Mark Twain and the Father of the Human Race
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Commonlit | Excerpts from Roughing It
Name: Class: Excerpts from Roughing It By Mark Twain 1872 Samuel Clemens (1835-1910), recognized by his pen name Mark Twain, was an American author and humorist. Roughing It, his second published book, is a semi-autobiographical, humorous collection of stories loosely based on Twain’s actual travels through the “Wild West” from 1861-1866. Twain had traveled west to find work and escape fighting during the Civil War. The protagonist, presented as a young Twain, recounts his adventures as a naïve and inexperienced easterner, during the beginning of his time out West. As you read, take notes on how Twain narrates his own experiences to create a comic effect. Prefatory [1] This book is merely a personal narrative, and not a pretentious history or a philosophical dissertation.1 It is a record of several years of variegated vagabondizing,2 and its object is rather to help the resting reader while away an idle hour than afflict him with metaphysics, or goad him with science. Still, there is information in the volume; information concerning an interesting episode in the history of the Far West3, about which no books have been written by persons "Mark Twain worked here as a reporter in 1863: Territorial who were on the ground in person, and saw the Enterprise Office, Virginia City, Nevada." by Kent Kanouse is happenings of the time with their own eyes. I licensed under CC BY-NC 2.0. allude4 to the rise, growth and culmination of the silver-mining fever in Nevada — a curious episode, in some respects; the only one, of its peculiar kind, that has occurred in the land; and the only one, indeed, that is likely to occur in it. -
The Social Consciousness of Mark Twain
THE SOCIAL CONSCIOUSNESS OF MARK TWAIN A Thesis Presented to the Faculty of the School of Social Sciences Morehead State University In Partial Fulfillment of the Requirements for the Degree Master of Arts in History by Rose W. Caudill December 1975 AP p~ ~ /THE ScS 9\t l\ (__ ~'1\AJ Accepted by the faculty of the School of Social Sciences, Morehead State University, in partial fulfillment of the require ments for the Ma ster of Arts in Hist ory degree. Master ' s Commi ttee : (date TABLE OF CONTENTS INTRODUCTION • • • • • • • • • • • . • • • • • • • • . • • . I Chapter I. FEMINISM . 1 II. MARK 1WAIN 1 S VIEWS ON RELIGION 25 III. IMPERIALISM 60 REFERENCES •••• 93 Introduction Mark Twain was one of America's great authors. Behind his mask of humor lay a serious view of life. His chief concern, . was man and how his role in society could be improved. Twain chose not to be a crusader, but his social consciousness in the areas of feminism, religion, and imperialism reveal him to be a crusader at heart. Closest to Twain's heart were his feminist philosophies. He extolled the ideal wife and mother. Women influenced him greatly·, and he romanticized them. Because of these feelings of tenderness and admiration for women, he became concerned about ·the myth of their natural inferiority. As years passed, Twain's feminist philosophies included a belief in the policital, economic, and social equality of the sexes. Maternity was regarded as a major social role during Twain's lifetime since it involved the natural biological role of women. The resu·lting stereotype that "a woman I s place is in the home" largely determined the ways in which women had to express themselves. -
Beginnings Lesson Plans
Outline of Lessons WEEK #1—Introduction to God’s Word Sunday Overview of Timeline Study What We Expect Wednesday “Who’s Who? and What’s What?” God, The Bible, Satan and Man WEEK #2—“In the Beginning” Sunday “Let Us”—God and Creation “Where Are You?”—Man Sins Wednesday Prophecy of Christ—God Makes Atonement Brothers: Cain, Abel and Seth WEEK #3—God’s Judgment and Mercy Sunday The Ark—God’s Design The Flood—God’s Judgment The Deliverance—God’s Mercy Wednesday The Rainbow—God’s Covenant Noah’s Three Sons—Shem, Ham and Japheth Tower of Babel—God Scatters the People 1 Essential Knowledge Lesson 1a 1. SW become familiar with the TIMELINE UNIT of study: • 12 TIMELINE sections • BIBLE HISTORY HIGHWAY • TIMELINE TALK 2. SW know how to use their TIMELINE booklet and what is inside. 3. SW learn something about their teachers. 4. SW know what their personal and spiritual responsibilities are in studying the BIBLE TIMELINE. Lesson 1b 1. God is the author of the Bible, and that the Bible is perfect. 2. Satan is real and is the author of sin. 3. Man is free to choose his master. Lesson 2a 1. God had Others with Him during creation. 2. God was pleased with His creation. 3. God is Great and man is small. 4. Man cannot hide from God. 5. Man must choose whom he will obey. Lesson 2b 1. Christ was in existence before man. 2. All who sin suffer consequences and sin separates man from God. 3. Some offerings to God are not respected by God. -
