Ambrose Bierce: Between Politics and Philosophy
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The Collected Works of Ambrose Bierce
m ill iiiii;!: t!;:!iiii; PS Al V-ID BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF Henrg W, Sage 1891 B^^WiS _ i.i|j(i5 Cornell University Library PS 1097.A1 1909 V.10 The collected works of Ambrose Blerce. 3 1924 021 998 889 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021998889 THE COLLECTED WORKS OF AMBROSE BIERCE VOLUME X UIBI f\^^°\\\i COPYHIGHT, 1911, Br THE NEALE PUBLISHING COMPANY CONTENTS PAGE THE OPINIONATOR The Novel 17 On Literary Criticism 25 Stage Illusion 49 The Matter of Manner 57 On Reading New Books 65 Alphab£tes and Border Ruffians .... 69 To Train a Writer 75 As to Cartooning 79 The S. p. W 87 Portraits of Elderly Authors .... 95 Wit and Humor 98 Word Changes and Slang . ... 103 The Ravages of Shakspearitis .... 109 England's Laureate 113 Hall Caine on Hall Gaining . • "7 Visions of the Night . .... 132 THE REVIEWER Edwin Markham's Poems 137 "The Kreutzer Sonata" .... 149 Emma Frances Dawson 166 Marie Bashkirtseff 172 A Poet and His Poem 177 THE CONTROVERSIALIST An Insurrection of the Peasantry . 189 CONTENTS page Montagues and Capulets 209 A Dead Lion . 212 The Short Story 234 Who are Great? 249 Poetry and Verse 256 Thought and Feeling 274 THE' TIMOROUS REPORTER The Passing of Satire 2S1 Some Disadvantages of Genius 285 Our Sacrosanct Orthography . 299 The Author as an Opportunity 306 On Posthumous Renown . -
The New Age, Vol 26 No 12
GERMANY’S NEW “STRUM UND DRANG.” ADLER. By J. A.M. Alcock. By HermanGeorge Scheffauer (with comments by (with commentsby R. H. C.). CONTEMPORARYFRAGMENTS -- II ByJanko Lavrin THE HOUSE OF COMMONS.-- I. By Hillaire Belloc. VIEWS AND REVIEWS. Homoeopathy. By A. E. R. ROME AND PERSECUTION. By Eugene Fasnacht. REVIEWS: The Skilled Labourer, 1760-1832. THE MATERIALISMOF “A. E. R. ” By P. A.Mairet A Personal Record. THE REVOLT OF INTELLIGENCE-- VII. LETTERS TO THE EDITOR from Douglas Goldring, Arundell del Re, George Pitt-Rivers, Walter By Ezra Pound. W. Sutcliffe, Ezra Pound. DRAMA: Julius Caesar. By John Francis Hope PASTICHE. By J. A. M. A., E. V. Limebeer, READERS AND WRITERS. By R. H. C. Ruth Pitter. [Owing to the illness of the Editor the following -- even though not forced, like Germany, to stand article is substituted for the usual “Notes of the naked, wounded and chained before Brute Might armed Week.”] to the tusks, and incorporated in two insensate old men drunk with primitive rages and boundless power. A “volcaniceruption” appears to be something different from the still, small voice of Culture. However, let Germany’s New “Sturm und that pass for the moment. The contention, explicit in Drang.” Mr. Scheffauer’s paragraph is that Germany was By Herman George Scheffauer. “entitled” to her fling of “harlotry”in consequence of England’s example. The ethic is execrable, but the (With comments by “R. H. C.”) practical moral is that Germany has no right to complain In THE NEW AGE of December 18, “R. H. C.,” of the “BruteMight” that defeated her. -
1 Thomas Mann, World Author: Representation and Autonomy In
Thomas Mann, World Author: Representation and Autonomy in the World Republic of Letters Tobias Boes, University of Notre Dame In her influential study The World Republic of Letters, Pascale Casanova draws a firm line between what she calls “national” and “international” writers. For national writers, “literary aesthetics (because they are connected with political questions) are necessarily neonaturalistic.” International writers, on the other hand, are described as “cosmopolitans and polyglots who, owing to their knowledge of the revolution that have taken place in the freest territories of the literary world, attempt to introduce new norms” (Casanova 110-11). There are a number of different criticisms that could be leveled at this distinction. Here, I want simply to point out the striking similarities between what Casanova alleges are universal sociological categories on the one hand, and a particular historicizing narrative about literary modernism on the other. Casanova insists, for instance, that the struggle for “autonomy,” which she defines as “literary emancipation in the face of political (and national) claims to authority” (39), represents the most distinctive characteristic of international writing. She thereby echoes claims that have been made about “modern” art since at least the late nineteenth century (for an overview of these debates, see Goldstone). Even her remapping of the struggle between “autonomous” and “dependent” modes of thought onto the terms “cosmopolitan” and “national” is echoed by recent trends within modernist scholarship (see for example Walkowitz). This homology is striking, especially since a very different kind of “international writer” (or, as I shall henceforth call them, “world author”) seems to have moved to the foreground in the present day. -
