William Dean Howells (1837-1920) was an American realist author and literary critic. He wrote his first novel, Their Wedding Journey, in 1871, but his literary reputation really took off with the realist novel A Modern Instance, published in 1882, which describes the decay of a marriage. His 1885 novel The Rise of Silas Lapham is perhaps his best known, describing the rise and fall of an American entrepreneur in the paint business. His social views were also strongly reflected in the novels Annie Kilburn (1888) and A Hazard of New Fortunes (1890). While known primarily as a novelist, his short story "Editha" (1905) - included in the collection Between the Dark and the Daylight (1907) - appears in many anthologies of American literature. Howells also wrote plays, criticism, and essays about contemporary literary figures such as Ibsen, Zola, Verga, and, especially, Tolstoy, which helped establish their reputations in the United States. He also wrote critically in support of many American writers. It is perhaps in this role that he had his greatest influence.
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1917 edition. Excerpt: ... (6) Columns for Discount on Purchases and Discount on Notes on the same side of the Cash Book; (c) Columns for Discount on Sales and Cash Sales on the debit side of the Cash Book; (d) Departmental columns in the Sales Book and in the Purchase Book. Controlling Accounts.--The addition of special columns in books of original entry makes possible the keeping of Controlling Accounts. The most common examples of such accounts are Accounts Receivable account and Accounts Payable account. These summary accounts, respectively, displace individual customers' and creditors' accounts in the Ledger. The customers' accounts are then segregated in another book called the Sales Ledger or Customers' Ledger, while the creditors' accounts are kept in the Purchase or Creditors' Ledger. The original Ledger, now much reduced in size, is called the General Ledger. The Trial Balance now refers to the accounts in the General Ledger. It is evident that the task of taking a Trial Balance is greatly simplified because so many fewer accounts are involved. A Schedule of Accounts Receivable is then prepared, consisting of the balances found in the Sales Ledger, and its total must agree with the balance of the Accounts Receivable account shown in the Trial Balance. A similar Schedule of Accounts Payable, made up of all the balances in the Purchase Ledger, is prepared, and it must agree with the balance of the Accounts Payable account of the General Ledger." The Balance Sheet.--In the more elementary part of the text, the student learned how to prepare a Statement of Assets and Liabilities for the purpose of disclosing the net capital of an enterprise. In the present chapter he was shown how to prepare a similar statement, the Balance Sheet. For all practical...
It appeared, while Miss Triscoe was shaking hands with March, that it was last night, and her father was finishing his breakfast, and it was one of the hotels on the hill. On the way back to her father it appeared that he wished to consult March's doctor; not that there was anything the matter.
Dante's Convivio, written 1304-07, is the first major prose document in the Italian language. This new translation is based on the recent Italian critical edition of Maria Simonelli and includes as well the text of the three Italian canzoni. Using approaches from cultural and social history, traces the psychological, social, intellectual, and moral development of the 19th century American novelist, and examines the middle-class values and behavior that shaped him, and which he portrayed with such discomfort in his mature work. Annotation copyrighted by Book News, Inc., Portland, OR
Spanning the era from the end of Reconstruction (1877) to 1920, the entries of this reference were chosen with attention to the people, events, inventions, political developments, organizations, and other forces that led to significant changes in the U.S. in that era. Seventeen initial stand-alone essays describe as many themes.
