Washington Irving Encyclopedia of World Biography
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The Purloined Life of Edgar Allan Poe by Jeffrey Steinberg Edgar Allan Poe
Click here for Full Issue of Fidelio Volume 15, Number 1-2, Spring-Summer 2006 EDGAR ALLAN POE and the Spirit of the American Republic The Purloined Life Of Edgar Allan Poe by Jeffrey Steinberg Edgar Allan Poe great deal of what people think they know about dark side, and the dark side is that most really creative Edgar Allan Poe, is wrong. Furthermore, there geniuses are insane, and usually something bad comes of Ais not that much known about him—other than them, because the very thing that gives them the talent to that people have read at least one of his short stories, or be creative is what ultimately destroys them. poems; and it’s common even today, that in English liter- And this lie is the flip-side of the argument that most ature classes in high school—maybe upper levels of ele- people don’t have the “innate talent” to be able to think; mentary school—you’re told about Poe. And if you ever most people are supposed to accept the fact that their lives got to the point of being told something about Poe as an are going to be routine, drab, and ultimately insignificant actual personality, you have probably heard some sum- in the long wave of things; and when there are people mary distillation of the slanders about him: He died as a who are creative, we always think of their creativity as drunk; he was crazy; he was one of these people who occurring in an attic or a basement, or in long walks demonstrate that genius and creativity always have a alone in the woods; that creativity is not a social process, but something that happens in the minds of these ran- __________ domly born madmen or madwomen. -
Little Journeys to the Homes of Great Business Men by Elbert Hubbard
LITTLE JOURNEYS TO THE HOMES OF GREAT BUSINESS MEN BY ELBERT HUBBARD JOHN J. ASTOR The man who makes it the habit of his life to go to bed at nine o'clock, usually gets rich and is always reliable. Of course, going to bed does not make him rich--I merely mean that such a man will in all probability be up early in the morning and do a big day's work, so his weary bones put him to bed early. Rogues do their work at night. Honest men work by day. It's all a matter of habit, and good habits in America make any man rich. Wealth is a result of habit. --JOHN JACOB ASTOR LITTLE JOURNEYS Victor Hugo says, ``When you open a school, you close a prison.'' This seems to require a little explanation. Victor Hugo did not have in mind a theological school, nor yet a young ladies' seminary, nor an English boarding-school, nor a military academy, and least of all a parochial institute. What he was thinking of was a school where people--young and old-- were taught to be self-respecting, self-reliant and efficient--to care for themselves, to help bear the burdens of the world, to assist themselves by adding to the happiness of others. Victor Hugo fully realized that the only education that serves is the one that increases human efficiency, not the one that retards it. An education for honors, ease, medals, degrees, titles, position--immunity--may tend to exalt the individual ego, but it weakens the race and its gain on the whole is nil. -
Beyond the American Landscape: Tourism and the Significance of Hawthorne’S Travel Sketches
The Japanese Journal of American Studies, No. 27 (2016) Copyright © 2016 Toshikazu Masunaga. All rights reserved. This work may be used, with this notice included, for noncommercial purposes. No copies of this work may be distributed, electronically or otherwise, in whole or in part, without permission from the author. Beyond the American Landscape: Tourism and the Significance of Hawthorne’s Travel Sketches Toshikazu MASUNAGA* INTRODUCTION: 1832 After graduating from Bowdoin College in 1825, Nathaniel Hawthorne went back to his hometown, Salem, Massachusetts, where he concentrated on writing in order to become a professional writer. His early masterpieces such as “Young Goodman Brown” and “My Kinsman, Major Molineux” were written during the so-called solitary years from 1825 to 1837, and he viewed those Salem years of his literary apprenticeship as “a form of limbo, a long and weary imprisonment” (Mellow 36). But biographers of Hawthorne point out that this self-portrait of a solitary genius was partly invented by his “self-dramatizations” (E. H. Miller 87) to romanticize his younger days. In fact, he maintained social engagements, and his sister Elizabeth testified that “he was always social” (Stewart 38). He was more active and outgoing than his own fabricated self-image, and he even made several trips with his uncle Samuel Manning as well as by himself.1 While strenuously writing tales, he undertook an American grand tour alone, traveling around New England and upstate New York in 1832. He was one of those tourists who rushed to major tourist destinations of the day such as the Hudson Valley, Niagara Falls, and the White Mountains in order *Professor, Kwansei Gakuin University 1 2 TOSHIKAZU MASUNAGA to spend leisure time and to find cultural significance in the scenic beauty of the American natural landscape. -
