Mark Twain's Boyhood Home, Hannibal, Missouri
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Download the Fall 2020 Virtual Commencement Program
FALL 2020 VIRTUAL COMMENCEMENT DECEMBER 18 Contents About the SIU System .............................................................................................................................................. 3 About Southern Illinois University Edwardsville ................................................................................................. 4 SIUE’s Mission, Vision, Values and Statement on Diversity .............................................................................. 5 Academics at SIUE ................................................................................................................................................... 6 History of Academic Regalia ................................................................................................................................. 8 Commencement at SIUE ......................................................................................................................................... 9 Academic and Other Recognitions .................................................................................................................... 10 Honorary Degree ................................................................................................................................................... 12 Distinguished Service Award ............................................................................................................................... 13 College of Arts and Sciences: Undergraduate Ceremony ............................................................................. -
Mark Twain's the Adventures of Huckleberry Finn in the Contemporary English Classroom
Mark Twain's The Adventures of Huckleberry Finn in the Contemporary English Classroom Senior Paper Presented in Partial Fulfillment of the Requirements For a Degree Bachelor of Arts with A Major in Literature at The University of North Carolina at Asheville Fall 2009 By HOGAN CARRINGER _____________________ Thesis Director Dr. Blake Hobby _____________________ Thesis Advisor Dr. Merritt Moseley Carringer 2 When choosing a narrator for a work, why does an author decide that a child’s voice would suit the narrative best? Is it the child’s unsullied and unvarnished perspective because of his age? Could it be a child’s lack of experience with life in general which help to explain characters’ mistakes and plot complications? These are all important questions to ponder while analyzing Mark Twain’s novel The Adventures of Huckleberry Finn. In fact, by placing critics of the novel in a dialogue, we can see both why the work has been and will continue to be controversial and why this work should remain a part of the American literary canon. The connection between the two ideas is that readers who find the novel unacceptable often do so because they do not read it in a sophisticated way that acknowledges Huck's unreliability, instead thinking that he speaks for the novel's values, even in his offhand racist comments. To establish his unreliability is to separate the novel's racial attitudes from those of its narrator. A Bildungsroman set in the pre-slavery days of America, the work follows the travails of a ten year old boy named Huckleberry Finn and his runaway slave friend Jim as they journey down the Mississippi River in search of freedom from a restrictive and hostile society. -
Mark Twain's Huckleberry Finn As Anti Racist Novel
Journal of Literature, Languages and Linguistics www.iiste.org ISSN 2422-8435 An International Peer-reviewed Journal Vol.46, 2018 Mark Twain’s Huckleberry Finn as Anti Racist Novel Ass.Lecturer Fahmi Salim Hameed Imam Kadhim college for Islamic science university, Baghdad , Iraq "Man is the only Slave. And he is the only animal who enslaves. He has always been a slave in one form or another, and has always held other slaves in bondage under him in one way or another.” - Mark Twain Abstract Mark Twain, the American author and satirist well known for his novels Huckleberry Finn and The Adventures of Tom Sawyer , grew up in Missouri, which is a slave state and which later provided the setting for a couple of his novels. Tom Sawyer and Huck Finn are the two most well-known characters among American readers that Mark Twain created. As a matter of fact, they are the most renowned pair in all of American literature. Twain’s father worked as a judge by profession, but he also worked in slave-trade sometimes. His uncle, John Quarles, owned 20 slaves; so from quite an early age, Twain grew up witnessing the practice of slave-trade whenever he spent summer vacations at his uncle's house. Many of his readers and critics have argued on his being a racist. Some call him an “Unexcusebale racist” and some say that Twain is no where even close to being a racist. Growing up in the times of slave trade, Twain had witnessed a lot of brutality and violence towards the African slaves. -
