The Inventory of the Rollo G. Silver Collection #457
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What Was Sparked by Walt Whitman's “I Sing the Body Electric”
Collins !1 Joey Collins Honors Senior Seminar Dr. Blais & Dr. LeBlanc 9 December 2018 The Lightning in Us: What Was Sparked by Walt Whitman’s “I Sing The Body Electric” Poets and historians of American literature have closely analyzed the contents of the great American poem “I Sing The Body Electric” by Walt Whitman. To comprehend the underlying messages conveyed in this work, one must understand how Whitman’s musings relate to the his- tory of, as well as the present incarnation of American culture. Whitman himself was a man of his own, defying the cultural norms of his time and expressing through his poetry a unique view of our nation. His expression in “Body Electric” is telling of his individuality as a poet and a nineteenth century American man, and this expression has proven itself to be timeless as it is revered in today’s America. The America of now is a vastly diverse melting pot of political views, personal back- grounds, and cultural fusions. “Body Electric” is an all-encompassing poem, written from the perspective of Whitman the careful observer, who is able to see the inherent beauty in the many interweaving constituents of our country. As the poem unfolds, there is a decidedly political stance taken by Whitman, a stance which, one hundred and sixty three years after the poem’s publishing, still reads as contentious in our modern social climate. It is this contentiousness com- bined with a freshly delivered ode to the many colors of our nation that gives the poem its au- thenticity. Collins !2 The title of the poem perfectly indicates its conveyed viewpoint. -
Walt Whitman, Where the Future Becomes Present, Edited by David Haven Blake and Michael Robertson
7ALT7HITMAN 7HERETHE&UTURE "ECOMES0RESENT the iowa whitman series Ed Folsom, series editor WALTWHITMAN WHERETHEFUTURE BECOMESPRESENT EDITEDBYDAVIDHAVENBLAKE ANDMICHAELROBERTSON VOJWFSTJUZPGJPXBQSFTTJPXBDJUZ University of Iowa Press, Iowa City 52242 Copyright © 2008 by the University of Iowa Press www.uiowapress.org All rights reserved Printed in the United States of America Design by Richard Hendel No part of this book may be reproduced or used in any form or by any means without permission in writing from the publisher. All reasonable steps have been taken to contact copyright holders of material used in this book. The publisher would be pleased to make suitable arrangements with any whom it has not been possible to reach. The University of Iowa Press is a member of Green Press Initiative and is committed to preserving natural resources. Printed on acid-free paper issn: 1556–5610 lccn: 2007936977 isbn-13: 978-1-58729–638-3 (cloth) isbn-10: 1-58729–638-1 (cloth) 08 09 10 11 12 c 5 4 3 2 1 Past and present and future are not disjoined but joined. The greatest poet forms the consistence of what is to be from what has been and is. He drags the dead out of their coffins and stands them again on their feet .... he says to the past, Rise and walk before me that I may realize you. He learns the lesson .... he places himself where the future becomes present. walt whitman Preface to the 1855 Leaves of Grass { contents } Acknowledgments, ix David Haven Blake and Michael Robertson Introduction: Loos’d of Limits and Imaginary Lines, 1 David Lehman The Visionary Whitman, 8 Wai Chee Dimock Epic and Lyric: The Aegean, the Nile, and Whitman, 17 Meredith L. -
!V(-Q WALT WHITMAN
