Bøger udgivet af Syracuse University

Biography of an exceptional, determined woman, Sheehy-Skeffington (1877-1946) disavowed her church.

In the midst of an explosion of interest in the field of autobiography, there have developed critical languages and approaches that allow us to read both George Moore's fiction and his fictive autobiographies in new and exciting ways.Elizabeth Grubgeld presents a fresh look at the diverse experiments in fiction and the highly ironic and multi-generic performances Moore put forth as his life story. She focuses on the tension between Moore's fascination with deterministic theories of human behavior and his need to assert a principle of self-creation, his "autogenous self."Moore's work exhibits a profound recogni­tion of the forces of heredity, gender, culture, and history while simultaneously declaring his belief in an autogenous self. In early novels like A Drama in Muslin and Esther Waters, there is a notable conflict between his postulation of the pure, instinctive individual and the emphasis upon the shaping power of heredity and eco­nomics inherent in the traditions of social realism that he adopts.In The Untilled Field, The Lake, and later works, Moore perfects a narrative technique that in highlighting the power of subjective memory, allows his characters to work out a new relation with the forces of history.Grubgeld's discussion of satire, caricature, and parody as autobiographical forms will con­tribute greatly to an understanding of how Moore viewed the relations between the self and the surrounding world. This study, which also incorporates a theoretical discussion of letters as autobiography, will be of interest to special­ists in Irish studies, late Victorian and modern British literature, gender studies, and autobi­ography.

With the founding of the New York Herald in 1835, James Gordon Bennett began what was to become the most successful and widely circulated newspaper of mid-nineteenth-century America. He did not invent the cheap popular newspaper, but his innovations, a combination of sensationalism, technological improvements, and comprehensive news coverage, made the Herald the prototype of modern journalism and the best newspaper of its time. Subsequent yellow journalists like Joseph Pulitzer and William Randolph Hearts merely carried Bennett's techniques to new heights--or depths.Bennett championed the masses and created a newspaper for them. Priced cheap enough for most New Yorkers to afford, the Herald served up information that was useful, educational, and entertaining. Articles covered the whole range of human activity--sex, crime, tragedy, medicine, religion, culture.This book is not a biography of Bennett but rather an account of him as editor and publisher. His editorials were notorious for their rhetorical extremism, and his public identity was based on negatives--Anglophobia, anti-Catholicism, and anti-abolitionism in particular. He misled his unsophisticated readers with simplistic explanations of events and forces that affected their lives. He claimed to be politically independent, above party, but he was constantly enmeshed in the party battles of the period. His contemporaries envied his success bit detested the means by which he achieved it; they respected his power but hated him personally.Former accounts of Bennett have been anecdotal and superficial. James. L. Crouthamel has based his research primarily on a day-by-day reading of over three decades of the Herald and thus provides useful facts and assessments of a major period in the history of journalism.

From Cooperstown to Oneonta, much of the rich architectural heritage of New York State's Otsego County is wonderfully preserved; much of it waits to be explored.Diantha Schull presents more than 200 of the county's eighteenth- and nineteenth-century buildings, sophisticated and simple alike--their styles, uses, histories, preservation, and sometimes their destruction. From great, Romanesque public buildings, classical Greek Revival estates, and fanciful Victorian homes, to one-room schools, octagonal barns, and modest Federal farmhouses, these buildings create a vivid record of the styles, tastes, and necessities of past centuries.Schull sharpens our appreciation for that mix of architecture and history unique to each town or village, its sense of community. Whether used for agriculture, industry, commerce, religion, education, government, or residence, each building is best seen in this holistic context.With hundreds of photographs, a map, and history as a guide, Schull opens our eyes to the architecture of the county, to careful restoration, to adaptive re-use, and to neglect. She encourages us to discover for ourselves the irreplaceable physical heritage around us.Winner of the 1980 John Ben Snow Prize

In this memoir, Pearson renders time and place vividly through lyricalnarrative and generous spirit toward his characters, juxtaposingdescriptions of adolescent escapades with the grim disciplineof parochial schools. In this Bronx, dreams of escape fuse withbittersweet memories.

Houses and gardens created in America between 1860 and 1917 were "modern" manifestations of nineteenth century art, science, and industry, conveying cultural values in their form, function, style, and materials. Now Increasing public interest in the restoration of nineteenth-century properties has provoked curiosity about their physical surroundings.While many buildings from the period survive intact, their landscape and garden settings, in most cases, have long since disappeared. Natural cycles of growth and decay, together with manmade changes, have left only remnants of the historic landscape - a dilapidated fence post, the arching canopy of a venerable tree, some persistent spring bulbs at a dooryard,Based on a careful study of historic photographs from museums, libraries, archives, and private collections, Gardens of the Gilded Age explains the history, design, and social function of ornamental gardens and homegrounds in New York State during the latter parts of the nineteenth century.As early as 1820, New York State had become the nation's leader in population, foreign and domestic commerce, transportation, banking, and manufacturing. New York also took the lead in influencing the rest of the nation in the theory and practice of horticulture and landscape gardening.The more than one hundred photographs featured in Gardens of the Gilded Age were not selected for their aesthetic quality alone, or for their uniqueness. While including magnificent proprieties such as Sonnenberg, Lorenzo, and Box Hill, many show ordinary gardens which reflect the character of common people in the art and craft of garden making. Taken together, these garden photographs provide a new perspective on American customs in landscape gardening from 1860 to 1917.

This text analyses the causes and far-reaching consequences of Iran's oil nationalization during the 1950s, focusing on the extensive and misguided involvement of the United States and Great Britain.

This is one of the first complete collections of medieval Latin fables to appear in modern English. Odo of Cheriton (c. 1185- c. 1247) wrote sophisticated fables, filled with great wit and humor, yet highly moral, even didactic, in keeping with the age in which he lived - one vigorous in religious, philosophic, scientific, and social debate and conflict.Jacobs' translation of the 117 fables makes them available to a new readership at a time when interest in fables, parables, and fairy tales is growing.In addition to the fables themselves, Jacobs has provided a substantial Introduction which discusses Odo of Cheriton's life and his 13th-century world. As the first comprehensive discussion of Odo's career and critical analysis of the fables, the Introduction will interest medievalists and a broad range of readers.Drawing upon modern critical techniques, Jacobs sheds new light on medieval narrative and modes of interpretation. He also shows how the moralizing commentaries attached to representative fables are integral to the fables' narrative art.The text is illustrated with seventeen exceptional sketches taken from the album of Villard de Honnecourt - a near contemporary of Odo. These drawings have a fluid vitality which perfectly complements the delightful narratives.