Vanausdall on Duncan and Klooster, 'Phantoms of a Blood- Stained Period: the Complete Civil War Writings of Ambrose Bierce'
H-Indiana Vanausdall on Duncan and Klooster, 'Phantoms of a Blood- Stained Period: The Complete Civil War Writings of Ambrose Bierce' Review published on Thursday, August 1, 2002 Russell Duncan, David J. Klooster, eds. Phantoms of a Blood-Stained Period: The Complete Civil War Writings of Ambrose Bierce. Amherst: University of Massachusetts Press, 2002. xiv + 343 pp. $60.00 (cloth) ISBN 1-55849-327-1; $19.95 (paper), ISBN 978-1-55849-328-5. Reviewed by Jeanette Vanausdall (independent historian, Indianapolis)Published on H-Indiana (August, 2002) Writer as Witness Writer as Witness Phantoms of a Blood-Stained Period: The Complete Civil War Writings of Ambrose Bierce, edited by Russell Duncan and David J. Klooster, is a useful addition to the small assortment of Bierce collections available to students and scholars today. Bierce was perhaps the most significant American writer to have actually been a soldier throughout the war. For this reason alone he would be worth reading. But Bierce holds special interest for the student of the war because his work was so markedly different from most first-hand accounts, particularly the revisionist regimental histories that littered the literary landscape during the decades after the war. Rather than glorify the war and the soldiers who fought it, Bierce insisted upon exposing the bloodiness, brutality, stupidity, fear and cowardice to which he had been witness. Bierce genuinely deplored the war, but he also seemed to revel in his reputation as the foremost malcontent of his generation. Born in Meigs County, Ohio in 1842, Bierce's family was living in Indiana when the war broke out. -
Unlversiv Micrijfilms Intemationéü 300 N
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“An Occurrence at Owl Creek Bridge” (1891) Ambrose Bierce (1842-1914?)
ANALYSIS “An Occurrence at Owl Creek Bridge” (1891) Ambrose Bierce (1842-1914?) “[Stephen] Crane made no comment whatever, sliding his glass of whiskey up and down. Later he asked whether [journalist Robert H.] Davis had read Bierce’s ‘Occurrence at Owl Creek Bridge.’ ‘Nothing better exists. That story contains everything. Move your foot over,’ and he wanted to know what Bierce was like personally--especially whether he had plenty of enemies. ‘More than he needs,’ Davis said. ‘Good,’ said Crane. ‘Then he will become an immortal,’ and shook hands, just shaking his head when Davis gestured toward his untouched whiskey.” [1897] John Berryman Stephen Crane (World/Meridian 1962) 170 His best and most reprinted story is “An Occurrence at Owl Creek Bridge.” A captured Confederate is hung from a bridge by Union troops, but the rope breaks--and he falls into the creek! He escapes ashore and finally makes it back to his plantation: “He must have traveled the entire night.” He rushes toward the open arms of his wife coming down from the veranda to embrace him. “As he is about to clasp her he feels a stunning blow upon the back of the neck... His body, with a broken neck, swung gently from side to side beneath the timbers of the Owl Creek Bridge.” The surprise ending and the gothic horror are in the tradition of Poe. As a whole, however, the story is a brilliant early example of Modernism, combining techniques of Realism, Impressionism and Expressionism with Naturalistic themes: “Objects were represented by their colors only; circular horizontal -
Geography and Warfare in Ambrose Bierce's Civil War Texts
BENEDICT VON BREMEN Battlefi eld Topography: Geography and Warfare in Ambrose Bierce’s Civil War Texts Whether in camp or on the march, in barracks, in tents, or en bivouac, my duties as topographical engineer kept me working like a beaver – all day in the saddle and half the night at my drawing table. It was hazardous work […] Our frequent engagements with the Confederate outposts, patrols, and scouting parties [...] fi xed in my memory a vivid and apparently imperishable picture of the locality – a picture serving instead of accurate fi eld notes, which, indeed, it was not always convenient to take, with carbines cracking, sabers clashing, and horses plunging all about. These spirited en- counters were observations entered in red.1 A quarter-century ago I was myself a soldier […] To this day I cannot look over a landscape without noting the advantages of the ground for attack or defense; here is an admirable site for an earthwork, there a noble place for a fi eld battery.2 No country is so wild and diffi cult but men will make it a theatre of war […].3 Ambrose Gwinnett Bierce (1842-?), although “rediscovered”4 every so oft en, belongs to the most well-known authors of Gilded Age and fi n de siècle America. “Bitter Bierce,” sarcastic commentator of his time and countrymen, was among the most well-known journalists on the U.S. west coast from the 1880s onward and attained some national fame at the turn of the century.5 His stories “An Occurrence at Owl Creek Bridge” and “Chickamauga” are U.S. -
