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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. -
Henry James and Queer Modernity Eric Haralson Index More Information
Cambridge University Press 0521813948 - Henry James and Queer Modernity Eric Haralson Index More information Index Abraham, Julie, 162–163 anatomy, of queerness/homosexuality in Ackerley, J. R., 41, 159 literature see physical description, of Acocella, Joan, 232 queerness/homosexuality in literature Adams, James Eli, 71 Anders, John P., 150 “adventure,” in The Ambassadors, 113–116 Anderson, Margaret, 189, 201 aestheticism, 29–30 Anderson, Sherwood in The Ambassadors, 119–120 comments on Hemingway, 174, 181, 201 in “The Author of ‘Beltraffio,’ ” 64–66 critics’ effect on, 181 in OneofOurs, 156 meaning/use of term “queer” by, 5, 11–13 in The Professor’s House, 169 portrayedin The Torrents of Spring, 177–178, in The Tragic Muse, 54 182 Alcott, Bronson, 87 reading of James, 176 Ambassadors, The (James), 102–133 as Van Wyck Brooks’s mediator to James, “adventure” in, 113–116 197–199 aestheticism in, 119–120 on voice quality of homosexuality, 41 artistic creativity in, 104 writings of: Dark Laughter, 177; “Hands,” 39, autoeroticism in, 131 198; “The Man Who Became a Woman,” balcony scenes, 130–131, 230 193; Memoirs, 11, 13; Winesburg, Ohio, 5, camp dialogue, 106, 125–126 11–13 comparison with The Sun Also Rises, 190 appearance, of queerness/homosexuality in heterosexuality in, 104–106, 111, 118, 125–126 literature see physical description, of idleness in, 120, 128 queerness/homosexuality in literature impliedqueerness in, 116–119, 122–125, 130 A rebours (Huysmans), 183 andJames biography, 115, 123–124, 127 artistic creativity Lambinet scene, 3–4 in The Ambassadors, 104 marriage in, 104, 111, 118, 120–122, 125–126 in The Europeans, 48–49 masculinity in, 108–113, 126–127, 129–130, in Roderick Hudson, 31 133 in The Tragic Muse, 54 meaning/use of term “queer” in, 103 see also aestheticism national-cultural identity in, 119–120 Auden, W. -
Universe Micrcxilnris International 300 N
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M.F-Ii, Thesis
M .f-ii, Thesis THE AWAKENING PROCESS OR THE ACHIEVEMENT OF MATURITY IN FOUR NOVELS OF HENRY JAMES UNIVERSIDADE: FEDERAL DE SANTA CATARINA PÓS-GRADUACSO EM INGLêS E LITERATURA CORRESPONDENTE: THE AUAKENIN6 PROCESS OR THE ACHIEVEMENT OF MATURITY IN FOUR NOVELS OF HENRY JAMES por IDA LUCIA MAROCHIO CYPRIANÜ Dissertação submetida à Universidade Federal de Santa Catarina para a obtenção do grau de Mestre em Letras» I-1 or i anópol i s Agosto de í'?9í Esta dissertação foi julgada adequada e aprovada em sua forma final para a obtenção do título de MESTRE EM LETRAS Opção Inglês e Literatura Correspondente. Dr$ Bernadete Pasold Coor d en ad or (a) Drü Bernadete Pasold Or i ent adora BANCA EXAMINADORA: ó X M d J L i Dr§ Bernadete Pasold Pres i dente __ Dr^J S i gr i!;d Rersaux Drâ Maria Llisa Cevasco Florianópolis, í? de agosto de Í99Í. Aos meus pais e -F am t ï i ares . AGRADECIMENTOS & Profä ßernadete Pasold da Universidade l-ederal de Saunt a Cat ar i na» À Prof£ Maria Elisa Cevasco da Universidade de Sio aiuiJ.P o. a Profä Sigrid Renaux da Universidade Federal do Paraná. 'A Faculdade de Filosofia Ciências e Letras “Madre Gertrudes de Säo José" de Cachoeiro de Itapeinirim, EIS. Ao João Inácio Müller do Núcleo de Informática do Centre» de Comunicação e Expressão da UF5C« Aos professores do Cur so de Pós-Graduação em Letras, da UFSC. ABSTRACT The tragedy of innocence plays an important role in the works of Henry James- Four of his novels (Roderick Hudson, The Portrait of a Lady, The Ambassadors and The Golden Bowl) have been selected t o p r e s e n t the w a y J a1« e s Id r o a c h e s t h e t r a g e d y u n d e r c o n s i d e r a t i o n i n three periods of his literary career. -