Huckleberry Finn's Cure for Warts
HUCKLEBERRY FINN’S CURE FOR WARTS A Humorous Reading by Mark Twain Wetmore Declamation Bureau Box 2695 Sioux City, IA 51106 www.wetmoredeclamation.com Email: [email protected] CAUTION: Wetmore Declamation Bureau material is protected by United States copyright law and conventions. None of our material may be reproduced, stored in a retrieval system, or transmitted in any form or by any means-electronic, mechanical, photocopy, recording, or any other-without prior permission. No trademark, copyright or other notice may be removed or changed. All rights reserved. Violators will be prosecuted to the full extent of the law. HUCKLEBERRY FINN’S CURE FOR WARTS A Humorous Reading Mark Twain From “The Adventures of Tom Sawyer” ISBN 1-60045-088-1 Huckleberry Finn, son of the town drunkard, was dreaded by all the mothers of the town, because he was idle and lawless—and because all their children admired him so, and wished they dared to be like him. Tom Sawyer, like the rest of the respectable boys, was under strict orders not to play with him. So he played with him every time he got a chance. Huckleberry did not have to go to school or to church; he could go fishing or swimming when and where he chose, and stay as long as it suited him; nobody forbade him to fight; he was always the first boy that went barefoot in the spring and the last to resume leather in the fall; he never had to wash, nor put on clean clothes. In a word, everything that goes to make life precious, that boy had. -
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions 2013 Kunsthandel Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com My special thanks go to Sabine Ratzenberger, Simone Brenner and Diek Groenewald, for their research and their work on the text. I am also grateful to them for so expertly supervising the production of the catalogue. We are much indebted to all those whose scholarship and expertise have helped in the preparation of this catalogue. In particular, our thanks go to: Sandrine Balan, Alexandra Bouillot-Chartier, Corinne Chorier, Sue Cubitt, Roland Dorn, Jürgen Ecker, Jean-Jacques Fernier, Matthias Fischer, Silke Francksen-Mansfeld, Claus Grimm, Jean- François Heim, Sigmar Holsten, Saskia Hüneke, Mathias Ary Jan, Gerhard Kehlenbeck, Michael Koch, Wolfgang Krug, Marit Lange, Thomas le Claire, Angelika and Bruce Livie, Mechthild Lucke, Verena Marschall, Wolfram Morath-Vogel, Claudia Nordhoff, Elisabeth Nüdling, Johan Olssen, Max Pinnau, Herbert Rott, John Schlichte Bergen, Eva Schmidbauer, Gerd Spitzer, Andreas Stolzenburg, Jesper Svenningsen, Rudolf Theilmann, Wolf Zech. his catalogue, Oil Sketches and Paintings nser diesjähriger Katalog 'Oil Sketches and Paintings 2013' erreicht T2013, will be with you in time for TEFAF, USie pünktlich zur TEFAF, the European Fine Art Fair in Maastricht, the European Fine Art Fair in Maastricht. 14. - 24. März 2013. TEFAF runs from 14-24 March 2013. Die in dem Katalog veröffentlichten Gemälde geben Ihnen einen The selection of paintings in this catalogue is Einblick in das aktuelle Angebot der Galerie. Ohne ein reiches Netzwerk an designed to provide insights into the current Beziehungen zu Sammlern, Wissenschaftlern, Museen, Kollegen, Käufern und focus of the gallery’s activities. -
Mark Twain's Theories of Morality. Frank C
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1941 Mark Twain's Theories of Morality. Frank C. Flowers Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Flowers, Frank C., "Mark Twain's Theories of Morality." (1941). LSU Historical Dissertations and Theses. 99. https://digitalcommons.lsu.edu/gradschool_disstheses/99 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]. MARK TWAIN*S THEORIES OF MORALITY A dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College . in. partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English By Prank C. Flowers 33. A., Louisiana College, 1930 B. A., Stanford University, 193^ M. A., Louisiana State University, 1939 19^1 LIBRARY LOUISIANA STATE UNIVERSITY COPYRIGHTED BY FRANK C. FLOWERS March, 1942 R4 196 37 ACKNOWLEDGEMENT The author gratefully acknowledges his debt to Dr. Arlin Turner, under whose guidance and with whose help this investigation has been made. Thanks are due to Professors Olive and Bradsher for their helpful suggestions made during the reading of the manuscript, E. C»E* 3 7 ?. 7 ^ L r; 3 0 A. h - H ^ >" 3 ^ / (CABLE OF CONTENTS ABSTRACT . INTRODUCTION I. Mark Twain— philosopher— appropriateness of the epithet 1 A. -
Geologic Map of the Victoria Quadrangle (H02), Mercury