Earn College Credit with REA's Test Prep for CLEP® American Literature Everything you need to pass the exam and get the college credit you deserve. CLEP® is the most popular credit-by-examination program in the country, accepted by more than 2,900 colleges and universities. For over 15 years, REA has helped students pass the CLEP® exam and earn college credit while reducing their tuition costs. Our CLEP® test preps are perfect for adults returning to college (or attending for the first time), military service members, high-school graduates looking to earn college credit, or home-schooled students with knowledge that can translate into college credit. There are many different ways to prepare for the CLEP® exam. What's best for you depends on how much time you have to study and how comfortable you are with the subject matter. Our test prep for CLEP® American Literature and the free online tools that come with it, will allow you to create a personalized CLEP® study plan that can be customized to fit you: your schedule, your learning style, and your current level of knowledge. Here's how it works: Diagnostic exam at the REA Study Center focuses your study Our online diagnostic exam pinpoints your strengths and shows you exactly where you need to focus your study. Armed with this information, you can personalize your prep and review where you need it the most. Most complete subject review for CLEP® American Literature Our targeted review covers the material you'll be expected to know for the exam and includes a glossary of must-know terms. Two full-length practice exams The online REA Study Center gives you two full-length practice tests and the most powerful scoring analysis and diagnostic tools available today. Instant score reports help you zero in on the CLEP® American Literature topics that give you trouble now and show you how to arrive at the correct answer - so you'll be prepared on test day. REA is the acknowledged leader in CLEP® preparation, with the most extensive library of CLEP® titles available. Our test preps for CLEP® exams help you earn valuable college credit, save on tuition, and get a head start on your college degree.
From the manger of Jesus Christ to the 21st century, this encyclopedia explores more than 2,000 years of Christmas past and present through 966 entries packed with a wide variety of historical and pop-culture subjects. Entries detail customs and traditions from around the world as well as classic Christmas movies, TV series/specials and animated cartoons. Arranged alphabetically by entry name, the book includes the historical background of popular sacred and secular songs as well as accounts of beloved literary works with Christmas themes from such noted authors as Charles Dickens, Louisa May Alcott, Hans Christian Andersen, Pearl Buck, Henry Van Dyke and others. All things Christmas are available here in one comprehensive volume.
For more than half a century, James D. Hart's The Oxford Companion to American Literature has been an unparalleled guide to America's literary culture, providing one of the finest resources to this country's rich history of great writers. Now this acclaimed work has been completely revised and updated to reflect current developments in the world of American letters.For the sixth edition, editors James D. Hart and Phillip Leininger have updated the Companion in light of what has happened in American literature since 1982. To this end, they have revised the entries on such established authors as Saul Bellow, Norman Mailer, and Joyce Carol Oates, and they have added more than 180 new entries on novelists (T. Coraghessan Boyle, Tim O'Brien, Louise Erdrich, Don De Lillo), poets (Rita Dove, Weldon Kees), playwrights (Wendy Wasserstein, August Wilson), popular writers (Stephen King, Louis L'Amour), historians (James M. McPherson, David Herbert Donald, William Manchester), naturalists (Aldo Leopold, Edward Abbey), and literary critics (Camille Paglia, Richard Ellmann). In addition, the Companion boasts more women's, African-American, and ethnic voices, with new entries on such luminaries as Charlotte Perkins Gilman, M.F.K. Fisher, William Least Heat-Moon, Ursula Le Guin, and Oscar Hijuelos, among many others.These additions represent only some of the revisions for the new edition. Of course, the basic qualities of the Companion that readers have grown to know and love over the years are as superb as ever. With over 5,000 total entries, The Oxford Companion to American Literature reflects a dynamic balance between past and contemporary literature, surveying virtually every aspect of our national literature, from the Pulitzer Prize to pulp fiction, and from Walt Whitman to William F. Buckley, Jr. There are over 2,000 biographical profiles of important American authors (with information regarding their styles, subjects, and major works) and influential foreign writers as well as other figures who have been important in the nation's social and cultural history. There are more than 1,100 full summaries of important American novels, stories, essays, poems (with verse form noted), plays, biographies and autobiographies, tracts, narratives, and histories. The new edition provides historical background and astute commentary on literary schools and movements, literary awards, magazines, newspapers, and a wide variety of other matters directly related to writing in America. Finally, the book is thoroughly cross-referenced and features an extensive and fully updated index of literary and social history.Ranging from Captain John Smith to John Updike, and from Anne Bradstreet to Anne Rice, the sixth edition of The Oxford Companion to American Literature is up to date, accurate, and comprehensive, a delight for both the casual browser and the serious student.
