DOCSLIB.ORG

THE PEDDLER FIGURE in TH2 WORK of HAMLIN GARLAITD by PATRICIA EZHLL HENRY, B.A. a THESIS in ENGLISH Submitted to the Graduate Fa

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE PEDDLER FIGURE in TH2 WORK of HAMLIN GARLAITD by PATRICIA EZHLL HENRY, B.A. a THESIS in ENGLISH Submitted to the Graduate Fa THE PEDDLER FIGURE IN TH2 WORK OF HAMLIN GARLAITD by PATRICIA EZHLL HENRY, B.A. A THESIS IN ENGLISH Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requironents for tho Degree of MASTER or ARTS Approved Director Accepted ^M^y>^^i^^^dJ Dean of the Graduate(/^chool May, 1971 T3 )97l No.Z] ACKNOWLEDGMIMT I am grateful to Dr. Warren S. Walker for hie direction of tbie thesis. 11 TABLE OF CONTENTS Pago ACKNO'A'LEDGMENT ii CHAPTER I. A FOLK TYPE REFLECTING MILIEU 1 II. MEN ON THE MOVE 16 III. STROLLING PLAYERS 39 IV. BOOMERS 69 V. A SURRENDER TO ROMANTICISM 98 BIBLIOGRAPHY lO^ iii CHAPTER I A FOLK TYPE REFLECTING MILIEU Charming, cajoling, and bullying a bright path through Hamlin Garland's earlier fiction, the peddler figure, who appears as salesman, actor, and profiteer, is a broad folk type recast in the mold of Garland's milieu. At the author's hands the peddler, in his several guises, wins admiration for his ambition and punishment for his deceit. He deals in glittering illusions as he spreads civilization, for better or worse, along his route in the level land of the Middle Border. Then he disappears into the romantic haze of the mountain country of Garland's later fiction. Tin peddler or patent medicine faker, froa Doimeast or the Midwest, the peddler as a type displays distinctive characteristics. Students of American folklore recognize the peddler by his unabashed, often ruthless dedication to profit; by his shrewd wit, his clever masks, and his imperturbability in business transactions; by his colorful garb and hie charming ciannor (particularly with his women customers) which often win him hospitality as well as a sale. Traditioaally, the peddler cuts short his visit as soon as ho has exhausted his sales possibilities. Sometiaes he hastens to leave while his customers are still satisfied; but he is often reliable and honest, especially if his route is small. If he is sly, the peddler m:\y seem to keep company with the devil. This 1 means that he might read folks' minds or hypnotize them or tempt them into Satanic compacts. He might come and go mysteriously, perhaps in association with creatures like toads, snakes, cats, and Indians. Acquisitive, shrewd, adaptable, charming, poscibly Satanic—these characteristics appear in Garland's versions of the peddler type. To his large cast of peddlers. Garland assigns roles also characteristic of the typo. Wares and services hawked by Garland's peddlers are described by J.R. Dolan in The Yankee Peddlers of Early America; books, dry goods, patent medicine, mail delivery, entertainment, news, religion, and real estate. Garland, ambitious and adventurous himself, attempted several of these peddlers' roles. His autobiographies and diaries reveal a determined man of unusual physical and mental hardihood. These traits, which sustained him on vairious peddler routes of his youth, appear in his fictional peddlers. Toward the close of his life. Garland, having sought adventure from Mexico to Europe, reminisced: "I have had an 2 exceptionally varied and fortunate experience." Undoubtedly, he gained much of this experience on his peddler treks. Taking to the road seemed to Garland a logical start for an American. He admired James Whitcomb Riley's youthful escapade ^(New York, 196if). 2 Companions on the Trail (New York, 1931), p. k—subsequent references, Conn. traveling with "a patent medicine man who needed a painter"; to attract crowds, Riley pretended to be a blind sign painter. 3 G€U*land found the adventure "Western and democratic." Garland first attempted peddling during an Iowa winter: Nothing offered and so I turned (as so many young men similarly placed have done), toward a very common yet difficult job. I attempted to take subscriptions for a book. After a few days' experience in a neighboring town I decided that whatever else I might be fitted for in this world, I was not intended for a book agent.