The Nineteenth Century Revis(it)ed: The New Historical Fiction by Ina Bergmann

The nineteenth century is a crucial phase in America’s history. Key features such as geographical expansions, the industrial revolution, development in science and technology, and America’s emergence as a super power, after the American Revolution and the War of 1812, mark the century. The Civil War becomes the most important historical event of this phase that will impact the lives of Americans in the years to come. The century has literary importance also because, during this phase, forerunners of American literature, like, Edgar Allen Poe, James Cooper, Herman Melville, Walt Whitman, etc., come to the scene. Thus, the century as the setting has always been a literary choice for historical novelists.

Literary Processes In America in the 50s of the XXth Century

Above mentioned article describes development of literary process in the United States at the beginning of the 20th century. The article discusses the most influential figure of American Poetry Edgar Allan Poe. His immersive influence on art field. Generally his poetry is distinguished with expressing bitter truth about dark side of human nature. His works definitely express sympathy and love toward humans. Edgar Allen Poe is an inspiration for many modern writers, among them is Steven King. Generally Edgar Allen Poe’s works contain different genres, in the end he is genius, honest and human artist who worries about human’s condition.

Finale

In “The Future City and The Female Marine,” I set Benjamin Franklin’s Autobiography against The Female Marine, a pamphlet narrative written in three overlapping installments and published in nineteen different editions between 1815 and 1818 by Boston publisher Nathaniel Coverly. I contrast the Autobiography’s version of US urban space as a replicable franchise city to the transgressive city constructed in The Female Marine. The Female Marine’s protagonist, Lucy Brewer, seduced, abandoned, and working as a prostitute in Boston, disguises herself as a young male sailor to serve on the USS Constitution during the War of 1812. Easily read as political allegory for Boston’s shifting wartime loyalties, The Female Marine also marks a critical transition in US urban literature. Coverly rewrites the seduction tale to allow for female urban success, foreshadowing the racy female libertines of the 1840s sporting press. Virtually untouched by literary critics, The Female Marine is a remarkably rich text. Coverly quotes from and revises Charlotte, offers us a newly graphic version of the city’s geography that evokes the phantasmic cities of Edgar Allen Poe and George Lippard, previews the rise of urban serials in the penny press, and delivers a more triumphant outcome than the equivocal endings of Kelroy or Ormond. As it picks up on earlier urban forms, The Female Marine operates as a fantastic, subversive, and funny precursor to the urban genre fiction that would become immensely popular in the second half of the century.

The Nomadic Mood of Loneliness Embodied in The Raven by Edgar Allen Poe

The article investigates the poem The Raven by American dark genius Edgar Allen Poe. The research was done basing on historical, biographical and psychological literary schools, and is aimed to disclose hidden link of the poem to the life of the author. Moreover, the research includes the study of elements of gothic literature depicted in the poem.

The Theory of Cognitive Consciousness, and Λ (Lambda)

We provide an overview of the theory of cognitive consciousness (TCC), and of [Formula: see text]; the latter provides a means of measuring the amount of cognitive consciousness present in a given cognizer, whether natural or artificial, at a given time, along a number of different dimensions. TCC and [Formula: see text] stand in stark contrast to Tononi’s Integrated information Theory (IIT) and [Formula: see text]. We believe, for reasons we present, that the former pair is superior to the latter. TCC includes a formal axiomatic theory, [Formula: see text], the 12 axioms of which we present and briefly comment upon herein; no such formal theory accompanies IIT/[Formula: see text]. TCC/[Formula: see text] and IIT/[Formula: see text] each offer radically different verdicts as to whether and to what degree AIs of yesterday, today, and tomorrow were/are/will be conscious. Another noteworthy difference between TCC/[Formula: see text] and IIT/[Formula: see text] is that the former enables the measurement of cognitive consciousness in those who have passed on, and in fictional characters; no such enablement is remotely possible for IIT/[Formula: see text]. For instance, we apply [Formula: see text] to measure the cognitive consciousness of: Descartes; and the first fictional detective to be described on Earth (by Edgar Allen Poe), Auguste Dupin. We also apply [Formula: see text] to compute the cognitive consciousness of an artificial agent able to make ethical decisions using the Doctrine of Double Effect.