The Early Years Ambrose Bierce Didn't Rise to Writing Fame in Quite
Introduction – The Early Years Ambrose Bierce didn’t rise to writing fame in quite the same glory as Edgar Allen Poe, but in many ways his writing style and story telling was no less compelling. Bierce left his mark in history during this time period as a journalist, humorist, satirist, and editor. He developed his character, credentials and influence through his writing. He is best known for his Civil War short stories and his very own ‘Devil’s Dictionary’. The unique elements of Bierce’s writing provided not only entertainment, but also information. Through his writing he was able to share his opinions in an influential way which gave him both prestige and power. Ambrose Bierce was born on a farm, the tenth child of thirteen children, all with names beginning with ‘A’, in Elkart, Ohio .It appears that Bierce the writer and Bierce the man were consciously developed by him through a series of half truths. What is known about Ambrose Bierce is more what he wanted you to know. With his fame came the scrutiny of his critics. He earned the reputation of being known as Bitter Bierce, and his critics could be harsh. Walter Neale’s book about the Ambrose Bierce’s life is a tribute to the author through the eyes of a friend. Even Neale has difficulty reconciling the many contradictions surrounding the truth about Ambrose Bierce. Neale writes after researching Bierce’s early life, “It is now clear to me why Bierce misrepresented his early life. He was ashamed of his lowly estate while in Elkhart (Neale, p39).” Ambrose Bierce repeatedly told Neale the story of his early life saying that “he was born on a farm in the Western Reserve, in Ohio, and had there remained until he was about seventeen, when he tired of farm life, ran away from home, to Chicago, and had there engaged in free-lance work for newspapers until he enlisted in the Union Army at the outbreak of the Civil War.” With great pride he would continue that “he came from an old New England family, cultured, and of local distinction. -
An Occurrence at Owl Creek Bridge and Other Stories
An Occurrence at Owl Creek Bridge and Other Stories by Ambrose Bierce Web-Books.Com An Occurrence at Owl Creek Bridge and Other Stories The Affair at Coulter..............................................................................................4 An Affair of Outposts...........................................................................................11 A Baby Tramp.....................................................................................................19 Beyond the Wall..................................................................................................23 The Boarded Window .........................................................................................29 Chickamauga......................................................................................................32 The Coup De Grâce............................................................................................37 The Crime at Pickett ...........................................................................................41 The Damned Thing .............................................................................................48 The Death of Halpin Frayser...............................................................................56 A Diagnosis of Death ..........................................................................................68 Four Days in Dixie...............................................................................................71 George Thurston Three Incidents in the Life of a Man........................................78 -
A Comparison of the Helen Lowe-Porter and David Luke
