Among the Ruins

2021 ◽  
pp. 164-193
Author(s):  
Mark Storey
Keyword(s):  
Travel Writing ◽  
Mark Twain ◽  
William Dean Howells ◽  
Margaret Fuller ◽  
Roman World

From the ancient past of Chapter 3, this chapter moves to the account of contemporary American travelers through the ruins and remnants of the ancient Roman world. Starting with Jhumpa Lahiri’s period living in Rome, and touching also on Thomas Jefferson’s account of antique ruins over two hundred years before, the chapter uses the potent image of the “ruin”—both as noun and as verb—to read American travelers in Europe as observers of empire’s recursive temporalities. Closer examinations of travel writing by William Dean Howells, Mark Twain, Eleanor Clark, and Margaret Fuller reveal the ways in which the contemporary moment for each of these writers ends up filtered through the liberal observing subject via their confrontation with the materiality of an ancient empire, collectively registering the analogical history that the ruins of empire inculcate within the landscape.

Pain and the Aesthetics of US Literary Realism

2021 ◽  
Author(s):  
Cynthia J. Davis
Keyword(s):  
Nineteenth Century ◽  
Henry James ◽  
Mark Twain ◽  
William Dean Howells ◽  
Literary Realism ◽  
Physical Pain ◽  
Civilizing Process ◽  
Physical Suffering ◽  
Convergence And Divergence ◽  
Similarities And Differences

This book examines the cultural pursuit of a painless ideal as a neglected context for US literary realism. Advances in anesthesia in the final decades of the nineteenth century together with influential religious ideologies helped strengthen the equation of a comfortable existence insulated from physical suffering with the height of civilization. Theories of the civilizing process as intensifying sensitivity to suffering were often adduced to justify a revulsion from physical pain among the postbellum elite. Yet a sizeable portion of this elite rejected this comfort-seeking, pain-avoiding aesthetic as a regrettable consequence of over-civilization. Proponents of the strenuous cult instead identified pain and strife as essential ingredients of an invigorated life. The Ache of the Actual examines variants on a lesser known counter-sensibility integral to the writings of a number of influential literary realists. William Dean Howells, Henry James, Edith Wharton, Mark Twain, and Charles Chesnutt each delineated alternative definitions of a superior sensibility indebted to suffering rather than to either revulsion from or immersion in it. They resolved the binary contrast between pain-aversion on one side and pain-immersion on the other by endorsing an uncommon responsiveness to pain whose precise form depended on the ethical and aesthetic priorities of the writer in question. Focusing on these variations elucidates the similarities and differences within US literary realism while revealing areas of convergence and divergence between realism and other long-nineteenth-century literary modes, chief among them both sentimentalism and naturalism, that were similarly preoccupied with pain.

Realism, Cultural Politics, and Language as Mediation in Mark Twain and Others

Prospects ◽  
1983 ◽  
Vol 8 ◽  
pp. 183-195
Author(s):  
Jules Chametzky
Keyword(s):  
Cultural Politics ◽  
Henry James ◽  
Mark Twain ◽  
William Dean Howells ◽  
Life Itself

American classical realists in the period 1865–1900 sought, in one way or another, to grasp the essence of their new concern and method. William Dean Howells defined it as “nothing more and nothing less than the truthful treatment of material.” Mark Twain claimed in the preface to his first book, “I am sure I have written honestly, whether wisely or not,” whereas Henry James (in The Art of Fiction, 1884) enjoined the aspiring writer not to “think too much about optimism and pessimism; try and catch the color of life itself.” Truth, honesty, faithfulness to the “color of life itself”—what serious writer, in any period and writing in any mode, is not committed to those things? The problem, of course, lies in what we mean by each term, where the “material” and the “color of life” are, and by what standards (and by whom) they are to be validated. The resolution of those questions is a version of cultural politics.

Introduction

2018 ◽  
Author(s):  
Elizabeth Renker
Keyword(s):  
Henry James ◽  
Mark Twain ◽  
Literary Culture ◽  
William Dean Howells ◽  
Literary Realism ◽  
Prose Fiction ◽  
Literary Movement ◽  
The Core ◽  
Literary Histories ◽  
American Literary Realism

The terms “poetry” and “realism” have a complex and mostly oppositional relationship in American literary histories of the postbellum period. The core narrative holds that “realism,” the major literary “movement” of the era, developed apace in prose fiction, while poetry, stuck in a hopelessly idealist late-romantic mode, languished and stagnated. Poetry is thus almost entirely absent from scholarship on American literary realism except as the emblem of realism’s opposite: a desiccated genteel “twilight of the poets.” The typical tale held that, while poetry sputtered into decline, William Dean Howells, Henry James, and Mark Twain towered over literary culture as “major realists,” with 1885 standing as the ...