The HUGE presence of Lindley Murray

The grammarian Lindley Murray (1745–1826), according to Monaghan (1996), was the author of the best selling English grammar book of all times, calledEnglish Grammarand first published in 1795. Not surprisingly, therefore, his work was subjected to severe criticism by later grammarians as well as by authors of usage guides, who may have thought that Murray's success might negatively influence the sales figures of their own books. As the publication history of the grammar in Alston (1965) suggests, Murray was also the most popular grammarian of the late 18thand perhaps the entire 19thcentury, and this is most clearly reflected in the way in which a wide range of 19th- and even some 20th-century literary authors, from both sides of the Atlantic, mentioned Lindley Murray in their novels. Examples are Harriet Beecher Stowe (Uncle Tom's Cabin, 1852), George Eliot (Middlemarch, 1871–2), Charles Dickens, in several of his novels (Sketches by Boz, 1836;Nicholas Nickleby, 1838–9;The Old Curiosity Shop1840–1;Dombey & Son, 1846–8); Oscar Wilde (Miner and Minor Poets, 1887) and James Joyce (Ulysses, 1918) (Fens–de Zeeuw, 2011: 170–2). Another example is Edgar Allen Poe, who according to Hayes (2000) grew up with Murray's textbooks and used his writings as a kind of linguistic touchstone, especially in his reviews. Many more writers could be mentioned, and not only literary ones, for in a recent paper in which Crystal (2018) analysed the presence of linguistic elements in issues ofPunchpublished during the 19thcentury, he discovered that ‘[w]heneverPunchdebates grammar, it refers to Lindley Murray’. Murray, according to Crystal, ‘is the only grammarian to receive any mention throughout the period, and his name turns up in 19 articles’ (Crystal, 2018: 86). Murray had become synonymous with grammar prescription, and even in the early 20thcentury, he was still referred to as ‘the father of English Grammar’ (Johnson, 1904: 365).

POE’S BIOPICS: REPRESENTATIONS OF THE AUTHOR IN D.W. GRIFFITH’S EDGAR ALLEN POE AND JAMES MCTEIGUE’S THE RAVEN

Cinebiografias literárias frequentemente reforçam visões românticas quanto ao fazer artístico, reiterando a visão biografista e a centralidade do autor há muito denunciadas por Roland Barthes (1977). Curiosamente, um dos mais célebres críticos de tais concepções românticas, Edgar Allan Poe, viu-se vítima desse mesmo tratamento ao ter sua produçãoliterária apropriada como parte e reflexo de sua controversa biografia em diversas obras. O presente artigodebruça-sesobre dois filmes biográficos, ou biopics, acerca do célebre poeta, Edgar Allen Poe(sic), de D.W. Griffith (1909), e O Corvo, de James McTeigue (2012). A análise das obras aponta que ambas reiteram a fusão entre vida e obrado artista, bem como o apagamento das fronteiras entre fato histórico e ficção, entre autor e personagem, alta cultura e cultura de massa, contribuindo para a caracterização do gênero biopiccomo um dos mais bem-acabados exemplos de metaficção historiográfica (Hutcheon, 1988).

Introduction

In the spring of 1770, a sensation was presented to the court of Maria Theresa in Vienna: nothing less than the world’s first fully automated chess robot—the Mechanical Turk. Automata, or mechanical simulations, were a technical obsession of the time. This machine, however, was in a different league. Once activated, the Turk would recognize its opponents’ strategy, pick up chess pieces, and make its own moves—surprisingly good ones, at that. Over the years, the Mechanical Turk mesmerized international audiences. It played Napoleon Bonaparte—and caught him cheating. Despite many attempts to reveal its secrets (even Edgar Allen Poe had a go), however, the technology enabling the Turk’s magic prowess remained a mystery until shortly before its destruction in a nineteenth-century blaze....