HNA April 11 Cover-Final.Indd
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 28, No. 1 April 2011 Jacob Cats (1741-1799), Summer Landscape, pen and brown ink and wash, 270-359 mm. Hamburger Kunsthalle. Photo: Christoph Irrgang Exhibited in “Bruegel, Rembrandt & Co. Niederländische Zeichnungen 1450-1850”, June 17 – September 11, 2011, on the occasion of the publication of Annemarie Stefes, Niederländische Zeichnungen 1450-1850, Kupferstichkabinett der Hamburger Kunsthalle (see under New Titles) HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Dagmar Eichberger (2008–2012) HNA News ............................................................................1 Wayne Franits (2009–2013) Matt Kavaler (2008–2012) Personalia ............................................................................... 2 Henry Luttikhuizen (2009 and 2010–2014) Exhibitions -
Thomposn Twain Lecture
“An American Cannibal at Home”: Comic Diplomacy in Mark Twain’s Hawai’i Todd Nathan Thompson May 23, 2018 “An American Cannibal at Home” “The new book is to be an account of travel at home, describing in a humorous and satirical way our cities and towns, and the people of different sections. No doubt the volume will be very droll, and largely infused with the shrewd common sense and eccentric mode of thought for which the author has become famous.”—Chicago Republican, August 28, 1870 Twain’s Hawai’i Writings Sacramento Union (1866) New York Tribune (1873) Lectures, sometimes titled “Our Fellow Savages of the Sandwich Islands” (1866-1873) Roughing It (1872) Following the Equator (1897) Unfinished novel (1884) Tonight ’s un-earnest analysis I will talk about how Twain: 1) Parodied travel writing, travel writers, and tourists in general 2) Set himself up as a classic comic fool and rogue (including as a cannibal) 3) Created comic comparisons of Hawaiian and American cultural and political norms that tend towards cultural relativism 4) Used caustic irony in self-undoing, “fake” proclamations of imperialism Some previous scholarship on Twain’s Hawai’i James Caron, Mark Twain, Unsanctified Newspaper Reporter (2008) Jeffrey Alan Melton, Mark Twain, Travel Books, and Tourism: The Tide of a Great Popular Movement (2002) Amy Kaplan, “Imperial Triangles: Mark Twain’s Foreign Affairs” (1997) Don Florence, Persona and Humor in Mark Twain’s Early Writings (1995) Franklin Rogers, “Burlesque Travel Literature and Mark Twain’s Roughing It” (1993) Walter Francis Frear, Mark Twain and Hawaii (1947) Savage Laughter: Nineteenth-Century American Humor and the Pacific "Jonathan's Talk With The King of the Sandwich Islands: Or Young American Diplomacy.” Yankee-Notions, February 1, 1854. -
A Voice for Earth American Writers Respond to the Earth Charter 1St Edition Pdf
FREE A VOICE FOR EARTH AMERICAN WRITERS RESPOND TO THE EARTH CHARTER 1ST EDITION PDF Peter Blaze Corcoran | 9780820332116 | | | | | | First Edition Books I don't think that we should take the word of the ECI about endorsements. The web site is promotional in nature and the comments are self- serving. I'm not saying it's not true, but we can't rely on this. If the Pope said that they claim he did, there should be a reliable third party who will confirm this. See verifiability section on questionable sources. Diderot's dreams talk28 February UTC. Here is another example of what I'm talking about. The ECI says that the EC is "endorsed the thousands of organizations representing millions of people", and it's been put in the article. I have searched for hours looking for endorsements, and they are not easy A Voice for Earth American Writers Respond to the Earth Charter 1st edition find. I put the one's I found in the article. Now representing millions of people is proven: the U. Conference of Mayors and a few big cities shows that. But my search has turned up dozens, not thousands of organizations. The ECI website doesn't seem to have a list with these thousands. There's a blog, but that only has a few. Mila, if your organization has a list, can you point it out to us? Anyway, this may show the wisdom of not taking big claims by organizations that are promoting the thing the claim is being made about. Diderot's dreams talk5 March UTC. -
Another Look at Cain: from a Narrative Perspective