The Carlyle Society
THE CARLYLE SOCIETY SESSION 2006-2007 OCCASIONAL PAPERS 19 • Edinburgh 2006 President’s Letter This number of the Occasional Papers outshines its predecessors in terms of length – and is a testament to the width of interests the Society continues to sustain. It reflects, too, the generosity of the donation which made this extended publication possible. The syllabus for 2006-7, printed at the back, suggests not only the health of the society, but its steady move in the direction of new material, new interests. Visitors and new members are always welcome, and we are all warmly invited to the annual Scott lecture jointly sponsored by the English Literature department and the Faculty of Advocates in October. A word of thanks for all the help the Society received – especially from its new co-Chair Aileen Christianson – during the President’s enforced absence in Spring 2006. Thanks, too, to the University of Edinburgh for its continued generosity as our host for our meetings, and to the members who often anonymously ensure the Society’s continued smooth running. 2006 saw the recognition of the Carlyle Letters’ international importance in the award by the new Arts and Humanities Research Council of a very substantial grant – well over £600,000 – to ensure the editing and publication of the next three annual volumes. At a time when competition for grants has never been stronger, this is a very gratifying and encouraging outcome. In the USA, too, a very substantial grant from the National Endowment for the Humanities means that later this year the eCarlyle project should become “live” on the internet, and subscribers will be able to access all the volumes to date in this form. -
639 Bedford Rd Pocantico Hills, NY 10591 [email protected] Library
639 Bedford Rd Pocantico Hills, NY 10591 [email protected] Library The Rollin G. Osterweis Washington Irving Collection Finding Aid Collection Overview Title: The Rollin G. Osterweis Washington Irving Collection, 1808-2012 (bulk 1808-1896) Creator: Osterweis, Rollin G. (Rollin Gustav), 1907- Extent : 159 volumes; 1 linear foot of archival material Repository: Historic Hudson Valley Library and Archives Abstract: This collection holds 159 volumes that make up the Rollin G. Osterweis Collection of Irving Editions and Irvingiana. It also contains one linear foot of archival materials related to the collection. Administrative Information Preferred Citation: Item title. (date) City: Publisher [if applicable]. The Rollin G. Osterweis Washington Irving Collection, 1808-2012, (Date of Access). Historic Hudson Valley Library and Archives. Historic Hudson Valley. Provenance: This collection was created by Rollin Gustav Osterweis and donated to Historic Hudson Valley by Ruth Osterweis Selig. 18 December 2012. Access: This collection is open for research with some restrictions based on the fragility of certain materials. Research restrictions for individual items are available on request. For more information contact the Historic Hudson Valley librarian, Catalina Hannan: [email protected]. Copyright: Copyright of materials belongs to Historic Hudson Valley. Permission to reprint materials must be obtained from Historic Hudson Valley. The collection contains some material copyrighted by other organizations and individuals. It is the responsibility of the researcher to obtain all permission(s) related to the reprinting or copying of materials. Processed by: Christina Neckles Kasman, February-August 2013 Osterweis Irving Collection - 1 Biographical Note Rollin Gustav Osterweis was a native of New Haven, Connecticut, where his grandfather had established a cigar factory in 1860. -
Common Place: Rereading 'Nation' in the Quoting Age, 1776-1860 Anitta
Common Place: Rereading ‘Nation’ in the Quoting Age, 1776-1860 Anitta C. Santiago Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Anitta C. Santiago All rights reserved ABSTRACT Common Place: Rereading ‘Nation’ in the Quoting Age, 1776-1860 Anitta C. Santiago This dissertation examines quotation specifically, and intertextuality more generally, in the development of American/literary culture from the birth of the republic through the Civil War. This period, already known for its preoccupation with national unification and the development of a self-reliant national literature, was also a period of quotation, reprinting and copying. Within the analogy of literature and nation characterizing the rhetoric of the period, I translate the transtextual figure of quotation as a protean form that sheds a critical light on the nationalist project. This project follows both