study. His wise advice and encouragement made it possible to finally complete this thesis. My sincere thanks also goes to Sara Granja, administrative assistant for the Doctorate programme at the Departament de Filologia Anglesa i Germanística, for her professionalism and efficiency whenever I got lost among the bureaucracy. But the person who unquestionably deserves my deepest gratitude is, for countless reasons, Dr.
    [Show full text]
  • How the Detective Fiction of Pd James Provokes
    THEOLOGY IN SUSPENSE: HOW THE DETECTIVE FICTION OF P.D. JAMES PROVOKES THEOLOGICAL THOUGHT Jo Ann Sharkey A Thesis Submitted for the Degree of MPhil at the University of St. Andrews 2011 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/3156 This item is protected by original copyright This item is licensed under a Creative Commons License THE UNIVERSITY OF ST. ANDREWS ST. MARY’S COLLEGE THEOLOGY IN SUSPENSE: HOW THE DETECTIVE FICTION OF P.D. JAMES PROVOKES THEOLOGICAL THOUGHT A DISSERTATION SUBMITTED TO THE FACULTY OF DIVINITY INSTITUTE FOR THEOLOGY, IMAGINATION, AND THE ARTS IN CANDIDANCY FOR THE DEGREE OF MASTER OF PHILOSOPHY BY JO ANN SHARKEY ST. ANDREWS, SCOTLAND 15 APRIL 2010 Copyright © 2010 by Jo Ann Sharkey All Rights Reserved ii ABSTRACT The following dissertation argues that the detective fiction of P.D. James provokes her readers to think theologically. I present evidence from the body of James’s work, including her detective fiction that features the Detective Adam Dalgliesh, as well as her other novels, autobiography, and non-fiction work. I also present a brief history of detective fiction. This history provides the reader with a better understanding of how P.D James is influenced by the detective genre as well as how she stands apart from the genre’s traditions. This dissertation relies on an interview that I conducted with P.D. James in November, 2008. During the interview, I asked James how Christianity has influenced her detective fiction and her responses greatly contribute to this dissertation.
    [Show full text]
  • Henry James , Edited by Richard Salmon Frontmatter More Information
    Cambridge University Press 978-1-107-00270-8 — The Reverberator Henry James , Edited by Richard Salmon Frontmatter More Information the cambridge edition of the complete fiction of HENRY JAMES © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00270-8 — The Reverberator Henry James , Edited by Richard Salmon Frontmatter More Information thecambridgeeditionofthe complete fiction of HENRY JAMES general editors Michael Anesko, Pennsylvania State University Tamara L. Follini, University of Cambridge Philip Horne, University College London Adrian Poole, University of Cambridge advisory board Martha Banta, University of California, Los Angeles Ian F. A. Bell, Keele University Gert Buelens, Universiteit Gent Susan M. Griffin, University of Louisville Julie Rivkin, Connecticut College John Carlos Rowe, University of Southern California Ruth Bernard Yeazell, Yale University Greg Zacharias, Creighton University © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00270-8 — The Reverberator Henry James , Edited by Richard Salmon Frontmatter More Information the cambridge edition of the complete fiction of HENRY JAMES 1 Roderick Hudson 23 A Landscape Painter and Other 2 The American Tales, 1864–1869 3 Watch and Ward 24 A Passionate Pilgrim and Other 4 The Europeans Tales, 1869–1874 5 Confidence 25 Daisy Miller and Other Tales, 6 Washington Square 1874–1879 7 The Portrait of a Lady 26 The Siege of London and Other 8 The Bostonians Tales, 1879–1884 9 The
    [Show full text]
  • Jack's Costume from the Episode, "There's No Place Like - 850 H
    Jack's costume from "There's No Place Like Home" 200 572 Jack's costume from the episode, "There's No Place Like - 850 H... 300 Jack's suit from "There's No Place Like Home, Part 1" 200 573 Jack's suit from the episode, "There's No Place Like - 950 Home... 300 200 Jack's costume from the episode, "Eggtown" 574 - 800 Jack's costume from the episode, "Eggtown." Jack's bl... 300 200 Jack's Season Four costume 575 - 850 Jack's Season Four costume. Jack's gray pants, stripe... 300 200 Jack's Season Four doctor's costume 576 - 1,400 Jack's Season Four doctor's costume. Jack's white lab... 300 Jack's Season Four DHARMA scrubs 200 577 Jack's Season Four DHARMA scrubs. Jack's DHARMA - 1,300 scrub... 300 Kate's costume from "There's No Place Like Home" 200 578 Kate's costume from the episode, "There's No Place Like - 1,100 H... 300 Kate's costume from "There's No Place Like Home" 200 579 Kate's costume from the episode, "There's No Place Like - 900 H... 300 Kate's black dress from "There's No Place Like Home" 200 580 Kate's black dress from the episode, "There's No Place - 950 Li... 300 200 Kate's Season Four costume 581 - 950 Kate's Season Four costume. Kate's dark gray pants, d... 300 200 Kate's prison jumpsuit from the episode, "Eggtown" 582 - 900 Kate's prison jumpsuit from the episode, "Eggtown." K... 300 200 Kate's costume from the episode, "The Economist 583 - 5,000 Kate's costume from the episode, "The Economist." Kat..
    [Show full text]
  • Nouveautés - Mai 2019
    Nouveautés - mai 2019 Animation adultes Ile aux chiens (L') (Isle of dogs) Fiction / Animation adultes Durée : 102mn Allemagne - Etats-Unis / 2018 Scénario : Wes Anderson Origine : histoire originale de Wes Anderson, De : Wes Anderson Roman Coppola, Jason Schwartzman et Kunichi Nomura Producteur : Wes Anderson, Jeremy Dawson, Scott Rudin Directeur photo : Tristan Oliver Décorateur : Adam Stockhausen, Paul Harrod Compositeur : Alexandre Desplat Langues : Français, Langues originales : Anglais, Japonais Anglais Sous-titres : Français Récompenses : Écran : 16/9 Son : Dolby Digital 5.1 Prix du jury au Festival 2 cinéma de Valenciennes, France, 2018 Ours d'Argent du meilleur réalisateur à la Berlinale, Allemagne, 2018 Support : DVD Résumé : En raison d'une épidémie de grippe canine, le maire de Megasaki ordonne la mise en quarantaine de tous les chiens de la ville, envoyés sur une île qui devient alors l'Ile aux Chiens. Le jeune Atari, 12 ans, vole un avion et se rend sur l'île pour rechercher son fidèle compagnon, Spots. Aidé par une bande de cinq chiens intrépides et attachants, il découvre une conspiration qui menace la ville. Critique presse : « De fait, ce film virtuose d'animation stop-motion (...) reflète l'habituelle maniaquerie ébouriffante du réalisateur, mais s'étoffe tout à la fois d'une poignante épopée picaresque, d'un brûlot politique, et d'un manifeste antispéciste où les chiens se taillent la part du lion. » Libération - La Rédaction « Un conte dont la splendeur et le foisonnement esthétiques n'ont d'égal que la férocité politique. » CinemaTeaser - Aurélien Allin « Par son sujet, « L'île aux chiens » promet d'être un classique de poche - comme une version « bonza? de l'art d'Anderson -, un vertige du cinéma en miniature, patiemment taillé.
    [Show full text]