H01 - Borealis Geologic Map of the Victoria Quadrangle (H02), Mercury 60° Geologic Units Borea 65° Smooth plains material 1 1 2 3 4 1,5 sp H05 - Hokusai H04 - Raditladi H03 - Shakespeare H02 - Victoria Smooth and sparsely cratered planar surfaces confined to pools found within crater materials. Galluzzi V. , Guzzetta L. , Ferranti L. , Di Achille G. , Rothery D. A. , Palumbo P. 30° Apollonia Liguria Caduceata Aurora Smooth plains material–northern spn Smooth and sparsely cratered planar surfaces confined to the high-northern latitudes. 1 INAF, Istituto di Astrofisica e Planetologia Spaziali, Rome, Italy; 22.5° Intermediate plains material 2 H10 - Derain H09 - Eminescu H08 - Tolstoj H07 - Beethoven H06 - Kuiper imp DiSTAR, Università degli Studi di Napoli "Federico II", Naples, Italy; 0° Pieria Solitudo Criophori Phoethontas Solitudo Lycaonis Tricrena Smooth undulating to planar surfaces, more densely cratered than the smooth plains. 3 INAF, Osservatorio Astronomico di Teramo, Teramo, Italy; -22.5° Intercrater plains material 4 72° 144° 216° 288° icp 2 Department of Physical Sciences, The Open University, Milton Keynes, UK; ° Rough or gently rolling, densely cratered surfaces, encompassing also distal crater materials. 70 60 H14 - Debussy H13 - Neruda H12 - Michelangelo H11 - Discovery ° 5 3 270° 300° 330° 0° 30° spn Dipartimento di Scienze e Tecnologie, Università degli Studi di Napoli "Parthenope", Naples, Italy. Cyllene Solitudo Persephones Solitudo Promethei Solitudo Hermae -30° Trismegisti -65° 90° 270° Crater Materials icp H15 - Bach Australia Crater material–well preserved cfs -60° c3 180° Fresh craters with a sharp rim, textured ejecta blanket and pristine or sparsely cratered floor. 2 1:3,000,000 ° c2 80° 350 Crater material–degraded c2 spn M c3 Degraded craters with a subdued rim and a moderately cratered smooth to hummocky floor. -
A Conversation with Barry Lopez
Linfield University DigitalCommons@Linfield Faculty Publications Faculty Scholarship & Creative Works 2001 Nature Writing, American Literature, and the Idea of Community: A Conversation with Barry Lopez David Thomas Sumner Linfield College, [email protected] Follow this and additional works at: https://digitalcommons.linfield.edu/englfac_pubs Part of the American Literature Commons DigitalCommons@Linfield Citation Sumner, David Thomas, "Nature Writing, American Literature, and the Idea of Community: A Conversation with Barry Lopez" (2001). Faculty Publications. Published Version. Submission 10. https://digitalcommons.linfield.edu/englfac_pubs/10 This Published Version is protected by copyright and/or related rights. It is brought to you for free via open access, courtesy of DigitalCommons@Linfield, with permission from the rights-holder(s). Your use of this Published Version must comply with the Terms of Use for material posted in DigitalCommons@Linfield, or with other stated terms (such as a Creative Commons license) indicated in the record and/or on the work itself. For more information, or if you have questions about permitted uses, please contact [email protected]. David Thomas Sumner Nature Writing, American Literature, and the Idea of Community—A Conversation with Barry Lopez David Thomas Sumner (Ph.D., University of Oregon) teaches in Widely respected as a naturalist and writer, the English Department at Weber State University. His essays Barry Lopez is a major voice in American have appeared in Ecocomposition (SUNY Press, 2001) and In letters. He is the author of several volumes of Our Own Voice (Allyn & Bacon, 1999). He is also contributing fiction and nonfiction including River Notes, editor for The Shape of Reason (Allyn & Bacon, 2000). -
The Adventures of Huckleberry Finn
T HE G LENCOE L ITERATURE L IBRARY Study Guide for The Adventures of Huckleberry Finn by Mark Twain A i Meet Mark Twain Hannibal to work as a printer’s assistant. He held printing jobs in New York, Pennsylvania, and Iowa. Then, when he was twenty-one, he returned to the Mississippi River to train for the job he wanted above all others: steamboat pilot. A few years later, he became a licensed pilot, but his time as a pilot was cut short by the start of the Civil War, in 1861. After a two-week stint in the Confederate army, Clemens joined his brother in Carson City, Nevada. There, Clemens began to write humorous sketches and tall tales for the local newspaper. In February 1863, he first used the pseudonym, or pen I was born the 30th of November, 1835, in the name, that would later be known by readers almost invisible village of Florida, Monroe County, throughout the world. It was a riverboating term Missouri. The village contained a hundred for water two fathoms, or twelve feet, deep: “Mark people and I increased the population by Twain.” 1 percent. It is more than many of the best men Clemens next worked as a miner near San in history could have done for a town. Francisco. In 1865 he published in a national magazine a tall tale he had heard in the mine- —The Autobiography of Mark Twain fields—“The Celebrated Jumping Frog of Calaveras County.” It was an instant success. ark Twain, whose real name was Samuel Later, he traveled to Hawaii, Europe, and the M Clemens, was in many ways a self-made Middle East. -