RODERICK HUDSON by Henry James
RODERICK HUDSON by Henry James CHAPTER I. Rowland Mallet had made his arrangements to sail for Europe on the first of September, and having in the interval a fortnight to spare, he determined to spend it with his cousin Cecilia, the widow of a nephew of his father. He was urged by the reflection that an affectionate farewell might help to exonerate him from the charge of neglect frequently preferred by this lady. It was not that the young man disliked her; on the contrary, he regarded her with a tender admiration, and he had not forgotten how, when his cousin had brought her home on her marriage, he had seemed to feel the upward sweep of the empty bough from which the golden fruit had been plucked, and had then and there accepted the prospect of bachelorhood. The truth was, that, as it will be part of the entertainment of this narrative to exhibit, Rowland Mallet had an uncomfortably sensitive conscience, and that, in spite of the seeming paradox, his visits to Cecilia were rare because she and her misfortunes were often uppermost in it. Her misfortunes were three in number: first, she had lost her husband; second, she had lost her money (or the greater part of it); and third, she lived at Northampton, Massachusetts. Mallet's compassion was really wasted, because Cecilia was a very clever woman, and a most skillful counter-plotter to adversity. She had made herself a charming home, her economies were not obtrusive, and there was always a cheerful flutter in the folds of her crape. -
Louis Leslie Thesis Without Copyright Images
‘Writing Consciously for a Small Audience’: An Exploration of the Relationship between American Magazine Culture and Henry James’ Italian Fiction 1870-1875 ! ! ! ! ! ! ! Louis Laurence Leslie ! UCL ! ! PhD P2 ! ! I, Louis Laurence Leslie, conSirm that the work presented in this thesis is my own. Where information has been deriVed from other sources, I can conSirm that this has !been indicated in the thesis. P3 ! Thesis Abstract ! This thesis explores Henry James’ engagement in his relatiVely neglected early Siction about Italy with material from contemporary magazine culture. By bridging the gap between critics who focus on James’ relationship with Italian culture, and those who examine James’ relationship with his publishers and audience, it aims to explore how he uses interest in Italy manifested in literary magazines to deVelop his writing and build his reputation. The Sirst part of the thesis explores how James writes about Italian culture in his Sirst tales in ways with which his audience would be familiar, in order to cultiVate his readership. The Sirst three chapters deal with ‘TraVelling Companions’ (1870), ‘At Isella’ (1871), and ‘The Madonna of the Future’ (1873) respectiVely. Looking at how magazines represent contemporary debates about the Italian artists and works of art that James depicts, I study the way James draws on this context to !emphasise the relationship between culture and character in his Siction. The second half examines his Siction after 1873 in the light of James’ sense of his emerging literary reputation. Aware of his growing fame, James began to write tales incorporating material from his own serialised traVel writing, thus reinforcing his reputation as a writer about Italy. -
Winslow Homer's Seascapes
