Waking Rip Van Winkle: A proposal to redesign the education workforce

The education model in which a single teacher instructs a single classroom of students has been remarkably persistent, but teacher shortages, low morale, and poor teacher retention are signs that it’s not working well for teachers. Ray Reutzel and Parker Fawson describe how Utah’s Center for the School of the Future is seeking to redesign the teacher workforce to improve outcomes for both teachers and students without increasing costs. Their integrated workforce model brings students together in a pod led by a master teacher, classroom teachers, teacher interns, aides, and tutors. Students receive more individualized support, and prospective teachers have more opportunities to practice their skills before receiving a license and becoming a lead teacher. The model also includes pathways for paraprofessionals to complete education coursework while they continue to earn an income.

Van Winkle Words

Many coined words lie dormant for a time, a long time even, then – like Rip Van Winkle – re-appear when needed. Such “Van Winkle words” include serendipity, which languished for nearly two centuries after being coined by Horace Walpole in 1754, before twentieth-century developments in science and technology needed that word to describe discoveries-by-chance. Changing circumstances are the alarm clock of slumbering words, waking them up as demand for such terminology mounts: greenhouse effect, vegan, groupthink. Slangy terms such as cool, chill, hip and vibe that sound so contemporary routinely turn out to have a long historical provenance. So do muggle, hobbit, and grit. Once these terms do reappear, they are typically thought to have been coined recently. This exemplifies what linguist Arnold Zwicky calls the recency illusion, “the belief that things YOU have noticed only recently are in fact recent.”

American Reality in Washington Irving's “The Legend of the Sleepy Hollow” and “Rip

This article analyzes Washington Irving's two most popular novels in American literature, "Sleepy Hollow" and "Rip Van Winkle." The main issue is the issue of identity in this period of history. The author of these short stories answers everyone who asks about the American people's quest for freedom and what it means to be an American. These novels are a source of inspiration for Americans to build their own culture. Key words: novella, Revolutionary war, colonialism, spirit, personality

Romanticism in the North American Short Story

El Romanticismo fue un movimiento extremadamente influyente que surgió a finales del siglo 18 y que tuvo un gran impacto en varias áreas, incluida la literatura. Innumerables escritores han representado en sus obras características esenciales del Romanticismo como la representación de horror y emociones intensas, el uso de entornos naturales exóticos y salvajes, el nacionalismo, el individualismo, la mente humana, y el simbolismo, entre muchas otras. En este artículo, se muestra cómo el Romanticismo influyó, en concreto, la narrativa breve norteamericana analizando cinco obras: “Rip Van Winkle,” de Washington Irving; “The Minister’s Black Veil,” de Nathaniel Hawthorne; “Bartleby, the Scrivener,” de Herman Melville; y “The Minister’s Black Veil” y “The Tell-Tale Heart,” de Edgar Allan Poe. Los resultados que se han obtenido de este análisis han demostrado que estas cinco historias breves se pueden considerar trabajos románticos porque reflejan múltiples características del Romanticismo. De hecho, estos autores retratan las peculiaridades de los dos sub-campos más importantes del Romanticismo Americano conocidos como “Romanticismo Claro” y “Romanticismo Oscuro.” Romanticism was an extremely influential movement which flourished at the end of the 18th century and which had a huge impact on various areas, including literature. Countless writers have represented in their works key Romantic features such as the depiction of horror and intense emotions, the use of exotic and wild natural settings, nationalism, individualism, the reproduction of the human psyche, and symbolism, among many others. In this paper, it is shown how the Romantic Movement influenced, more specifically, the North American short story by analysing five works: Washington Irving’s “Rip Van Winkle,” Nathaniel Hawthorne’s “The Minister’s Black Veil,” Herman Melville’s “Bartleby, the Scrivener,” and Edgar Allan Poe’s “The Masque of the Red Death” and “The Tell-Tale Heart.” The results which have been obtained from this analysis have demonstrated that these five short stories can be considered as Romantic works because they reflect multiple characteristics of the Romantic Movement. In fact, these writers portray the peculiarities of the most important subfields of American Romanticism, which are known as “Light Romanticism” and “Dark Romanticism.”

The Character of Rip van Winkle: Representation of Disappearing Cultural Identity

─ The purpose of this research is to explore how an ethnicity is represented in a story that has a historical setting and how this ethnic group was placed in American history. The short story of Washington Irving, "Rip Van Winkle", published in 1819, was very popular in America. This story was recycled in the form of stories for children, made into plays, etc. What Americans always remember about Rip Van Winkle character is his laziness. The story of "Rip Van Winkle" is traced through Stuart Hall's Representation theory. This theory states that representation can give meaning to an identity, and the New Historicism method is used to uncover that fictional stories are tied to the world that produced them. The result shows that Rip's character is a representation of Dutch ethnicity who felt losing their cultural identity. Rip's character in the story is a representation of Dutch New York ethnicity, and he was the main character in the story who was narrated as a lazy man. Thus, what always presents in America's memory is the lazy Dutch because of the representation of the character of Rip, but the other characters who were narrated less in the story are not remembered, even though they played a role in establishing America.

The Character Sketch, the Aesthetics of Representativeness, and Rip Van Winkle’s Electoral Double Vision

This essay examines how a literary genre called the character sketch shaped the ways Americans came to understand electoral representation as representative. Now little known but central to eighteenth- and early-nineteenth-century literary culture in the US and Britain, character sketches and a related aesthetic discourse about how to distinguish “well-drawn characters” from caricature helped to naturalize the notion that meaningful, legitimate representation should be grounded in clearly delineated categories and distinctions that were true to the “Laws of Nature and Nature’s God.” However, this aesthetic and political framework intersected uneasily with the early nineteenth century’s alcohol-soaked electoral public sphere. This public sphere was rife with fear that electoral “combinations” would so badly misrepresent the electorate that the United States would be functionally returned to tyranny. And these abstract fears often became entangled with the embodied discomfort genteel white men like Washington Irving experienced when “beer-barrel” politics brought them into contact with fellow voters whom they considered themselves naturally socially or racially distinct from. As a result, this paper shows, writing for and about early US elections—including Washington Irving’s “Rip Van Winkle” (1819), whose electoral plot is often overlooked—was imbued with a disconcerting sense of double vision. Only by recovering that double vision’s embodied and racialized electoral context can critics fully grapple with the aesthetic and political legacy of American literature’s uneasy foundations.

The 1870s

Bristow’s stature in New York as a composer, conductor, and organist was unrivaled during the 1870s. He continued to perform with the two orchestras and to conduct several society choirs. The number of new compositions slowed during the 1870s, but his significant works included Great Republic: Ode to the American Union (1870-1876), Pioneer: A Grand Cantata (1872), and his programmatic Arcadian Symphony (1872). An increasingly number of his compositions were performed during the decade, including a revival (unsuccessful) of Rip Van Winkle. He enjoyed a third Grand Testimonial Concert and the performance of his Arcadian Symphony in a Baltimore concert of American music (both 1875).