Strategies in Translation: A Comparison of the Helen Lowe-Porter and David Luke Translations of Thomas Mann’s Tonio Kröger, Tristan and Der Tod in Venedig within the Context of Contemporary Translation Theory Dissertation zur Erlangung des akademischen Grades eines Doktors der Philosophie (Dr. phil.) der Philosophischen Fakultät der Universität Erfurt vorgelegt von John Richard Morton Gledhill aus Huddersfield Erfurt, 2001 urn:nbn:de:gbv:547-200300472 [http://nbn-resolving.de/urn/resolver.pl?urn=nbn%3Ade%3Agbv%3A547-200300472] ii Erstes Gutachten: Prof. Dr. Fritz-Wilhelm Neumann (Universität Erfurt) Zweites Gutachten: Prof. Dr. Karlfried Knapp (Universität Erfurt) Prof. (em.) Dr. Thomas Gardner (Universität Göttingen) Datum der Promotion: 19. 6. 2003 iii To Madeleine iv Zusammenfassung Thomas Manns drei Geschichten Tonio Kröger, Tristan und Der Tod in Venedig werden mit deren Übersetzungen von Helen Lowe-Porter und David Luke verglichen. Aus dem Vergleich lässt sich feststellen, dass Lowe-Porters Übersetzungen gravierende Fehler aufzeigen, während die von Luke im Grunde genommen zuverlässig sind. Auch die Lukeschen Übersetzungen scheitern aber, wenn sie mit den poetischen, philosophischen und humoristischen Aspekten Thomas Manns Prosa konfrontiert sind. Anhand vieler Beispiele werden alternative literarische Übersetzungsstrategien diskutiert, die zu einer neuen Übersetzungstheorie führen: dem strategischen Ansatz. Auf Wittgensteins Sprachspieltheorie basierend wird der Begriff Treue (wortgetreu) neu definiert. Bei diesem Ansatz spielt die Übersetzung dasselbe Sprachspiel wie bei dem Ausgangstext. Summary Thomas Mann’s three stories Tonio Kröger, Tristan and Der Tod in Venedig are compared with the translations by Helen Lowe-Porter and David Luke respectively. From the comparison, it emerges that Lowe-Porter’s translations are deeply flawed whereas those of Luke are generally reliable. -
An Occurrence at Owl Creek Bridge Bierce, Ambrose
An Occurrence at Owl Creek Bridge Bierce, Ambrose Published: 1988 Categorie(s): Fiction, Short Stories, War & Military Source: http://gutenberg.org 1 About Bierce: Ambrose Gwinnett Bierce (June 24, 1842 – 1914?) was an American ed- itorialist, journalist, short-story writer and satirist. Today, he is best known for his short story, An Occurrence at Owl Creek Bridge and his satirical dictionary, The Devil's Dictionary. The sardonic view of human nature that informed his work – along with his vehemence as a critic – earned him the nickname, "Bitter Bierce." Despite his reputation as a searing critic, however, Bierce was known to encourage younger writers, including the poet, George Sterling and the fiction writer, W. C. Morrow. In 1913, Bierce traveled to Mexico to gain a firsthand perspective on that country's ongoing revolution. While traveling with rebel troops, the eld- erly writer disappeared without a trace. Also available on Feedbooks for Bierce: • The Damned Thing (1898) Copyright: This work is available for countries where copyright is Life+70. Note: This book is brought to you by Feedbooks http://www.feedbooks.com Strictly for personal use, do not use this file for commercial purposes. 2 I A man stood upon a railroad bridge in northern Alabama, looking down into the swift water twenty feet below. The man's hands were behind his back, the wrists bound with a cord. A rope closely encircled his neck. It was attached to a stout cross-timber above his head and the slack fell to the level of his knees. Some loose boards laid upon the ties supporting the rails of the railway supplied a footing for him and his execution- ers—two private soldiers of the Federal army, directed by a sergeant who in civil life may have been a deputy sheriff. -
Absolute Relativity: Weimar Cinema and the Crisis of Historicism By
Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media and the Designated Emphasis in Critical Theory in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Anton Kaes, Chair Professor Martin Jay Professor Linda Williams Fall 2015 Absolute Relativity: Weimar Cinema and the Crisis of Historicism © 2015 by Nicholas Walter Baer Abstract Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer Doctor of Philosophy in Film and Media Designated Emphasis in Critical Theory University of California, Berkeley Professor Anton Kaes, Chair This dissertation intervenes in the extensive literature within Cinema and Media Studies on the relationship between film and history. Challenging apparatus theory of the 1970s, which had presumed a basic uniformity and historical continuity in cinematic style and spectatorship, the ‘historical turn’ of recent decades has prompted greater attention to transformations in technology and modes of sensory perception and experience. In my view, while film scholarship has subsequently emphasized the historicity of moving images, from their conditions of production to their contexts of reception, it has all too often left the very concept of history underexamined and insufficiently historicized. In my project, I propose a more reflexive model of historiography—one that acknowledges shifts in conceptions of time and history—as well as an approach to studying film in conjunction with historical-philosophical concerns. My project stages this intervention through a close examination of the ‘crisis of historicism,’ which was widely diagnosed by German-speaking intellectuals in the interwar period.