Catalogue Number [Of the Bulletin]
BULLETIN OF WELLESLEY COLLEGE CATALOGUE NUMBER 1967-1968 JULY 1967 CATALOGUE NUMBER BULLETIN OF WELLESLEY COLLEGE July 1967 Bulletins published six times a year by Wellesley College, Green Hall, Wellesley, Massachusetts 02181. January, one; April, one; July, one; Ocober, one; Novem- ber, two. Second-Class postage paid at Boston, Massachusetts and at additional mailing offices. Volume 57 Number 1 CALENDAR Academic Year 1967-1968 Term I Registration of new students, 9:00 a.m. to 11:00 p.m Sunday, September 10 Registration closes for all students, 11:00 p.m Tuesday, September 12 Opening Convocation, 8:30 a.m Wednesday, September 13 Classes begin Thursday, September 14 _, , . C Wednesday, November 22 . after classes iiianksgivmg recess ° <. , ^^ a^ j m i a-r ^ ) to 1:00 A.M Monday, November 27 _, ( from Tuesday, December 12 Exammations: <,, , c i. j rA u ic y through Saturday, December lb Christmas vacation begins after the student's last examination. Term II Registration closes for all students, 1:00 a.m. .Thursday, January 4 „ (after classes Wednesday, February 21 /to 1:00 a.m Monday, February 26 from Tuesday, April 2 Examinations: <., , through Saturday,c i. i Aprila i bc I Spring vacation begins after the student's last examination. Term III Registration closes for all students, 1:00 a.m. .Tuesday, April 16 ^ ( from Monday, May 27 Exammations: <^, , t- j a/t oc ) through Tuesday, May 28 Commencement Saturday, June 1 2 TABLE OF CONTENTS Visitors; Correspondence 5 Board of Trustees . 6 Officers of Instruction and Administration 7 The College 21 The Curriculum 26 Requirements for the Degree of Bachelor of Arts; Exemp- tion; Advanced Placement; Credit Outside the Regular Course Program; Course and Special Examinations; Research or In- dividual Study; Academic Distinctions and Honors; Require- ments for Master of Arts Degree Special Programs and Preparation for Careers . -
Critics' Views of the Character of Jim in Huckleberry Finn Elizabeth J
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1977 Critics' views of the character of Jim in Huckleberry Finn Elizabeth J. Gifford Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the English Language and Literature Commons Recommended Citation Gifford, Elizabeth J., "Critics' views of the character of Jim in Huckleberry Finn " (1977). Retrospective Theses and Dissertations. 6965. https://lib.dr.iastate.edu/rtd/6965 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Critics' views of the character of Jim in Huckleberry Finn by Elizabeth J. Gifford A Thesis Submitted to the Graduate Faculty in Partial Fulfillment of The Requirements for the Degree of MASTER OF ARTS Major; English Signatures have been redacted for privacy Iowa State University Ames, Iowa 1977 One hundred years have passed since Samuel Clemens began creating his masterpiece. Huckleberry Finn. The main charac ters in this novel are a homeless rebel of a boy who is (or believes he is) running away from his murderous father/ and a frightened slave who is running away from a greedy old woman owner who was about to sell him and separate him from his family. Much has been written about this work—ranging from the highest praise to scathing criticism. -
Introduction
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Introduction Kimberley Christine Patton and John Stratton Hawley � “ ut though the gates of prayer (sha‘are tefillah) are closed, the gates of weeping (sha‘are dim’ah) are not closed.” Isn’t weeping a kind of Bprayer, a liquid entreaty? Yet it is not prayer, not utterance. Inchoate, messy, “running,” a sign of being “overwhelmed” or helpless, even unable to speak (“choked up”), how could tears in this Talmudic passage, from a tradi tion that so enshrines the oral and written holy word, supersede prayer? How could weeping, born in a matrix of inarticulate despair, beat out praying—in its richly embroidered tapestry of memory, petition, and praise—as a better portal to heaven? In any number of the traditions examined in this cross- cultural, diachronic volume, tears carry not only power but unique power: God is unable to ignore them, and the psalmist is compelled to remind Him of this: Hear my prayer, O Lord, and give ear unto my cry; keep not silence at my tears. On Tears in Religious Experience and Mythic Memory Like all human body fluids, tears, as they flow through the religious imagina tion, are richly charged with symbolic meaning and ritual efficacy. The shed ding of tears, a physiological function in response to intense emotion or physical pain, has metaphysical importance in religious thought and experi ence equal to that of other vital fluids that have borne far more intense schol arly scrutiny—the blood of sacrifice, childbirth, and menstruation, for example, or the charged fluids of semen or spit.