^ Although Garland missed his calling as a book agent, he allows his fictional peddler, James Hartley in "A Stop-Over at Tyre," unqualified success. Garland eilso failed in his next sales job as a clerk in his father's little general store on the Dcuvota frontier. Garland and his brother, Frank, temporarily operated the iso­ lated store in a situation like that of Rob Bailey and Jim Rivers in The Moccasin Ranch. Of this episode Garland ssiid that Frank "was a very bad salesman, but I was worse." If a man wanted to purchase an article and had the money to pay for it, we exchanged commodities right there, but as far as my selling anything—father used to say, "Hamlin couldn't sell gold dollars for ninety cents a piece," and he was right—entirely right. Hamlin reasoned that he "had nothing of the politician in me, I seldom inquired after the babies or gossiped with the old women •^RoaOf^ide Meetings (New York, 1930) > PP« 228-230—subsequent references, RM« ^A LiSJl 91 ^hl Middle Border (New York, 1917), p. 217-- subsequent references, Son. about their health and housekeeping" (Son, p. Z3S). Meanwhile, Frank, "much more gallant than I" and an attraction for "all the school ma'ams of the neighborhood," was playing a true peddler's part as mail carrier. The description of Frank's arrival at the general store with the mail is similar to that of mail carrier Rivers: "The raising of a flag on a high pole before the door was the signsd for the post which brought the women pouring in from every direction eager for news of tho eastern world" (Son, p. 259). Garland enjoyed a brief career as a traveling actor. With fellow seminary students he took a play on tour to neighboring towns of St. Ansgar and Mitchell, Iowa. "We played with 'artistic success'—that is to say, we lost some eighteen dollars" (Son, p. 180), Undoubtedly a talented entertainer. Garland proved a success on the lecture stage. During his dreary Dakota residence, he "dreamed of touring the west as a lecturer" (Son, p. 219). With Frank as his agent, he gave his first lecture at Cyone. "We attempted to do that which an older and fully established lecturer would not have ventured. We tried to secure an audience with only two days' advance work, and of course we failed" (Son, p. 220). In later years his readings and lectures on literature, politics, and the frontier 5 became "a large part of my potboiling activities." Reviewing a lifetime of platform appearances. Garland wrote, "Many of these trips were meager in money returns, but they were rich in 5 •^My Friendly Conto:nporaries (New York, 1932), p. 7. experiences" (Comp., p. 3)• Garland as a youth shared the exhilaration of the land boom atmosphere. The sale of his own Dakota homestead helped finance his initial study in Boston. "Out there is my share of the government Ismd—and, if I am to carry out my plan of fitting myself for a professor­ ship," I argued--"these claims are worth securing. My rights to the public domain are as good as any other man's" (Son, p. Z^3)> Land was a commodity to Garland, just as to his fictional boomers. To a man. Garland's fictional peddlers face situations peculiar to the author's milieu. Writing effectively, in Garland's opinion, mesint being "true to yourself, true to your locality, and true to your time.'' Garland conscientiously chose American settings for his work. His fictional spokesman, Albert Seagraves, echoes this idea of environmental influence: "No other climate, sky, plain, could produce tho same unnamable weird charm." Seagraves exclaims, "'It is American,'" adding, "'No other time can match this mellow aiir, this wealth of 7 color, much less the strange social conditions of life.'" The peddler figure in Garland's fiction is a representative of this special society. Garland incorporaten many aspects of milieu into his work, Crurabling Idols (Cambridge, Mass., I960), p. 30. 7 '"Among the Corn-Rows," Main-Travelled Roads (New York, 195'+), pp. 103-105—subsequent references to this edition, wiiich is tciken from the I89I first edition, M-TG-1. but his peddlers experience, to varying degrees, five distinct influences. First, a peddler, moral or immoral, accepts the responsibility for his ovai success. Headed east or west, he also shaxes an American fascination with optimism and luck. Whether or not he has an eye for the beauty of nature, he is subject to the overwhelming forces of the physical universe which maiy line his pockets or, like an avenging deity, convict him of his misdeeds. Even if the peddler lacks a social con­ science, he confronts social problems such as the poverty of farmers and the oppression of women. Finally, as a repre­ sentative of commercialism and other aspects of civilization, he contributes to tho disappearance of the frontier. Personal ambition motivates each of Garland's peddlers. For many peddlers itineracy was, in Richardson V/right's words, o "the first step in the amassing of a fortune." Thomas A. Bledsoe relates this quality of ambition to Garland and his work: "It is agaiinst the backdrop of tho American Dreajn, of the right and responsibility of every man to be free, to succeed, 9 that Gsirland's tragedies display themselves." To Garland the peddler type may have suggested "'the dominant type of man'" of Garland's own generation, "'the business man.'" Garland, on tho threshold of his career as fictionist, described this type as "'irresistible, restless, whose raiment fits him with Q Hawkers and Walkers in Early America (Philadelphia, 1927), p. ZZ.
