621 research outputs found
The life of Bret Harte
No full textAs part of the Open Door series, Gary Scharnhorst, author of ""Bret Harte : opening the American literary West,"" discusses the life of Bret Harte
Bret Blasius, composition, Friday, May 11, 2007
No full text"In partial fulfillment of the requirements for the degree of Master of Music
Harte, Bret
No full textBret Harte was an American author and poet whose short stories provided a glimpse of frontier life. Harte began his career as a Journalist in Union, CA; he later moved to San Francisco and published a collections of poetry and parodies. In 1870 his first collection of Western stories was published, soon afterwards he accepted a writing contract with Atlantic Monthly and moved to the East. In his later life his writing lost popularity forcing him to accept consulships in Germany and Scotland. He moved to London permanently in 1885, where he died in 1902.4 x 6.5 in; Cabinet car
Harte, Bret
No full textBret Harte was an American author and poet whose short stories provided a glimpse of frontier life. Harte began his career as a Journalist in Union, CA; he later moved to San Francisco and published a collections of poetry and parodies. In 1870 his first collection of Western stories was published, soon afterwards he accepted a writing contract with Atlantic Monthly and moved to the East. In his later life his writing lost popularity forcing him to accept consulships in Germany and Scotland. He moved to London permanently in 1885, where he died in 1902.Carte de visit
Fondation et transmission dans la Vita Pauli et la Vita Hilarionis
No full textInternational audiencePaul and Anthony, Anthony and Hilarion, Hilarion and Hesychius /…/, thementor-disciple relationships punctuate Jerome’s Vita Pauli and Vita Hilarionis,and forge an almost genetic continuity between a founder and his successors. This article will ask how these inheritance relationships reflect Jerome’s intentions in the ascetic and literary fields. These two Lives of monks make sure to place their hero in a monastic line that goes back to the origins. The Vita Pauli says almost nothing about the ascetic’s life and focuses on his encounter with Anthony, who becomes his heir in all thanks to biblical parallels. Hilarion, for his part, begins his monastic life by meeting a mentor and ends it with an act of transmission to one of his disciples. Each time, the ascetic garment, the most immediately visible sign of the monastic ideal given by a monk to his disciples, becomes a symbolic representation of this spiritual lineage. Consequently, this emphasis on transmission can be read as a doubling of the Vitae’s exemplary aim, the reader becoming the disciple of the mentor the saint is for him. However, this motif also becomes for Jerome a way to define his place in the literary hagiographic tradition: both a rival imitator of the Vita Antonii and the first Latin author of Lives of ascetics aspiring to create emulators.Les rapports entre mentor et disciple scandent la Vita Pauli et la Vita Hilarionis de Jérôme et tissent une continuité presque héréditaire entre un fon-dateur et ses successeurs. Le but de cet article est de se demander comment ces relations de transmission témoignent des ambitions de Jérôme tant dans le domaine ascétique que littéraire. Ces deux Vies de moines, tout d’abord, veillent à préciser la place de leur héros dans une lignée de moines qui remonte aux origines. La Vie de Paul ne dit presque rien de la vie de l’ascète et se concentre sur sa rencontre avec Antoine, qui devient en tout son héritier grâce à des parallèles bibliques. Hilarion, quant à lui, commence sa vie monastique par la rencontre avec un mentor et la termine dans la transmission à l’un de ses disciples. À chaque fois, le vêtement ascétique, signe le plus immédiatement visible de l’idéal monastique, transmis d’un moine à son disciple, se fait représentation symbolique de cette filiation spirituelle. Cette insistance sur la transmission peut alors être lue comme un redoublement de la visée exemplaire des Vitae, où le lecteur devient le disciple du mentor qu’est pour lui le saint. Mais ce motif devient également pour Jérôme le moyen de définir sa place dans la tradition littéraire hagiographique : à la fois rival et imitateur de la Vie d’Antoine, et premier auteur latin de Vies d’ascètes aspirant à créer lui-même des émules
The California Gold Rush Depicted in the Works of Bret Harte
No full textTato práce se zabývá zlatou horečkou v Kalifornii a jejím vyobrazením v povídkách amerického spisovatele Breta Harta. Teoretická část této bakalářské práce se zabývá významem zlaté horečky, která inspirovala mnoho amerických spisovatelů. Jedním z nejvlivnějších stvořitelů podoby západu tak, jak ji známe dnes, je Bret Harte, který se proslavil povídkami ze zlatokopeckých oblastí. Tato vyprávění spolu se svými specifickými prvky zobrazujícími život v tehdejší Kalifornii jsou popsána v analytické části práceThis thesis focuses on the Gold Rush in California and its portrayal by the American author Bret Harte. The theoretical part of this thesis deals with the significance of the Gold Rush that provided inspiration for many American writers. One of the most influential creators of the Western image remains Bret Harte with his short stories about mining communities. These narrations and their specific issues depicting the life in California, namely immoral characters, loneliness, crime and punishment and natural disasters, are described in the analytical part.Katedra anglistiky a amerikanistikyDokončená práce s úspěšnou obhajobo
Bret Harte and the Dickensian Mode in America
