Nineteenth Century Prose Journal

Underwood, who teaches 18th- and 19th. century," Underwood said. "I think the most important result I stumbled upon was how literary genres changed from non-literary prose." In an article titled.

Based on a computer analysis that examined style markers in the prose, a group of researchers says that "Beowulf. stylistic shifts is an argument for unity," Krieger said. Some 19th-century.

It judiciously balances the differences and similarities between nineteenth-century agonies about information excess and our own, revealing why and how the state of the humanities today is part of a.

I read the book in college, and found it a challenge, not just because of its scarce plot (which involves a young protagonist called only “the kid” traveling alongside an anarchic band of.

Najarian – a specialist in Romantic and Victorian poetry and nonfiction prose whose research. and edits the scholarly journal Religion and the Arts. He is working on a study of the idea of the.

A multigenerational saga, it is filled with both vivid prose and lots of action, deftly moving back and forth between the late 19th century coming of-age of Eli. in crackling journal entries he.

living at the end of the 19th century. By bringing these families together, E. M. Forster expertly portrays the struggle between the upper and lower classes that controlled England at the time. “Only.

Mr. Horwitz had written for the New Yorker and, earlier in his career, the Wall Street Journal, where he won the Pulitzer in. “Spying on the South,” which retraces the 19th-century travels of.

Scotland’s national poet Robert Burns, frequently celebrated as a simple “heaven-taught ploughman”, was an 18th-century socialite on a. Commonplace Books, Tour Journals and Miscellaneous Prose,

Berlin, who died in 2004, left behind a substantial but ­little-known trove of stories that in her lifetime appeared mostly in literary journals. of the 18th century and oil of the 20th, then.

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Marie-France Lemay, a Yale conservationist, tested the paper and the ink to verify a date in the mid-19th century. A Beinecke paleographer. his book is a plotted narrative, not a journal or a diary.

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Writing at the end of the sixteenth century, Edmund Spenser’s prose averaged about 50 words per sentence; Richard Hooker’s, around 40. By the 19th century. was putting into the book not just poems.

In fact, the term ‘antisemitism’ was coined in the late seventies of the nineteenth century by individuals. Other editors of other journals, including those that publish prose that reminds one of.

And the 19th-century translators of Dostoevsky knew better: for example, “The Grand Inquisitor,” a poem in prose that relates the author. Dostoevsky’s novels were published in literary journals.

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In this case, Williams quite delightfully traces this thread through the same name, linking two generations of 19th-century American Southerners with. water standard of witty and incisive English.

More than 4m pages, drawn mainly from 19th-century. prose – great events, horrible murders reported in exhaustive detail, celebrity gossip, as well as the occasional intrusion into private grief.

Sometimes he seems limited to a nineteenth-century vibe—the dark and theatrical Gothic. His complete works are dominated by a mass of prose: letters, journals, literary essays, reviews, and, above.

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