Load more

Recommended publications
  • Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South
    Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South.
    [Show full text]
  • European Journal of American Studies, 5-4 | 2010 “Don’T Be Frightened Dear … This Is Hollywood”: British Filmmakers in Early A
    European journal of American studies 5-4 | 2010 Special Issue: Film “Don’t Be Frightened Dear … This Is Hollywood”: British Filmmakers in Early American Cinema Ian Scott Electronic version URL: https://journals.openedition.org/ejas/8751 DOI: 10.4000/ejas.8751 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference Ian Scott, ““Don’t Be Frightened Dear … This Is Hollywood”: British Filmmakers in Early American Cinema”, European journal of American studies [Online], 5-4 | 2010, document 5, Online since 15 November 2010, connection on 08 July 2021. URL: http://journals.openedition.org/ejas/8751 ; DOI: https://doi.org/10.4000/ejas.8751 This text was automatically generated on 8 July 2021. Creative Commons License “Don’t Be Frightened Dear … This Is Hollywood”: British Filmmakers in Early A... 1 “Don’t Be Frightened Dear … This Is Hollywood”: British Filmmakers in Early American Cinema Ian Scott 1 “Don't be frightened, dear – this – this – is Hollywood.” 2 Noël Coward recited these words of encouragement told to him by the actress Laura Hope-Crews on a Christmas visit to Hollywood in 1929. In typically acerbic fashion, he retrospectively judged his experiences in Los Angeles to be “unreal and inconclusive, almost as though they hadn't happened at all.” Coward described his festive jaunt through Hollywood’s social merry-go-round as like careering “through the side-shows of some gigantic pleasure park at breakneck speed” accompanied by “blue-ridged cardboard mountains, painted skies [and] elaborate grottoes peopled with several familiar figures.”1 3 Coward’s first visit persuaded him that California was not the place to settle and he for one only ever made fleeting visits to the movie colony, but the description he offered, and the delicious dismissal of Hollywood’s “fabricated” community, became common currency if one examines other British accounts of life on the west coast at this time.
    [Show full text]
  • Blaxploitation and the Cinematic Image of the South
    Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South.