The problem of the freedom or the bondage of the will was brought to this country by the Puritans, and it has been one of the unanswerable questions ever since. Whereas many other books have been written on Puritanism and on naturalism in their philosophic and theological manifestations, this book traces these ideas through our national literature. Chapter 1 begins with a brief account of St. Augustine's views concerning the will, continues with a full discussion of John Calvin's modifications of Augustine's views, and ends with a consideration of Puritan concepts of the will as found in the writings of Michael Wigglesworth and Jonathan Edwards. The second chapter looks at the subject of the predestinated will in the fiction of Nathaniel Hawthorne, Herman Melville, and Mary Wilkins Freeman and in the poetry of Emily Dickinson. In the succeeding chapter attention is turned to nineteenth-century authors actively hostile to the Calvinistic concept of predestination: Charles Brockden Brown, Harriet Beecher Stowe, Oliver Wendell Holmes, and Mark Twain. The next two chapters then trace the rise of naturalistic determinism and compare and contrast it with the Calvinistic doctrines of predestination and election. Focus is later directed on the blossoming of 'literary naturalism in America in the works of Stephen Crane, Frank Norris, Jack London, and Theodore Dreiser. The combining of naturalism with vestigial Calvinism in the novels of Ellen Glasgow and William Faulkner is the next subject of extended discussion. In the concluding two chapters attention is turned to libertarian philosophies opposed to predestination and naturalistic determinism, including deism, transcendentalism, pragmatism, and humanism. The influence of the great Russian novelists is presented, and William Dean Howells, Henry James, Edith Wharton, and Willa Cather are discussed as humanistic writers. Finally, the continuing tension between humanism and scientific determinism is noted in the writings of Ernest Hemingway. The themes of the book are illustrated with many examples from the prose and verse of American writers.
Contrary to those who regard the economic transformation of the West as a gradual process spanning centuries, Peter D. McClelland claims the initial transformation of American agriculture was an unmistakable revolution. He asks when a single crucial question was first directed persistently, pervasively, and systematically to farming practices: Is there a better way? McClelland surveys practices from crop rotation to livestock breeding, with a particular focus on the change in implements used to produce small grains. With wit and verve and an abundance of detail, he demonstrates that the first great surge in inventive activity in agronomy in the United States took place following the War of 1812, much of it in a fifteen-year period ending in 1830. Once questioning the status quo became the norm for producers on and off the farm, according to McClelland, the march to modernization was virtually assured. With the aid of more than 270 illustrations, many of them taken from contemporary sources, McClelland describes this stunning transformation in a manner rarely found in the agricultural literature. How primitive farming implements worked, what their defects were, and how they were initially redesigned are explained in a manner intelligible to the novice and yet offering analysis and information of special interest to the expert.
What is "literature in these postmodern, postcanonical times? And if a small number of works being written today are "literary," what distinguishes them from those many others that are not? The store managers who shelve books in separate "literature" and "fiction" sections clearly have something in mind, but they're not talking. James Bloom has his own ideas, and he is. With zest and conviction, Bloom argues that traditional aspirations to literariness persist in the poetry and fiction of writers such as Robert Stone, Jane Smiley, Salman Rushdie, Toni Morrison, Adrienne Rich, and Robert Pinsky. All, in their various ways, exhibit a critical and playful awareness of their literary antecedents, display and resist the seductions of eloquence, arouse and discipline their readers' curiosity. Bloom deftly shows how their writings negotiate with the nonliterary media that dominate our culture, even as the cultural capital of canonical authors like Shakespeare and Keats is put to work on the pages of mail-order catalogs and the New York Times, on network television, and in the products of the Disney conglomerate.
In this lively work of revisionism, Brooks D. Simpson offers a new understanding of Henry Adams's political career, looking beyond the oft-quoted Education of Henry Adams to discover the historian, journalist, and political gadfly as he truly was. In doing so, Simpson challenges portrayals presented by Adams's many biographers and reassesses positions of major historians. He demonstrates the unreliability of The Education as a factual account of post-Civil War American politics, cautions those who represent Adams as a typical political reformer, and discusses why Adams's fervent desire to achieve political success ended in abject failure. Arguing that Adams sought political influence and power, not office, Simpson follows the young republican's struggle to reconcile the dictates of family heritage with his own personal inclinations by carving out a career as a political journalist and behind-the-scenes manipulator of reform politics. But his arrogance and sarcasm, according to Simpson, doomed him to offend the very people he sought to influence and forced him to the margins of the reform movement. Simpson contends that even as Adams wrote about his failure in The Education of Henry Adams, he sought to conceal its true causes behind a facade of witty, derisive remarks about American politics and politicians. In contrast, Simpson places the blame for Adams's failure squarely on Adams himself, concluding that personality rather than politics thwarted his promising career.