!v(-q v( THE LIBRARY OF CONGRESS THE ONE HUNDRED AND TWENTIETH ANNIVERSARY OF THE BIRTH OF WALT WHITMAN AN EXHIBIT FROM THE COLLECTIONS OF MRS. FRANK JULIAN SPRAGUE OF NEW YORK CITY 4 I A LIST OF MANUSCRIPTS, BOOKS, PORTRAITS, PRINTS, BROADSIDES, AND MEMORABILIA LI IN COMMEMORATION OF THE One Hundredand Twentieth Anniversary OF THE BIRTH OF WALT WHITMAN [MAY 31, 1819-19391 FROM THE WHITMAN COLLECTION OF MRS. FRANK JULIAN SPRAGUE OF NEW YORK CITY I EXHIBITED AT THE LIBRARY OF CONGRESS 1939'3 FOREWORD ti[THE YEAR 1939 marks the one hundred and twentieth anni- versary of the birth of Walt Whitman. As part of the celebration of that anniversary, the Library of Congress exhibited a collection of material from the magnificent Walt Whitman collection as- sembled over a period of twenty-five years by Mrs. Frank Julian Sprague, of New York City. This material was selected and pre- pared for exhibition by Dr. Joseph Auslander, Consultant in Poetry in the Library of Congress. The Library of Congress is unwilling that this exhibit should terminate without some record which may serve as an expression of its gratitude to Mrs. Sprague for her generosity in making the display possible and a witness to its appreciation of Mrs. Sprague's great service to American poetry and to the American tradition of which Walt Whitman is not only the poet but the symbol. Many of the books in Mrs. Sprague's collection are unique, some are in mint condition, none is unopened. The greater part of the collection, including the two paintings which were done from life, has never before been exhibited to the great American public for which Whitman wrote and by which he is remembered. -
Novels of Return
Novels of Return: Ethnic Space in Contemporary Greek-American and Italian-American Literature by Theodora D. Patrona A dissertation submitted to the Department of American Literature and Culture, School of English, Faculty of Philosophy, In fulfilment of the requirements for the degree of Doctor of Philosophy Aristotle University of Thessaloniki, Greece February 2011 i στην οικογένειά μου, Ελισάβετ, Δημήτρη και Λεωνίδα που ενθάρρυνε και υποστήριξε αυτό το «ταξίδι» με όλους τους πιθανούς τρόπους… και στον Μάνο μου, που ήταν πάντα εκεί ξεπερνώντας τις δυσκολίες… ii Acknowledgements This thesis would not have been possible without the inspiration, support and kind help of numerous people. Firstly, my advisor, mentor, and, I dare say, friend, Professor Yiorgos Kalogeras who has always been my most enthusiastic supporter, guiding me with his depths of knowledge in ethnic literature, unfailingly encouraging me to keep going, and consoling me whenever I was disappointed. He has opened his home, his family and circle of scholarly friends, which I appreciate immensely. I would also like to warmly thank the other two members of my committee, Drs. Yiouli Theodosiadou and Nikolaos Kontos for their patience, feedback, thoroughness, and encouraging comments on my work. Moreover, I am indebted to Professor Fred Gardaphé who has welcomed me in the Italian-American literature and scholarship, pointing out new creative paths and outlets. All these years of research, I have been constantly assisted, advised and reassured by my Italian mentor and true friend, Professor Stefano Luconi without whom this dissertation would lack its Italian-American part, and would have probably been left incomplete every time I lost hope. -
Walt Whitman (1819-1892)
Whitman 1 Walt Whitman (1819-1892) 2 Section headings and information Poems 6 “In Cabin’d Ships at Sea” 7 “We Two, How Long We Were Foole’d” 8 “These I Singing in Spring” 9 “France, the 18th Year of These States” 10 “Year of Meteors (1859-1860)” 11 “Song for All Seas, All Ships” 12 “Gods” 13 “Beat! Beat! Drums!” 14 “Vigil Strange I Kept on the Field one Night” 15 “A March in the Ranks Hard-Prest, and the Road Unknown” 16 “O Captain! My Captain!” 17 “Unnamed Lands” 18 “Warble for Lilac-Time” 19 “Vocalism” 20 “Miracles” 21 “An Old Man’s Thought of School” 22 “Thou Orb Aloft Full-Dazzling” 23 “To a Locomotive in Winter” 24 “O Magnet-South” 25 “Years of the Modern” Source: Leaves of Grass. Sculley Bradley and Harold W. Blodgett, ed. NY: W.W. Norton & Company, 1973. Print. Note: For the IOC, copies of the poems will contain no information other than the title, the poem’s text, and line numbers. Whitman 2 Leaves of Grass, 1881, section headings for those poems within this packet WW: Walt Whitman LG: Leaves of Grass MS: manuscript “Inscriptions” First became a group title for the opening nine poems of LG 1871. In LG 1881 the group was increased to the present twenty-four poems, of which one was new. “Children of Adam” In two of his notes toward poems WW set forth his ideas for this group. One reads: “A strong of Poems (short, etc.), embodying the amative love of woman—the same as Live Oak Leaves do the passion of friendship for man.” (MS unlocated, N and F, 169, No. -