    [Show full text]
  • Official Report-1944
    OFFICIAL REPORT-1944 THE AMERICAN ASSOCIATION OF SCHOOL ADMINISTRATORS A Department of the X.nJoml Education As.sociation of the United St;ucs 57^,. WARTIME CONFERENCES ON EDUCATION r H E M E /fvy Tk Pt'oplc'5 Scliools m War awA Peace Seattle • Atlanta • Islew York • Chicago • Kansas City UNIVERSITY OF FLORIDA LIBRARIES EDUCATION LIBRARY OFFICIAL REPORT Wartime Conferences on Education STATE ri^T ;Vf '• ^^ "^^ AND «-**—— ••*- >»Aii>i£SV|iajB, ^^j^ FLA. SEATTLE January 10-12, 1944 ATLANTA February 15-17, 1944 NEW YORK February 22-24, 1944 CHICAGO February 18-March 1, 1944 KANSAS CITY March 8-10, 1944 THE.AMERICAN ASSOCIATION OF SCHOOL ADMINISTRATORS A Department of the National Fducation Association of the United States 1201 SIXTEENTH STREET, NORTHWEST, WASHINGTON 6, D. C. March 1944 PRICE, $1 PER COPY : J 7^. Cr rDOCATIOS LfBBlil N FEBRUARY 1940, the railroad yards at St. Louis were filled with the special trains and extra Pullmans handling the convention travel of the American Associa- tion of School Administrators. Special trains and extra Pullmans for civilians were early war casualties. In February 1941, two hundred and eighty-two firms and organi- zations participated in the convention exhibit of the American Association of School Administrators in the Atlantic City Audi- torium. Today, the armed forces are occupying that entire audito- rium, one of the largest in the world. In February 1942, the official count showed that 12,174 persons registered at the San Francisco convention. The housing bureau assigned 4837 hotel sleeping rooms. *Now every night in San Francisco, long lines of people stand in hotel lobbies anxiously seeking a place to sleep.
    [Show full text]
  • The Human Use of Human Beings
    THE HUMAN USE OF HUl\IAN BEINGS This is one of the fundamental documents of our time, a period characterized by the concepts of 'information' and 'communica­ tions'. Norbert Wiener, a child prodigy and a great mathematician, coined the term 'cybernetics' to characterize a very general science of 'control and communication in the animal and machine'. It brought together concepts from engineering, the study of the nervous system and statistical mechanics (e.g. entropy). From these he developed concepts that have become pervasive through science (especially biology and computing) and common parlance: 'in­ formation', 'message', 'feedback' and 'control'. He wrote, 'the thought of every age is reflected in its technique ... If the seventeenth and early eighteenth centuries are the age of clocks, and the later eighteenth and nineteenth centuries constitute the age of steam engines, the present time is the age of communication and control.' In this volume Norbert Wiener spells out his theories for the general reader and reflects on the social issues raised by the dramatically increasing role of science and technology in the new age - the age in which we are now deeply and problematically embroiled. His cautionary remarks are as relevant now as they were when the book first appeared in the 1950s. Norbert Wiener (1894-1964), Professor of Mathematics at the Massachusetts Institute of Technology from 1919 onwards, wrote numerous books on mathematics and engineering. Having de­ veloped methods useful to the military during World War Two, he later refused to do such work during the Cold War, while proposing non-military models of cybernetics.
    [Show full text]
  • Cowboy Politics: the Changing Frontier Myth and the Presidencies Of
    COWBOY POLITICS: THE CHANGING FRONTIER MYTH AND PRESIDENCIES OF THEODORE ROOSEVELT, LYNDON JOHNSON, RONALD REAGAN AND GEORGE W. BUSH A Dissertation Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Interdisciplinary Studies Graduate Program UNIVERSITY OF SASKATCHEWAN SASKATOON BY DAVID ALEXANDER SMITH © Copyright David Alexander Smith, April 2016. All rights reserved. PERMISSION TO USE In presenting this dissertation in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this dissertation in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my dissertation work or, in their absence, by the Head of the Department or the Dean of the College in which my dissertation work was done. It is understood that any copying or publication of use of this dissertation or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my dissertation. DISCLAIMER Reference in this dissertation to any specific commercial products, process, or service by trade name, trademark, manufacturer, or otherwise, does not constitute or imply its endorsement, recommendation, or favouring by the University of Saskatchewan. The views and opinions of the author expressed herein do not state or reflect those of the University of Saskatchewan, and shall not be used for advertising or product endorsement purposes.