신학논단 제102집 (2020. 12. 31): 241-263 https://doi.org/10.17301/tf.2020.12.102.241 Another Look at Cain: From a Narrative Perspective Wm. J McKinstry IV, MATS Adjunct Faculty, Department of General Education Presbyterian University and Theological Seminary In the Hebrew primeval histories names often carry significant weight. Much etymological rigour has been exercised in determining many of the names within the Bible. Some of the meaning of these names appear to have a consensus among scholars; among others there is less consensus and more contention. Numerous proposals have come forward with varying degrees of convincing (or unconvincing as the case may be) philological arguments, analysis of wordplays, possi- ble textual emendations, undiscovered etymologies from cognates in other languages, or onomastic studies detailing newly discovered names of similarity found in other ancient Semitic languages. Through these robust studies, when applicable, we can ascertain the meanings of names that may help to unveil certain themes or actions of a character within a narrative. For most of the names within the primeval histories of Genesis, the 242 신학논단 제102집(2020) meaning of a name is only one feature. For some names there is an en- compassing feature set: wordplay, character trait and/or character role, and foreshadowing. Three of the four members in the first family in Genesis, Adam, Eve, and Abel, have names that readily feature all the elements listed above. Cain, however, has rather been an exception in this area, further adding to Genesis 4’s enigmaticness in the Hebrew Bible’s primeval history. While three characters (Adam, Eve, and Abel) have names that (1) sound like other Hebrew words, that are (2) sug- gestive of their character or actions and (3) foreshadow or suggest fu- ture events about those characters, the meaning of Cain’s name does not render itself so explicitly to his character or his role in the narrative, at least not to the same degree of immediate conspicuousness. -
Peter Paul Rubens and Jan Brueghel, the Garden of Eden with the Fall of Man (1617)
Lenten Quiet Day 2017 | S. Stephen’s, Providence The Good, The True, & the Beautiful: Lost and Won on the Wood of a Tree Peter Paul Rubens and Jan Brueghel, The Garden of Eden with the Fall of Man (1617) ow the serpent was more subtle than any other wild creature that the Lord God had made. He said to the woman, N“Did God say, ‘You shall not eat of any tree of the garden’?” 2 And the woman said to the serpent, “We may eat of the fruit of the trees of the garden; 3 but God said, ‘You shall not eat of the fruit of the tree which is in the midst of the garden, neither shall you touch it, lest you die.’” 4 But the serpent said to the woman, “You will not die. 5 For God knows that when you eat of it your eyes will be opened, and you will be like God, knowing good and evil.” 6 So when the woman saw that the tree was good for food, and that it was a delight to the eyes, and that the tree was to be desired to make one wise, she took of its fruit and ate; and she also gave some to her husband, and he ate. 7 Then the eyes of both were opened, and they knew that they were naked; and they sewed fig leaves together and made themselves aprons. Genesis 3.1-7 The fool has said in his heart, “There is no God.” * We think that Paradise and Calvarie, All are corrupt and commit abominable acts; Christs Cross and Adams tree, stood in one place; there is none who does any good. -
Ribera's Drunken Silenusand Saint Jerome
99 NAPLES IN FLESH AND BONES: RIBERA’S DRUNKEN SILENUS AND SAINT JEROME Edward Payne Abstract Jusepe de Ribera did not begin to sign his paintings consistently until 1626, the year in which he executed two monumental works: the Drunken Silenus and Saint Jerome and the Angel of Judgement (Museo di Capodimonte, Naples). Both paintings include elaborate Latin inscriptions stating that they were executed in Naples, the city in which the artist had resided for the past decade and where he ultimately remained for the rest of his life. Taking each in turn, this essay explores the nature and implications of these inscriptions, and offers new interpretations of the paintings. I argue that these complex representations of mythological and religious subjects – that were destined, respectively, for a private collection and a Neapolitan church – may be read as incarnations of the city of Naples. Naming the paintings’ place of production and the artist’s city of residence in the signature formulae was thus not coincidental or marginal, but rather indicative of Ribera inscribing himself textually, pictorially and corporeally in the fabric of the city. Keywords: allegory, inscription, Naples, realism, Jusepe de Ribera, Saint Jerome, satire, senses, Silenus Full text: http://openartsjournal.org/issue-6/article-5 DOI: http://dx.doi.org/10.5456/issn.2050-3679/2018w05 Biographical note Edward Payne is Head Curator of Spanish Art at The Auckland Project and an Honorary Fellow at Durham University. He previously served as the inaugural Meadows/Mellon/Prado Curatorial Fellow at the Meadows Museum (2014–16) and as the Moore Curatorial Fellow in Drawings and Prints at the Morgan Library & Museum (2012–14). -
Transcendence of God
