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Matthiessen was an American studies scholar and literary critic at Harvard University [6] and chaired its undergraduate program in history and literature. [7] He wrote and edited landmark works of scholarship on T. S. Eliot, Ralph Waldo Emerson, the James family (Alice James, Henry James, Henry James Sr., and William James), Sarah Orne Jewett, Sinclair Lewis, Herman Melville, Henry David ...
Scholar F. O. Matthiessen originated the phrase "American Renaissance" in his 1941 book American Renaissance: Art and Expression in the Age of Emerson and Whitman. The thematic center of the American Renaissance was what Matthiessen called the "devotion" of all five of his writers to "the possibilities of democracy".
The Notebooks weren't published until 1947, when they appeared in a heavily annotated edition compiled by F. O. Matthiessen and Kenneth Murdock. The editors pointed out notebook entries that eventually turned into finished works by James, and then went beyond that simple editorial function to discuss and evaluate the works themselves.
F. O. Matthiessen: originated the concept "American Renaissance" Perry Miller: Puritan studies; Henry Nash Smith: founder of the "Myth and Symbol School" of American criticism; Leo Marx: The Machine in the Garden (study of technology and culture) Leslie Fiedler: Love and Death in the American Novel; Stanley Fish: Pragmatism
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The book is semi-autobiographical and recounts the adventures of a refined youth among coarse and brutal sailors and the seedier areas of Liverpool. Melville wrote Redburn in less than ten weeks. While one scholar describes it as "arguably his funniest work", [2] scholar F. O. Matthiessen calls it "the most moving of its author's books before ...
Matthiessen, F.O. (1941). American Renaissance: Art and Expression in the Age of Emerson and Whitman. London, Toronto, New York: Oxford University Press. Melville, Herman (1987). The Piazza Tales and Other Prose Pieces 1839-1860. Edited by Harrison Hayford, Alma A. MacDougall, G. Thomas Tanselle, and others. The Writings of Herman Melville ...
F. O. Matthiessen rejected the repetitive sounds employed and musical tone as "a case of onomatopoeia pushed to a point where it would hardly be possible or desirable to go again". [9] Edward H. Davidson, however, praised its use of repetitive sounds: "It has been rightly praised for its experimental and effective onomatopoeia; its theme is ...