    [Show full text]
  • Angela M. Ross
    The Princess Production: Locating Pocahontas in Time and Place Item Type text; Electronic Dissertation Authors Ross, Angela Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 20:51:52 Link to Item http://hdl.handle.net/10150/194511 THE PRINCESS PRODUCTION: LOCATING POCAHONTAS IN TIME AND PLACE by Angela M. Ross ________________________ A Dissertation Submitted to the Faculty of the DEPARTMENT OF COMPARATIVE CULTURAL AND LITERARY STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2008 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Angela Ross entitled The Princess Production: Locating Pocahontas in Time and Place and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. _______________________________________________________________________ Date: 11/03/2008 Susan White _______________________________________________________________________ Date: 11/03/2008 Laura Briggs _______________________________________________________________________ Date: 11/03/2008 Franci Washburn Final approval
    [Show full text]
  • The Branagh Film
    SYDNEY STUDIES IN ENGLISH DEPARTMENT OF ENGLISH UNIVERSITY OF SYDNEY Volume 36, 2010 PENNY GAY: ‗A Romantic Musical Comedy‘ for the Fin-de-Siecle: Branagh‘s Love’s Labour’s Lost 1 BEN JUERS: Slapstick and Self-Reflexivity in George Herriman‘s Krazy Kat 22 JULIAN MURPHET: Realism in The Wire 52 LUKE HARLEY: An Apollonian Scream: Nathaniel Mackey‘s Rewriting of the Coltrane Poem in ‗Ohnedaruth‘s Day Begun‘ 77 REBECCA JOHINKE: Uncanny Carnage in Peter Weir‘s The Cars That Ate Paris 108 77 PETER KIRKPATRICK: Life and Love and ‗Lasca‘ 127 MARK BYRON: Digital Scholarly Editions of Modernist Texts: Navigating the Text in Samuel Beckett‘s Watt Manuscripts 150 DAVID KELLY: Narrative and Narration in John Ford‘s The Searchers 170 Editor: David Kelly Sydney Studies in English is published annually, concentrating on criticism and scholarship in English literature, drama and cinema. It aims to provide a forum for critical, scholarly and applied theoretical analysis of text, and seeks to balance the complexities of the discipline with the need to remain accessible to the wide audience of teachers and students of English both inside and outside the university. Submissions of articles should be made online at http://escholarship.library.usyd.edu.au/journals/index.php/SSE/about/sub missions#onlineSubmissions Each article will be read by at least two referees. Sydney Studies in English is published in association with the Department of English, University of Sydney, NSW 2006, Australia. Visit the Department‘s homepage at: http://sydney.edu.au/arts/english/ ISSN: 0156-5419 (print) ISSN: 1835-8071 (online) Sydney Studies in English 36 Special Edition: The Texts of Contemporary English Studies This volume of Sydney Studies in English is concerned with the changing nature of the text for the study of English.
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • Cold War Rivalry and the Perception of the American West
    COLD WAR RIVALRY AND THE PERCEPTION OF THE AMERICAN WEST: WHY BOTH WESTERNERS AND EASTERNERS BECAME COWBOYS AND INDIANS by PAWEL GORAL Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT ARLINGTON May 2012 Copyright © by Pawel Goral 2012 All Rights Reserved ii ACKNOWLEDGMENTS I would like to thank my committee members: Drs. Thomas Adam (Chair), Joyce Goldberg, Sam W. Haynes, Meredith McClain, and Steven G. Reinhardt. I would also like to thank other professors who also influenced my work along the way: Eric Bolsterli, Kim Breuer, Stephanie Cole, Imre Demhardt, Marvin Dulaney, Robert Fairbanks, John Garrigus, George Green, Donald Kyle, Stephen Maizlish, Christopher C. Morris, Stanley H. Palmer, Dennis Reinhartz, Stephen Stillwell, Jr. Our departmental staff have been priceless in helping me navigate through the program. I thank Robin Deeslie, Ami Keller, Wanda Stafford, and James Cotton. I thank the staff at the Central Library, especially those in charge of interlibrary loan processing. I thank for the invaluable help I received at the archives at Textarchiv des Deutschen Filminstituts / Deutschen Filmmuseums, Frankfurt, Archiv der Berlin- Brandenburgischen Akademie der Wissenschaften (ABBAW), and Bundesarchiv, Berlin. My now three year old daughter, Anna, provided helpful entertainment as I progressed through the writing process. My parents, although thousands of miles away, have stood by me all this time. But the person who made it all possible was my wife, Andrea. I hereby postulate that the spouses of doctoral students should be awarded an iii honorary degree for all the sacrifice it requires to endure.