Maine History Volume 34 Number 2 Poland Spring Hotel Article 2 9-1-1994 Winslow Homer’s Seascapes: Transcendental Subjects, Popular Resorts, Critical Reactions Priscilla Paton Florida Atlantic University Follow this and additional works at: https://digitalcommons.library.umaine.edu/mainehistoryjournal Part of the American Art and Architecture Commons, Fine Arts Commons, Painting Commons, and the United States History Commons Recommended Citation Paton, Priscilla. "Winslow Homer’s Seascapes: Transcendental Subjects, Popular Resorts, Critical Reactions." Maine History 34, 2 (1994): 78-95. https://digitalcommons.library.umaine.edu/ mainehistoryjournal/vol34/iss2/2 This Article is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Maine History by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. PRISCILLA PATON WINSLOW HOMER S SEASCAPES: TRANSCENDENTAL SUBJECTS, POPULAR RESORTS, CRITICAL REACTIONS Winsloiu Homer, acknoivledged as a quintessen tial Yankee and one of America 's foremost nineteenth- centiuy artists, seems asformidable, stern, and ambigu ous as the rocky shores that fascinated him. Homer's reception by critics highlights the impossibility of sepa rating artistic achievement from the tastes andfashions of the society in which the artist worked. The Anystify- ingly blank" faces that critics abhorred in Homer's early farm figures became the distinctively attractive features of his later seascapes. Winslow Homer, who lived from 1836 to 1910, has long been acknowledged as a quintessential Yankee and one of the foremost American artists of the nineteenth century. Born in Boston and raised in Cambridge, at nineteen he became an apprentice in the printmaking firm of John H. -
Cambridge University Press 978-1-108-47117-6 — the American Scene Henry James , Edited by Peter Collister Index More Information
Cambridge University Press 978-1-108-47117-6 — The American Scene Henry James , Edited by Peter Collister Index More Information INDEX Abbey, Edwin Austin, 268, 291 n. 2 Augustine, St, 92 n. 15, 464 n. 40, 466 n. 43 The Quest and Achievement of the Holy Avilés, Pedro Menéndez de, 466 n. 43 Grail, 268 n. 53 Acropolis, Athens, 375 Bache, Richard, 312 n. 37 Acts of the Apostles, 159 n. 45 Bacon, Henry Adam, Robert, 285 n. 26 Franklin at Home at Philadelphia, 312 n. 38 Adams, Henry, 317 n. 47, 345 n. 1, 346 n. 3, 348 Baedeker, Karl, 467 n. 47 n. 8, 354 n. 19 Guide, 467 Adams, Marian Hooper, 346 n. 3, 353 n. 16, Baghdad, 230 354–5, nn. 18, 19 Balzac, Honoré de, 38 n. 60 Adler, Jacob, 220 n. 12 Barbizon school, 165 n. 59 Adriatic Sea, 220 Barnum, P.T., 92 n. 18 Aeschylus, 57 n. 93 Bartholdi, Frédéric Auguste Agassiz, Louis, 380 n. 7 Fountain of Light and Water, 371 n. 43 Alcott, Amos Bronson, 275 n. 5 Baudelaire, Charles, 122 n. 71 American Academy of Arts, 376 n. 1 Beaux, Cecilia, 314 n. 40 American Civil War, 72, 188, 245, 325–326, Beecher, Henry Ward, 50 n. 84 367 n. 33, 376 n. 1, 379–80, 381 n. 10, Benedict, Clara Woolson, 114 n. 57, 430 n. 39 382 n. 11, 384, 386 n. 16, 388, 391 n. 27, Benedict, Clare, 114 n. 57 393–4, 413, 422 n. 22, 428 n. 36, Benson, Frank W., 37 n. 58 467 n. -
Artist Failures in the Fiction of Henry James
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1974 Artist Failures in the Fiction of Henry James Robert E. Terrill Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation Terrill, Robert E., "Artist Failures in the Fiction of Henry James" (1974). Dissertations. 1441. https://ecommons.luc.edu/luc_diss/1441 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1974 Robert E. Terrill ARTIST FAILURES IN THE FICTION OF HENRY JAMES by Robert E. Terrill A Dissertation Submitted to the Faculty of the Graduate School of Loyola University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Mey 1974 ACKNOWLEDGMENTS I wish to thank the director of the dissertation, Dr. John Gerrietts, and the members of the committee, Dr. Joseph Wolff and Dr. Martin J. Svaglic. I also acknowledge the assistance of the staff of the E. M. Cudahy.Library in obtaining materials on inter library loan. ii TABLE OF CONTENTS Chapter Page I. JAMES'S INTEREST IN THE FINE ARTS, ARTISTS, AND THE ISSUES OF AESTHETIC CONSCIOUSNESS •• 1 II. RODERICK HUDSON •• . 28 III. THE TRAGIC MUSE. • • • • • 76 IV. THE SACRED FOUNT • . 143 v. THE STORIES OF ARTISTS AND WRITERS • . 183 BIBLIOGRAPHY • . -