“An equally meticulous and lucid account” of the controversy that preceded the United States’ declaration of war in April 1917 (Historynet). When war broke out in Europe in 1914, political leaders in the United States were swayed by popular opinion to remain neutral; yet less than three years later, the nation declared war on Germany. In Nothing Less Than War: A New History of America’s Entry into World War I, Justus D. Doenecke examines the clash of opinions over the war during this transformative period and offers a fresh perspective on America’s decision to enter World War I. Praise for Nothing Less Than War “Nothing Less Than War combines careful attention to diplomacy with an excellent consideration of politics and public opinion. It is superb in detail, and even scholars well versed in the field will learn things they didn’t know before.” —John Milton Cooper Jr., author of Woodrow Wilson: A Biography “Nothing Less Than War is a thoughtful look at America’s entry into World War I. Based on impressive research, it carries the reader back to a very different time, reassesses the wide-ranging debate over the war in Europe, and provides a stimulating re-examination of the strengths and weaknesses of Woodrow Wilson’s leadership.”?Charles Neu “Doenecke paints intriguing portraits of leading figures, many now obscure, including Franklin Delano and Theodore Roosevelt and William Jennings Bryan, plus the rich stew of newspapers, magazines, organizations, diplomats, and propagandists who fought over this issue.” —Publisher Weekly (starred review) “Doenecke untangles and clarifies the national debate in great detail in this dense, well-documented study. It will be of great use to serious students and researchers of the Great War.” —Library Journal
This book argues for the importance of 'cowboy masculinity,' from late nineteenth-century dime novels, to the writings of Willa Cather, Ernest Hemingway, Theodore Roosevelt, John Steinbeck, and Owen Wister, and analyzes the democratic politics of masculinity in American literature and positions the American West as central to modernism.
This book offers a one-stop reference work covering the Gilded Age and Progressive Era that serves teachers and their students. This book helps students to better understand key pieces in literature from the Gilded Age and Progressive Era by putting them in the context of history, society, and culture through historical context essays, literary analysis, chronologies, documents, and suggestions for discussion and further research. It provides teachers and students with selections that align with the ELA Common Core Standards and that also offer useful connections for curriculum that integrates American literature and social studies. The book covers Mark Twain's A Connecticut Yankee in King Arthur's Court, Charlotte Perkins Gilman's The Yellow Wallpaper, Willa Cather's A Lost Lady, and Upton Sinclair's The Jungle. Readers will be able to appreciate the significance of this period through these canonical and widely taught works of American literature. The book also includes historical context essays, primary document excerpts, and suggested readings.
After the Civil War, the South was divided into five military districts occupied by Union forces. Out of these regions, a remarkable group of writers emerged. Experiencing the long-lasting ramifications of Reconstruction firsthand, many of these writers sought to translate the era's promise into practice. In fiction, newspaper journalism, and other forms of literature, authors including George Washington Cable, Albion Tourgee, Constance Fenimore Woolson, and Octave Thanet imagined a new South in which freedpeople could prosper as citizens with agency. Radically re-envisioning the role of women in the home, workforce, and marketplace, these writers also made gender a vital concern of their work. Still, working from the South, the authors were often subject to the whims of a northern literary market. Their visions of citizenship depended on their readership's deference to conventional claims of duty, labor, reputation, and property ownership. The circumstances surrounding the production and circulation of their writing blunted the full impact of the period's literary imagination and fostered a drift into the stereotypical depictions and other strictures that marked the rise of Jim Crow. Sharon D. Kennedy-Nolle blends literary history with archival research to assess the significance of Reconstruction literature as a genre. Founded on witness and dream, the pathbreaking work of its writers made an enduring, if at times contradictory, contribution to American literature and history.