Keywords in Literature and Culture (KILC). : Modernism
Melba Cuddy-Keane is Emerita Member of the Graduate Department “Modernism: Keywords will be an indispensable Melba Cuddy-Keane of English, University of Toronto, resource from the moment it appears. The work is Adam Hammond and Emerita Professor, University rigorous in theoretical conception, broad in historical of Toronto-Scarborough, Canada. reach, and powerfully revisionary in its implications Alexandra Peat Modernism: Keywords presents a Her publications include Virginia for modernist study. It falls within the distinguished series of short entries explaining Woolf, the Intellectual, and the Public the diverse and often contradictory Sphere (2003), the Harcourt annotated legacy of Raymond Williams but also applies the meanings of words used with frequency edition of Virginia Woolf’s Between most current methods to an expanding archive of and urgency in “written modernism.” the Acts (2008), and contributions to modernist texts. Scholars and students at every Spanning the “long” modernist period A Companion to Modernist Literature level will keep it close at hand.” (from about 1880 to 1950), this work and Culture (Wiley Blackwell, 2006) Michael Levenson, University of Virginia aims not to define the era’s dominant and A Companion to Narrative Modernism “beliefs,” but to highlight and expose Theory (Wiley Blackwell, 2005). its salient controversies and changing cultural thought. Guided by the cultural Adam Hammond recently completed Keywords lexicography developed by Raymond an SSHRC postdoctoral fellowship at Williams in his ground-breaking work, the University of Victoria and is currently Keywords (1976), the entries here focus the Michael Ridley Postdoctoral Fellow on words with unstable meanings in Digital Humanities at the University and conflicting definitions, tracking of Guelph, Canada. -
Calamus, Drum-Taps, and Whitman's Model of Comradeship
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1996 Calamus, Drum-Taps, and Whitman's Model of Comradeship Charles B. Green College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Literature Commons Recommended Citation Green, Charles B., "Calamus, Drum-Taps, and Whitman's Model of Comradeship" (1996). Dissertations, Theses, and Masters Projects. Paper 1539626051. https://dx.doi.org/doi:10.21220/s2-61z8-wk77 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. "CALAMUS," DRUM-TAPS, AND WHITMAN’S MODEL OF COMRADESHIP A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial fulfillment of the Requirements for the Degree of Master of Arts by Charles B. Green 1996 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author Approved, December 1996 Kenneth M. Price Robert SdnoLhick Li chard Lowry 11 ACKNOWLEDGEMENTS The writer wishes to express his appreciation to Professor Kenneth M. Price, under whose supervision this project was conducted, for his patient guidance and criticism throughout the process. ABSTRACT The purpose of this paper is to explore the relationship between Whitman's "Calamus" and Drum-Taps poems, and to determine the methods by which the poet communicates what Michael Moon calls in his Disseminating Whitman: Revision and Corporeality in Leaves of Grass "a program" of revising the "meaning of bodily experience" in terms of man to man affection. -
John Burroughs for ATQ: 19Th C