how texts move (transnational migration) and how they settle into place (national naturalization). Combining a theoretical mapping of how texts move and transform intertextually and a book historical mapping of how texts move and transform materially, I trace nineteenth century examples of the culture of quotation and how its literary mutability both disrupts and participates in the period’s national and literary movements. In the first chapter, I engage scholarship on republican print culture and on republican emulation to interrogate the literary roots of American nationalism in its transatlantic context. Looking at commonplace books, autobiographies, morality tales, and histories, I examine how quotation as a practice of memory impression functions in national re-membering. -
The Legend of Sleepy Hollow Adapted by Catherine Bush from the Short Story by Washington Irving *Especially for Grades 4-11
Study Guide prepared by Catherine Bush Barter Playwright-in-Residence The Legend of Sleepy Hollow Adapted by Catherine Bush from the short story by Washington Irving *Especially for Grades 4-11 By the Barter Players, Barter’s Smith Theatre Fall, 2019 On tour January thru March, 2020 (NOTE: standards are included for reading the story The Legend of Sleepy Hollow, seeing a performance of the play, and completing the study guide.) Virginia SOLs English – 4.1, 4.2, 4.4, 4.5, 4.7, 4.9, 5.1, 5.2, 5.4, 5.5, 5.7, 5.9, 6.1, 6.2, 6.4, 6.5, 6.7, 6.9, 7.1, 7,2, 7.4, 7.5, 7.7, 7.9, 8.1, 8.2, 8.4, 8.5, 8.7, 8.9, 9.1, 9.3, 9.4, 9.6, 9.8, 10.1, 10.3, 10.4, 10.6, 10.8, 11.1, 11.3, 11.4, 11.6, 11.8 Theatre Arts – 6.5, 6.7, 6.18, 6.21, 7.6, 7.18, 7.20, 8.5, 8.12, 8.18, 8.22, TI.10, TI.11, TI.13, TI.17, TII.9, TII.12, TII.15, TII.17, TIII.12 Tennessee/North Carolina Common Core State Standards English Language Arts – Reading Literature: 4.3, 4.4, 4.5, 4.7, 5.4, 5.9, 6.4, 6.7, 6.10, 7.4, 7.7, 7.10, 8.4, 8.7, 8.10, 9-10.4, 9-10.10, 11-12.4, 11-12.7, 11-12.10 English Language Arts – Writing: 4.3, 4.7, 5.3, 5.9, 6.1, 6.4, 6.6, 6.7, 7.1, 7.3, 7.7, 8.1, 8.3, 8.7, 9-10.1, 9-10.3, 9-10.7, 11-12.2, 11-12.1, 11-12.3, 11-12.7 Tennessee Fine Arts Curriculum Standards Theatre –4.T.P3, 4.T.Cr2, 4.T.Cr3, 4.T.R1, 4.T.Cn1, 5.T.P3, 5.T.Cr2, 5.T.R1 Theatre 6-8 – 6.T.Cr2, 6.T.R1, 6.T.R3, 7.T.P3, 7.T.Cr2, 7.T.R3, 8.T.P3, 8.T.R1, 8.T.R3 Theatre 9-12 – HS3.T.Cr3, HS1.T.R1, HS2.T.R1, HS1.T.R1, HS1.T.R2, HS1.T.R3 North Carolina Essential Standards Theatre Arts – 4.C.1, 4.A.1, 5.A.1, 6.A.1, 6.C.2, 6.CU.2, 7.C.2, 7.A.1. -
University Microfilms
INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating' adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
The Art of Literary Tourism: an Approach to Washington Irvings "Sketch Book"
The Art of Literary Tourism: An Approach to Washington Irvings "Sketch Book" DAVID SEED WEN The Sketch Book of Geoffrey Crayon first appeared in Britain it was received with magisterial surprise by Francis Jeffrey who saw it as a turning-point in American literature. He expresses surprise that a work written by an American and originally published in America "should be written throughout with the greatest care and accuracy, and worked up to great purity and beauty of diction," and then continues: It is the first American work, we rather think of any description, but certainly the first purely literary production, to which we could give this praise; and we hope and trust that we may hail it as the harbinger of a purer and juster taste.... for the writers of that great and intelligent country.1 Jeffrey hesitates here because, as other critics of the 1818-1820 period recognized, the only other American work which might measure up to this praise was Franklin's Autobiography. It is particularly significant that he should point out the historical importance of The Sketch Book in Anglo-American literary relations before he comments on the book's intrinsic merits. William Cullen Bryant followed exactly the same procedure in his i860 address on Irving.2 Of course it is theoretically possible that Irving's miscellany might have gained this recognition, a recognition which masks the origin of its status as an American classic, without external circumstances having any direct effect on the book itself. But such is not the case. In Bracebridge Hall (1822), the sequel to The Sketch Book, Irving expresses amused surprise at the way the earlier work was received: "It has been a matter of marvel, that a man from the wilds of America should express himself in 68 DAVID SEED tolerable English."3 In both works Irving gently ridicules the prejudiced expectations on the part of an average British reader that he will have to cope with some kind of wild or uncouth writer by adopting a stance of conscious urbanity. -
Origins of the Name)