No full text Mark Twain's attitude toward literary imitations was almost as vehe- mently hostile as his feelings toward his former friend and benefactor, Bret Harte. It is not surprising, therefore, that his remarks on Harte's debt to Dickens would be couched in tones of self-righteous scorn: "In the San Franciscan days Bret Harte was by no means ashamed when he was praised as being a successful imitator of Dickens; he was proud of it. I heard him say, myself, that he thought he was the best imitator of Dick- ens in America, a remark which indicates a fact, to wit: that there were a great many people at that time who were ambitiously and undisguisedly imitating Dickens/'1 But if Mark Twain's right to claim superior virtue is at least questionable, his facts are not. From 1868, when American publishers offered no less than thirty-one different editions of his col- lected works - one of which sold over one hundred thousand copies in less than two years - until the turn of the century when P. F. Collier reported selling over five million copies of his works from door to door, Dickens was the one novelist most widely read in America.2 He was also, unquestionably, the dominant influence upon American writers. In the early eighties James Herbert Morse strove valiantly to identify "the native element" in American fiction only to discover that of the three score some-odd novelists he chose to discuss as typically American, three quarters owed their primary inspiration to Dickens. Representative is his commentary on the now largely forgotten Theodore Winthrop. Win- throp is both "original" and "American"; "the reader has no doubt that Winthrop had taken his portraits from life." However, the reader also "wonders continually if the author would have chosen precisely these persons if Dickens had never lived." And of all writers who have flour- ished since the Civil War, Morse observes, Bret Harte is at once the most original and the most Dickensian.3 </jats:p
Claire Hudkins, soprano, Friday, May 21, 2010
No full textIn partial fulfillment of the requirements for the degree of
Doctor of Musical Art
San Francisco sous la plume de Bret Harte. The Overland Monthly, 1868-1871
No full text« ‘The Overland Monthly’, 1868-1871: San Francisco as seen by Bret Harte » Bookseller and publisher Anton Roman offered several reasons to explain the launching of a literary monthly magazine in San Francisco in 1868 : The Overland Monthly was to reveal the intellectual dynamism of the “dormant capital”, thereby challenging the dominant position of the Eastern press, and contribute to the « material » development of the Pacific Coast, becoming in the process a promotional brochure for San Francisco and the young state of California. Roman’s choice of journalist and author Bret Harte as first editor of the magazine was clever yet risky, as he might have guessed that Harte would favor literature over commercialism. The Overland Monthly greatly contributed to the distribution of a previously unknown Western regional literature, illustrated by Harte’s “Luck of Roaring Camp,” and soon established a high reputation, while helping to turn San Francisco into a new literary center. In this article, I examine Harte’s editorial column during the first four years of the magazine, trying to bring back to life the author’s inevitably subjective vision of San Francisco in the late 1860s. Criticizing speculators, deploring the mercantile spirit of the city — thus often contradicting the initial purpose of the magazine — Harte painted a scathing portrait of the « City that knows how »
O escritor e o seu duplo em Bret Easton Ellis: uma contribuição para a análise do processo de auto-referencialidade no gótico norte-americano contemporâneo
No full textA presente dissertação tem como objectivo contribuir para o estudo do fenómeno do Duplo, inserido no género Gótico Americano, na obra do escritor norte-americano contemporâneo Bret Easton Ellis, na tradição de Stevenson, Poe e Hawthorne, os primeiros a lançar os fundamentos desta temática nas suas obras. Assim, foram estudados os motivos que conduzem ao desenvolvimento do tema do Duplo nas produções ficcionais do autor seleccionado, tendo sido fundamental o seu estudo à luz das teorias psicanalíticas de Sigmund Freud e Otto Rank. Analisámos alguns dos autores anglo- americanos, que mais colaboraram para a definição deste cânone literário, e cujas obras, temáticas e técnicas narrativas influenciaram o processo criativo de Bret Easton Ellis. Por fim, utilizámos toda a nossa pesquisa para encontrar no autor em estudo a necessidade da criação da figura do Duplo nas suas produções literárias como expressão de auto-reflexão e auto-referencialidade literária, com relevo para os seus romances American Psycho (1991) e Lunar Park (2004). ABSTRACT; The present dissertation aims to contribute to the study of the motif of the Double, in American Gothic genre, in the literary work by the contemporary North-American writer Bret Easton Ellis, who has been following the tradition of Stevenson, Poe and Hawthorne, the first writers to lay the foundations of this issue in their works. Thus, we studied the reasons that lead to the development of the theme of the Double in his fictional productions in the light of psychoanalytic theories of Sigmund Freud and Otto Rank. We examined some of the authors, classic and contemporary, who contributed to the definition of the literary canon, and whose works, themes and narrative techniques influenced the creative process of Bret Easton Ellis. Finally, we used our entire research to find in the author the need to create the figure of the Double in his literary productions as an expression of self-reflexivity, self-referentiality, namely in his novels American Psycho (1991) and Lunar Park (2004)
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