By Gail McDonald
This creation to American literature and tradition from 1900 to 1960 is prepared round 4 significant rules approximately the US: that's it “big”, “new”, “rich”, and “free”.
- Illustrates the inventive and social weather within the united states in this period.
- Juxtaposes dialogue of background, pop culture, literature and different paintings kinds in ways in which foster dialogue, wondering, and persevered research.
- An appendix lists appropriate fundamental and secondary works, together with websites.
- An excellent complement to basic texts taught in American literature courses.
Chapter 1 huge (pages 6–59):
Chapter 2 wealthy (pages 60–109):
Chapter three New (pages 110–164):
Chapter four unfastened (pages 165–210):
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Extra info for American Literature and Culture 1900-1960
In a period when the New Woman was in an embryonic stage in America, Gilman dramatizes the conflict between stasis and progress; as her character loses her former sense of herself, she increasingly identifies with the woman she perceives “trapped” inside the wallpaper. The story ends ambiguously: the wife has rebelled in a destructive way, ripping down the wallpaper, but she is also on her hands and knees, apparently reduced to madness. Kate Chopin’s Edna Pontellier in The Awakening (1898) is also stymied and an object of concern to her husband and her physician.
We Lurk late. We Strike straight. We Sing sin. We Thin gin. We Jazz June. We Die soon. ” By 1957, the pool hall as den of iniquity was so established, even clichéd, that the conman in Meredith Willson’s Broadway musical The Music Man is able, 29 ALAC01 29 29/06/2006, 02:53PM BIG in the number titled “Trouble,” to convince the townspeople of the need for a marching band as a wholesome activity for youth who will otherwise be lost to cues and billiard balls. Interestingly, this hugely successful musical, which ran for 1,357 performances, was popular in part because it was self-consciously nostalgic.
What are the implications of immensity? The sometimes contradictory attitudes of Ralph Waldo Emerson toward the perception of landscape can be helpful in addressing this question. In “Nature,” Emerson crosses a common at twilight and enjoys 8 ALAC01 8 29/06/2006, 02:53PM BIG a perfect exhilaration. Almost I fear to think how glad I am. . Standing on the bare common – my head bathed by the blithe air, and uplifted into infinite space – all mean egotism vanishes. I become a transparent eye-ball.