The Sin of Art and the Problem of American Realism: William Dean Howells

Prospects ◽  
1984 ◽  
Vol 9 ◽  
pp. 115-142 ◽  
Author(s):  
Michael Davitt Bell
Keyword(s):  
Twentieth Century ◽  
American Literature ◽  
Henry James ◽  
Mark Twain ◽  
William Dean Howells ◽  
Men And Women ◽  
Historical Importance ◽  
Fiction Writers ◽  
American Romanticism

Warner berthoff begins The Ferment of Realism (1965), his study of American literature from 1884 to 1919, with a succinct restatement of an idea long accepted by literary critics: “The great collective event in American letters during the 1880s and 1890s was the securing of ‘realism’ as the dominant standard of value.” This is the customary interpretation of the American literary generation that included William Dean Howells, Mark Twain, and Henry James; indeed, these men viewed their own historical importance in much the same terms. Thus James, in his 1879 book on Hawthorne, condescended toward the “absence in Hawthorne of that quality of realism which is now so much in fashion.” Twain's novels are laced with attacks, launched supposedly in the name of “realism,” against “romance” and the “romantic,” which is also the serious point behind the humor of such essays as “Fenimore Cooper's Literary Offenses.” And Howells, in the 1880s, emerged as the most overt American spokesman for the new standard of “realism.” “Let fiction cease to lie about life,” he demanded in Criticism and Fiction (1891); “let it portray men and women as they are, actuated by the motives and the passions in the measure we all know; let it leave off painting dolls and working them by springs and wires.” Twentieth-century literary historians have for the most part been content to accept and perpetuate these claims; they have told us again and again that in the works of our best fiction writers after the Civil War, American “romanticism” gave way to American “realism.”

Realism and the Profession of Authorship

2019 ◽  
pp. 301-320
Author(s):  
Graham Thompson
Keyword(s):  
Publishing Industry ◽  
Mark Twain ◽  
Publishing House ◽  
William Dean Howells ◽  
Stephen Crane ◽  
Literary Realism ◽  
Literary Genres ◽  
Literary Agents ◽  
American Literary Realism

This chapter examines tensions between authorship and publishing in the era of American literary realism. The publishing industry changed with the emergence of literary agents, the growing financial significance of magazines and syndication, and the increasingly influential role of publishing-house editors. All were signs of a centralizing and marketizing publishing system flexible enough to withstand changes in dominant literary genres, tastes, and fashions. With examples from the careers of well- and lesser-known realists—William Dean Howells, Mark Twain, Stephen Crane, Constance Fenimore Woolson, Charles Chesnutt—authorship remained stubbornly immune to professionalization, in part because writing is better considered as a craft than as a profession and in part because the practices creating authorship’s marketization did not require its professionalization.

Mark Twain and Travel Writing

2007 ◽  
pp. 338-354
Author(s):  
Jeffrey Alan Melton
Keyword(s):  
Travel Writing ◽  
Mark Twain

The Itinerarium Burdigalense: Politics and Salvation in the Geography of Constantine's Empire

2000 ◽  
Vol 90 ◽  
pp. 181-195 ◽  
Author(s):  
Jaś Elsner
Keyword(s):  
Travel Writing ◽  
Traditional Model ◽  
Holy Land ◽  
Roman World ◽  
Historical Processes ◽  
Institutional Norms ◽  
Late Roman

The shift from a traditional polytheistic dispensation for empire to a Christian-oriented ‘commonwealth’ is unarguably one of the most significant historical processes that took place in the Roman world. Its ramifications were manifold, and not least in the arena of how empire and its territory would come to be conceived within Late Roman and Byzantine culture. In this paper I want to explore the ways one text, written in the lifetime of Constantine, takes a series of traditional forms within the established genres of Graeco-Roman travel-writing and transforms them into a new Christian paradigm not only of travel (in the form of Christian pilgrimage) but also of empire as a territorial concept defined by particular privileged places and their privileged mythologies. The surprise lies, in part, in how swiftly a Christian author was willing implicitly to re-arrange and redefine deeply entrenched institutional norms, while none the less writing on an entirely traditional model. The text I shall be exploring, the Itinerarium Burdigalense (henceforth IB), is an account of a journey to the Holy Land made by an anonymous pilgrim from Bordeaux in A.D. 333.

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