THE HUDSON RIVER VA LLEY REviEW A Journal of Regional Studies MARIST Publisher Thomas S. Wermuth, Vice President for Academic Affairs, Marist College Editors Reed Sparling, writer, Scenic Hudson Christopher Pryslopski, Program Director, Hudson River Valley Institute, Marist College Editorial Board Art Director Myra Young Armstead, Professor of History, Richard Deon Bard College Business Manager Col. Lance Betros, Professor and deputy head, Andrew Villani Department of History, U.S. Military Academy at West Point The Hudson River Valley Review (ISSN 1546-3486) is published twice Susan Ingalls Lewis, Assistant Professor of History, a year by the Hudson River Valley State University of New York at New Paltz Institute at Marist College. Sarah Olson, Superintendent, Roosevelt- James M. Johnson, Executive Director Vanderbilt National Historic Sites Roger Panetta, Professor of History, Research Assistants Fordham University Elizabeth Vielkind H. Daniel Peck, Professor of English, Emily Wist Vassar College Hudson River Valley Institute Robyn L. Rosen, Associate Professor of History, Advisory Board Marist College Todd Brinckerhoff, Chair David Schuyler, Professor of American Studies, Peter Bienstock, Vice Chair Franklin & Marshall College Dr. Frank Bumpus Thomas S. Wermuth, Vice President of Academic Frank J. Doherty Affairs, Marist College, Chair Patrick Garvey David Woolner, Associate Professor of History Marjorie Hart & Political Science, Marist College, Franklin Maureen Kangas & Eleanor Roosevelt Institute, Hyde Park Barnabas McHenry Alex Reese Denise Doring VanBuren Copyright ©2008 by the Hudson River Valley Institute Tel: 845-575-3052 Post: The Hudson River Valley Review Fax: 845-575-3176 c/o Hudson River Valley Institute E-mail: [email protected] Marist College, 3399 North Road, Web: www.hudsonrivervalley.org Poughkeepsie, NY 12601-1387 Subscription: The annual subscription rate is $20 a year (2 issues), $35 for two years (4 issues). -
Drum-Taps and Battle-Pieces
Reconciliation as Sequel and Supplement: Drum-Taps and Battle-Pieces PETER J. BELLIS University of Alabama at Birmingham Whitman and Melville could have ended their books of Civil War poems with the close of hostilities, but for both writers an additional movement toward reunification and reconciliation is required to give the war shape and meaning: Drum-Taps requires a sequel and Battle-Pieces a supplement. In both cases, however, thematic or conceptual completion brings formal disruption: reconciliation is deferred or displaced into a separate section of the text and marked by an all too visible scar or seam. The break in Whitman’s text marks the point between wartime conflict and postwar reconciliation, a necessary pivot in what he comes to see as a single temporal and psychological process. For Melville, on the other hand, reconciliation is blocked by the politicized struggle of Reconstruction, a discursive shift that leaves the volume not so much temporally incomplete as structurally flawed. Whitman sees reconciliation as a task that poetry can still accomplish, given time; Melville fears that it may lie beyond the reach of discourse altogether. Mickle Street Review 21 | Spring 2016 | 2 hy does Drum-Taps require a sequel, and Battle-Pieces a supplement? Walt Whitman and Herman Melville could simply have ended their books with W the close of Civil War hostilities, but each decides against it. For both of them, something more is needed to give the war shape and meaning: an additional movement toward reunification and reconciliation. But in both cases, thematic or conceptual completion brings formal disruption: reconciliation is deferred or displaced into a separate section of the text and marked by an all too visible scar or seam. -
The Long Island Historical Journal
THE LONG ISLAND HISTORICAL JOURNAL United States Army Barracks at Camp Upton, Yaphank, New York c. 1917 Fall 2003/ Spring 2004 Volume 16, Nos. 1-2 Starting from fish-shape Paumanok where I was born… Walt Whitman Fall 2003/ Spring 2004 Volume 16, Numbers 1-2 Published by the Department of History and The Center for Regional Policy Studies Stony Brook University Copyright 2004 by the Long Island Historical Journal ISSN 0898-7084 All rights reserved Articles appearing in this journal are abstracted and indexed in Historical Abstracts and America: History and Life The editors gratefully acknowledge the support of the Office of the Provost and of the Dean of Social and Behavioral Science, Stony Brook University (SBU). We thank the Center for Excellence and Innovation in Education, SBU, and