The Moral Economies of American Authorship argues that the moral character of authors became a kind of literary property within mid-nineteenth-century America's expanding print marketplace, shaping the construction, promotion, and reception of texts as well as of literary reputations. Using a wide range of printed materials--prefaces, dedications, and other paratexts as well as book reviews, advertisements, and editorials that appeared in the era's magazines and newspapers--The Moral Economies of American Authorship recovers and analyzes the circulation of authors' moral currency, attending not only to the marketing of apparently ironclad status but also to the period's not-infrequent author scandals and ensuing attempts at recuperation. These preoccupations prove to be more than a historical curiosity-they prefigure the complex (if often disavowed) interdependence of authorial character and literary value in contemporary scholarship and pedagogy. Combining broad investigations into the marketing and reception of books with case studies that analyze the construction and repair of particular authors' reputations (e.g., James Fenimore Cooper, Mary Prince, Elizabeth Keckley, Frederick Douglass, Harriet Beecher Stowe, and E.D.E.N. Southworth), the book constructs a genealogy of the field's investments in and uses of authorial character. In the nineteenth century's deployment of moral character as a signal element in the marketing, reception, and canonization of books and authors, we see how biography both vexed and created literary status, adumbrating our own preoccupations while demonstrating how malleable-and how recuperable-moral authority could be.
While analyzing Damon Runyon's high spirited work in terms of historical contexts, popular culture, and of the changing function of the media, Schwarz argues that in his columns and stories Runyon was an indispensable figure in creating our public images of New York City culture, including our interest in the demi-monde and underworld that explains in part the success of The Godfather films and The Sopranos . In his lively and exuberant chapters that include a panoramic view of New York City between the World Wars - with a focus on its colourful nightlife - Schwarz examines virtually every facet of Runyon's career from sports writer, daily columnist, trial reporter, and Hollywood figure to the author of the still widely-read short stories that were the source of the Broadway hit Guys and Dolls . As part of his discussion of Runyon's art and the artistry of Runyon's fiction, Schwarz skilfully examines the special language of the Broadway stories known as 'Runyonese', and explains how 'Runyonese' has become an adjective for describing flamboyant behaviour.
The author uses Thomas Robbins' 1820 edition of Mather's work to show how a Puritanical political sentiment prompted American Renaissance writers to address the implications of democracy. Hawthorne, Stoddard, and Stowe used Mather's work to discover the importance of democratic concepts and categori
Kathleen McCarthy here presents the first book-length treatment of the vital role middle- and upper-class women played in the development of American museums in the century after 1830. By promoting undervalued areas of artistic endeavor, from folk art to the avant-garde, such prominent individuals as Isabella Stewart Gardner, Gertrude Vanderbilt Whitney, and Abby Aldrich Rockefeller were able to launch national feminist reform movements, forge extensive nonprofit marketing systems, and "feminize" new occupations.
In Fettered Genius, Keith D. Leonard identifies how African American poets' use and revision of traditional poetics constituted an antiracist political agency. Comparing this practice to the use of poetic mastery by the ancient Celtic bards to resist British imperialism, Leonard shows how traditional poetics enable African American poets to insert racial experience, racial protest, and African American culture into public discourse by making them features of validated artistic expression. As with the Celtic bards, these poets' artistry testified to their marginalized people's capacity for imagination and reason within and against the terms of the dominant culture. In an ambitious survey that moves from slavery to the cultural nationalism of the 1960s, Leonard examines numerous poets, placing each in the context of his or her time to demonstrate the antiracist meaning of their accomplishments. The book offers new insight on the conservatism of Phillis Wheatley, Paul Laurence Dunbar, and the genteel members of the Harlem Renaissance, how their rage for assimilation functioned to refute racist notions of difference and, paradoxically, to affirm a distinctive racial experience as valid material for poetry. Leonard also demonstrates how the more progressive and ethnically distinctive poetics of Langston Hughes, Sterling Brown, Gwendolyn Brooks, Robert Hayden, and Melvin B. Tolson share some of the same ambivalence about cultural achievement as those of the earlier poets. They also have in common the self-conscious pursuit of an affirmation of the African American self through the substitution of African American vernacular language and cultural forms for traditional poetic themes and forms. The evolution of these poetics parallels the emergence of notions of ethnic identity over racial identity and, indeed, in some ways even motivated this shift. Leonard recognizes poetic mastery as the African American bardic poet's most powerful claim of ethnic tradition and of social belonging and clarifies the full hybrid complexity of African American identity that makes possible this political self-assertion. The development that is traced in Fettered Genius illustrates nothing less than the defining artistic coherence and political significance of the African American poetic tradition.