TRANSCENDENCE OF GOD A COMPARATIVE STUDY OF THE OLD TESTAMENT AND THE QUR’AN BY STEPHEN MYONGSU KIM A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE PHILOSOPHIAE DOCTOR (PhD) IN BIBLICAL AND RELIGIOUS STUDIES IN THE FACULTY OF HUMANITIES AT THE UNIVERSITY OF PRETORIA SUPERVISOR: PROF. DJ HUMAN CO-SUPERVISOR: PROF. PGJ MEIRING JUNE 2009 © University of Pretoria DEDICATION To my love, Miae our children Yein, Stephen, and David and the Peacemakers around the world. ii ACKNOWLEDGEMENTS First, I thank God for the opportunity and privilege to study the subject of divinity. Without acknowledging God’s grace, this study would be futile. I would like to thank my family for their outstanding tolerance of my late studies which takes away our family time. Without their support and kind endurance, I could not have completed this prolonged task. I am grateful to the staffs of University of Pretoria who have provided all the essential process of official matter. Without their kind help, my studies would have been difficult. Many thanks go to my fellow teachers in the Nairobi International School of Theology. I thank David and Sarah O’Brien for their painstaking proofreading of my thesis. Furthermore, I appreciate Dr Wayne Johnson and Dr Paul Mumo for their suggestions in my early stage of thesis writing. I also thank my students with whom I discussed and developed many insights of God’s relationship with mankind during the Hebrew Exegesis lectures. I also remember my former teachers from Gordon-Conwell Theological Seminary, especially from the OT Department who have shaped my academic stand and inspired to pursue the subject of this thesis. -
PROGRAM NOTES the Classical Master Josef Haydn and The
Program Notes The Classical master Josef Haydn and the idiosyncratic minimalist Arvo Pärt may seem like a musical odd couple, but this afternoon’s pairing brings to- gether two composers who share some fundamental characteristics. Both are men of a deep personal faith which is often reflected in their music. And both were unafraid to reference contemporary events in their music. Haydn’s title Missa in Tempore Belli (Mass in a Time of War) was his own, and refers to the Napoleonic wars, which were played out in large measure on Austrian soil. Pärt dedicated his 2008 Symphony No. 4 “Los Angeles” to Mikhail Khodoro- vsky, the Russian oil magnate, philanthropist, and vocal critic of the Putin government, whose imprisonment was widely thought to be politically mo- tivated, and his selection of the text for Adam’s Lament is his response to the ongoing tensions between Islamic and Christian worlds. Estonian-born Arvo Pärt (b. 1935) reinvented his compositional style after making an early name for himself as an avant garde composer. His early com- positions were fiercely atonal and serial, but he also experimented with aleatoric music, where he might indicate the range of pitches for a given voice but not specify discrete pitches, rhythms or durations, and collage music, in which he layered phrases of music from composers like Bach onto his own 12- tone music. The premiere of Pärt’s 1968 Credo, a choral collage piece, caused something of an uproar. The use of the liturgical text had not been approved by the Soviet composers’ union and the work was subsequently banned in the Soviet Union. -
Mark Twain Circular
12 Mark Twain Circular Newsletter of the Mark Twain Circle of America Volume 29 November 2015 Number 2 that I get paid to think about and talk about President’s Column Mark Twain, something I would do for John Bird nothing (but don’t tell my university). Winthrop University As another year begins to wind to a close, I think about how much of my year has centered around this person who died over a hundred years ago. I spent much of my summer reading all the Twain books and articles from 2014 for the “Mark Twain” chapter in American Literary Scholarship, Inside This Issue then scrambling to Twain Talk: distill all that into 20 Peter Messent pages of summary Fall Feature: and evaluation. Nee Brothers’ New Mark Twain is Indie Film, Band of indeed alive and Robbers well in the academy, Mark Twain Circle: and now it is time to I am teaching a graduate seminar on Mark Annual Minutes turn my attention to Twain this semester, a class I have taught two Member Renewal the scholarly work or three times before. It is always a great Calls for Papers: from 2015. My good experience and a great privilege. Most of my ALA 2016 friend from ten students had read Huckleberry Finn, but MLA 2017 most had not read anything else by Twain graduate school, before the class started. So it is very exciting Gary, stopped by the to share with them and watch them read other day on his way to Florida, and I was works including “A Jumping Frog,” Innocents telling him how envious I was of him back Abroad, Roughing It, Tom Sawyer, Huckleberry then in the early 1980s that he had published Finn, A Connecticut Yankee, Pudd’nhead on Mark Twain and had been included in one Wilson, and No.