    [Show full text]
  • The Life of John Marshall
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com ^V^YNBSdURG COLLEGE JUNIONTOWN CENTER THE LIFE OF JOHN MARSHALL &tanfcati> fti&rarp <2£iritton IN FOUR VOLUMES VOLUME I JOHN MARSHALL AT 43 From a miniature painted in Paris THE LIFE OF JOHN MARSHALL BY ALBERT J. BEVEEIDGE Volume I FBONTIERSMAN, SOLDIEB LAWMAKER 1755-1788 BOSTON AND NEW YORK HOUGHTON MIFFLIN COMPANY THE PENNSYLVANIA STATE ^IVERSITX COMMONWEALTH CAMPUSES LIBRARIES^ FAYETTE CAMPUS. — COPYIUOBT, I9I0, DT ALBERT J. BEVBMDGt IOIO, BY HOUGHTON MIFFLIN COMPANV ALL RIGHTS RISEKVBD PREFACE The work of John Marshall has been of supreme importance in the development of the American Nation, and its influence grows as time passes. Less is known of Marshall, however, than of any of the great Americans. Indeed, so little has been written of his personal life, and such exalted, if vague, en comium has been paid him, that, even to the legal profession, he has become a kind of mythical being, endowed with virtues and wisdom not of this earth. He appears to us as a gigantic figure looming, indis tinctly, out of the mists of the past, impressive yet lacking vitality, and seemingly without any of those qualities that make historic personages intelligible to a living world of living men. Yet no man in our history was more intensely human than John Mar shall and few had careers so full of movement and color. His personal life, his characteristics and the incidents that drew them out, have here been set forth so that we may behold the man as he appeared to those among whom he lived and worked.
    [Show full text]
  • Contents PROOF
    PROOF Contents List of Illustrations viii Acknowledgements ix Prologue: From Pinewood to Hollywood 1 Introduction: The British Connection: Themes and Theory 6 1 Early Invaders: The First British Wave 30 2 Sound and Vision: British Filmmakers and the Politics of Pre-War Hollywood 63 3 Movies for the Masses: The British in the Second World War 107 4 Post-War Directions: Ealing Escapism and the Menace of McCarthy 127 5 Atlantic Crossing 152 Notes 174 Select Bibliography 185 Index 189 vii July 22, 2010 7:29 MAC/PNL Page-vii 9780230_229235_01_prex PROOF 1 Early Invaders: The First British Wave “I went to Worthing to recover from Hollywood.” Playwright and screenwriter Edward Knoblock’s quote about wanting to get away from California after a spell in the film community appears to match much of the British reaction to Hollywood in the formative years Illustration 3 Edward Knoblock, 4th from left relaxing with friends. Photograph reproduced courtesy of the National Portrait Gallery, London. 30 July 22, 2010 7:50 MAC/PNL Page-30 9780230_229235_04_cha01 PROOF Early Invaders: The First British Wave 31 of film. What drove Knoblock to the Sussex seaside town after the expo- sure of Los Angeles is not entirely clear, but the impulse to retreat to a world of quintessential Englishness has often appeared to be the rai- son d’être for many British writers and directors of the era who were quickly appalled by the brash commercialism of the Hollywood film industry. In Knoblock’s case, it was an even more fascinating compunc- tion that took hold of him because he was American born (originally Edward Knoblauch of German parents in New York in 1874), but ended up residing in Britain for much of his life.
    [Show full text]