KNICKERBOCKER HISTORY (Some Thoughts on the Origins of the Name) "This was the only answer we could ever get from him; and as my wife, by some of those odd ways in which women find out everything, learned that he was of very great connections, being related to the Knickerbockers of Schaghticoke, and cousin-german to the congressman of that name, she did not like to treat him uncivilly." These words penned by Washington Irving in his famous novel-parody Knickerbocker's History of New York of 1809 launched the Knickerbacker name. A name, until that time, of an obscure clan of Dutchmen in central New York State became the famous Knickerbocker moniker adopted by old gentlemen on beer bottles and major league basketball teams. A name now most famous throughout New York and the United States. The name, spelled with the "O", has become synonymous with everything 17th century New York Dutch. How bewildering it was growing up always fielding the question "Are you related to the beer company?" and if so, it would seem that we all must be quite rich. I finally decided after all these years to investigate the origins of our seemingly famous family. Cousin Harry "Babe" Pinney and his foray into the Pinney family tree, pushed me into taking a basic genealogy class at The Connecticut Society of Genealogists on Maple Street in East Hartford, CT. My spare time has not been the same since. I've collected several thousand Knickerbockers and I'm trying to make as much sense as possible of these family connections over the last three hundred odd years. -
Irving's Posterity
IRVING’S POSTERITY BY MICHAEL WARNER Like the narrators of all his major books—Geoffrey Crayon, Diedrich Knickerbocker, Jonathan Oldstyle, Fray Antonio Agapida—Washington Irving was a bachelor. In a sketch called “Bachelors” he wrote, “There is no character in the comedy of human life that is more difficult to play well, than that of an old Bachelor.”1 Reinventing that role was the project he took on, more or less consciously, from an early age. As a young man, he belonged to an intimate circle of bachelors (“Cockloft,” they called it) with whom he wrote Salmagundi; when the others married, he wrote with unusual passion about his abandonment. He then came to regard his writing career as an alternative to marriage. As an old man, he maintained himself at Sunnyside, his estate on the Hudson, as a surrogate patriarch to his nieces, his bachelor brother, miscellaneous dependents, and American letters in general. It was a role he played with success; before his death he was almost universally credited as “Patriarch of American literature” and “literary father of his country,” a pseudo-paternity most famously illustrated in the so-called Sunnyside portrait. When he died, he would be eulogized as “the most fortunate old bachelor in all the world.”2 Yet bachelorhood was something he consistently regarded as anoma- lous, problematic, and probably immoral. Irving claimed as early as 1820 that his natural inclination was to be “an honest, domestic, uxorious man,” and that matrimony was indispensable to happiness.3 Over twenty years later, he wrote, “I have no great idea of bachelor hood and am not one by choice. -
Symbolism in “Rip Van Winkle” by Washington Irving
PEOPLE’S DEMOCRATIC REPUBLIC OF ALGERIA Ministry of Higher Education and Scientific Research University of Tlemcen Faculty of Letters and Foreign Languages Department of Foreign Languages Section of English Symbolism in “Rip Van Winkle” by Washington Irving Dissertation Submitted to the Department of English as a partial Fulfillment for the Degree of “Master” in Literature and Civilization Presented by Supervised by Miss. Fatima Zahra BERROUKECHE Dr. Wassila MOURO Mrs. Souad BERBER Academic Year 2015/2016 Dedication I dedicate this work to my precious mother, the source of kindness and tenderness, my father, and dearest friends. I Acknowledgements My extreme appreciation and gratitude are addressed to my respectable teachers and supervisors Dr. Wassila MOURO who was abundantly helpful and supplied priceless support and to Mrs Souad BERBER for her patience, advice and guidance without which I could not have accomplished this task of research. My deepest thanks go to the respectful members of the jury who offered me the honor of evaluating this work. I would like to express my sincere and warm thanks to Mr. Mustapha OUSSAR who granted me his help and advice, additionally, I would like to express my appreciation to my dearest Amel RAHMOUNI who supported me and never hesitated to stand by my side. Furthermore, I have to acknowledge all my friends for the nice times that we spent together helping each other. II Abstract In American literature, Washington Irving’s “Rip Van Winkle” (1819) is an interesting symbolic tale, in which symbolism has been touched in every single corner in it. The objective of this work is to examine symbols in this short story that are used to interpret significant historical events in the American history, which were the American society’s conditions before and after gaining its independence.