Thomas Hardy enjoyed a long and distinguished career as a novelist before devoting his talents to writing poetry for the remainder of his life. This book focuses on Hardy's remarkable achievements as a novelist. Although Victorian readers considered some of his works controversial, his novels remained highly regarded. His novels still appear in the syllabi of courses in Victorian literature and the British novel, as well as courses in feminist/gender studies, environmental studies, and other topics. For scholars, students, and the general reader, this companion helps to makes Hardy's novels accessible by providing a detailed biography of Hardy, plot summaries of each novel, and analyses of the critical contexts surrounding them. Entries focus on the people, cultural forces, literary forms, and movements that influenced Hardy's novels. The companion also suggests approaches for original interpretations and suggestions for further study.
Who are the pivotal figures in American history, the men and women who have helped shape us as a people and have influenced how we perceive ourselves as Americans? In this companion to his popular 1001 Events That Made America, Alan Axelrod looks into all areas of our collective past and highlights the famous as well as the infamous, the virtuous as well as the notorious, from the nation’s earliest days to the present. Serving up history in lively, accessible bites, the book presents a Who’s Who in American politics, arts, science, business, religion, and pop culture, along with concise explanations of each figure’s historical significance. Featured personalities range from Jesse James to Al Capone, Harriet Beecher Stowe to Betty Friedan, George Washington to George W. Bush, Harriet Tubman to Martin Luther King, Jr., Stephen Foster to Elvis, John L. Sullivan to Muhammad Ali, Edwin Booth to Marlon Brando, Washington Irving to Thomas Pynchon, and John Jacob Astor to Bill Gates. Packed with information and insight, 1001 People Who Made America gives readers a deeper understanding of what it means to be an American. The appealing design and easy-to-read format invite browsing and sharing.
UFOs. Aliens. Strange crop circles. Giant figures scratched in the desert surface along the coast of Peru. The amazing alignment of the pyramids. Strange lines of clouds in the sky. The paranormal is alive and well in the American cultural landscape. In UFOs, Chemtrails, and Aliens, Donald R. Prothero and Tim Callahan explore why such demonstrably false beliefs thrive despite decades of education and scientific debunking. Employing the ground rules of science and the standards of scientific evidence, Prothero and Callahan discuss a wide range of topics including the reliability of eyewitness testimony, psychological research into why people want to believe in aliens and UFOs, and the role conspiratorial thinking plays in UFO culture. They examine a variety of UFO sightings and describe the standards of evidence used to determine whether UFOs are actual alien spacecraft. Finally, they consider our views of aliens and the strong cultural signals that provide the shapes and behaviors of these beings. While their approach is firmly based in science, Prothero and Callahan also share their personal experiences of Area 51, Roswell, and other legendary sites, creating a narrative that is sure to engross both skeptics and believers.
Traber reexamines the practice of self-marginalization in Euro-American literature and popular culture that depict whites adopting varied markers of otherness to disengage from the dominant culture. He draws on critical theory, whiteness and cultural studies to counter an eager correlation between marginality and agency. The nonconformist cultural politics of these border crossings implode since the transgressive identity the protagonists desire relies upon, is built from, the center's values and definitions. An orthodox notion of individualism underpins each act of sovereignty as it rationalizes exploiting stereotypes of an Other constructed by the center. The work closes by positing a theory of identity based on Jean-Luc Nancy's concept of the emptied self. In recognizing the already mixed quality of being, identity is made a vacuous concept as the standards for determining self and difference become too slippery to hold.
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