Social Tension As a Creative Necessity in the Fiction of Hawthorne, James, and Joyce
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1988 Lessons of the Masters: Social Tension as a Creative Necessity in the Fiction of Hawthorne, James, and Joyce. Craig Arthur Milliman Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Milliman, Craig Arthur, "Lessons of the Masters: Social Tension as a Creative Necessity in the Fiction of Hawthorne, James, and Joyce." (1988). LSU Historical Dissertations and Theses. 4660. https://digitalcommons.lsu.edu/gradschool_disstheses/4660 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 The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. -
Goethe's Torquato Tasso and James's Roderick Hudson
Erschienen in: Anglia : Journal of English Philology ; 136 (2018), 4. - S. 687-704 https://dx.doi.org/10.1515/ang-2018-0068 Anglia 2018; 136(4): 687–704 Timo Müller* Framing the Romantic Artist: Goethe’s Torquato Tasso and James’s Roderick Hudson https://doi.org/10.1515/ang-2018-0068 Abstract: Johann Wolfgang Goethe’s Torquato Tasso (1790) and Henry James’s Roderick Hudson (1875) share not only a number of structural parallels but also an interest in the fate of the romantic artist in a regulated society. The article suggests Goethe’s play as a possible influence on James’s novel. After a brief outline of James’s relationship to Goethe and of the structural parallels between the texts, the article discusses the similarities of their stance on the romantic artist. Both texts contrast the protagonist’s classicist-idealist art with his broadly romantic personality, both remain ambivalent about the romantic conception of the poet-genius, and both take an analytical attitude toward their artist figures. On this poetological level, the article concludes, their portraits of a proto-Roman- tic and a late Romantic respectively form a revealing historical frame of the phenomenon of the Romantic artist. Henry James’s first Italian journey culminated in his visit to Rome in October 1869. “At last—for the first time—I live!” he wrote to his brother William. “I went reeling and moaning thro’ the streets, in a fever of enjoyment” (James 1974–1980: 160). James was not the first writer, of course, to find inspiration in Italy, but few have responded so enthusiastically. -
9780748693436 the Sculptural
Chapter 3 ‘Of marble men and maidens’: Sculptural Transformations In Nathaniel Hawthorne’s The Marble Faun (1860), another impor- tant sculpture by Praxiteles becomes the focus of desire. In their discussion of Hawthorne’s use of the visual arts in his works, Rita Gollin and John Idol trace his engagement with painting and sculp- ture in the exhibitions and galleries he encountered during his sojourn in Europe in 1853–60, which he detailed in his English, French and Italian Notebooks.1 From their observations, it is clear that, faced in these spaces with antique sculpture, Hawthorne, like George Eliot’s Dorothea and Thomas Hardy, felt overwhelmed by the burden of his- tory. Following a second visit to the British Museum he fi nds himself crushed by the ‘dead weight’ of the past that had struck him on the fi rst and wishes ‘that the Elgin marbles and the frieze of the Parthenon were all burnt to lime’ (qtd in Gollin and Idol 1991: 72). Yet, once he becomes more familiar with the collections and discovers that he is no longer ‘weighed down by the multitude of things to be seen’, he is able ‘to discern “grace and nobility” even in the “battered and shattered” remains of Greek sculpture’ (Gollin and Idol 1991: 73).2 Gollin and Idol observe that, in time, Hawthorne came to prefer sculpture to painting, in part due to its realism, and that his appreciation of stat- uary improved with greater exposure to it, especially in Rome and Florence where he begins to engage in Pygmalionesque fantasies of animation.