the Long Island Studies Council for their generous assistance. We appreciate the unstinting cooperation of Ned C. Landsman, Chair, Department of History, SBU, and of past chairpersons Gary J. Marker, Wilbur R. Miller, and Joel T. Rosenthal. The work and support of Ms. Susan Grumet of the SBU History Department has been indispensable. Beginning this year the Center for Regional Policy Studies at SBU became co-publisher of the Long Island Historical Journal. Continued publication would not have been possible without this support. The editors thank Dr. Lee E. Koppelman, Executive Director, and Ms. Edy Jones, Ms. Jennifer Jones, and Ms. Melissa Jones, of the Center’s staff. Special thanks to former editor Marsha Hamilton for the continuous help and guidance she has provided to the new editor. The Long Island Historical Journal is published annually in the spring. -
WALT WHITMAN and the WOBBLIES a Thesis
ONE BIG UNION: WALT WHITMAN AND THE WOBBLIES A Thesis Presented to the faculty of the Department of English California State University, Sacramento Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in English (Literature) by Elizabeth Ann Ketelle FALL 2015 © 2015 Elizabeth Ann Ketelle ALL RIGHTS RESERVED ii ONE BIG UNION: WALT WHITMAN AND THE WOBBLIES A Thesis by Elizabeth Ann Ketelle Approved by: __________________________________, Committee Chair Nancy Sweet __________________________________, Second Reader Susan Wanlass ____________________________ Date iii Student: Elizabeth Ann Ketelle I certify that this student has met the requirements for format contained in the University format manual, and that this thesis is suitable for shelving in the Library and credit is to be awarded for the thesis. __________________________, Graduate Coordinator ___________________ David Toise Date Department of English iv Abstract of ONE BIG UNION: WALT WHITMAN AND THE WOBBLIES by Elizabeth Ann Ketelle In a dynamic interplay with the discourses of socialism, anarchism, humanism, and freethought in early twentieth century America, Walt Whitman’s texts helped to shape those forces while the texts themselves were re-shaped in the discourse. Chapter 1 discusses the process by which the British socialists appropriated Whitman’s poetry as their own. Chapter 2 traces the influence of Whitman’s literary executor, Horace Traubel, who shaped Whitman’s legacy as an American socialist. Chapter 3 explores how leaders of the radical left adapted Whitman’s memes to their own purposes, discussing Robert Ingersoll’s freethinker memes, Clarence Darrow’s humanist memes, Emma Goldman’s anarchist memes, and Eugene V. -
Whitman's Urban Kaleidoscope
Comunicação & Cultura, n.º 9, 2010, pp. 111-122 Whitman’s urban kaleidoscope Lara Duarte * Walt Whitman lived in the New York area for more than half his life, so it is perhaps not surprising that he should have declared his intention to chant urban life at the very outset of Leaves of Grass. “This is the City and I am one of its Citizens,” 1 he proclaims in the first untitled poem of the 1855 edition, later to become known as “Song of Myself,” thus laying the foundation stone of his reputation as the first American poet to celebrate the city. Most of the Poet’s life was spent in urban environments. In addition to the forty-two years he lived in and around New York, a further ten were spent in Washington D.C., where he moved in 1862, before settling in Camden, New Jersey, for the last twenty years of his life. Little wonder then that cityscapes and vignettes of urban scenes feature prominently in Whitman’s poetry and prose. In “City of Orgies” (PP 279), written in 1860, the Poet, who looked to the city as the future of American democracy, boasts “City whom that I have lived and sung in your midst will one day make you illustrious” and in the eleven lines of the poem “Broadway,” penned towards the end of his life (1888), he portrays the heady excitement of the rushed comings and goings of “hurrying human tides” and “endless sliding, mincing, shuffling feet,” which he considers to be “like the parti-colored world itself” (PP 624).