30,004 research outputs found
Letter from Olive C. Miley to James B. Finley
No full textIn her husband\u27s absence Mrs. Miley is answering Finley\u27s letter. Her husband, John Miley, left Zanesville for Chillicothe on Monday because of a very urgent invitation. She deferred answering Finley until today in consequence of Bishop Hamline\u27s not arriving as of yet. Brother Cox is still absent and cannot tell the result of matters in Columbus. Abstract Number - 253https://digitalcommons.owu.edu/finley-letters/1251/thumbnail.jp
Marriage record of Fulwood, James D. and Miley, Carlotta H.
No full textMarriage license for James D. Fulwood and Carlotta H. Miley. C.H. Nash was the officiant
The marriage record of Miley, James S. and Hancock, Adaline
No full textMarriage license for James S. Miley and Adaline Hancock. E.S. Tyner was the officiant
(SNP053) Miley Frazier interviewed by Dorothy Noble Smith, transcribed by Victoria M. Edwards
No full textRecords the reminiscences of Miley Frazier, who was born in 1900 near Patterson Ridge, in what would become the Southern Section of Shenandoah National Park. Describes daily life in the mountains, including local agriculture, livestock production and food preservation, courting rituals and folk music. Discusses the annual cattle drives from the lowlands to the mountain pastures. Discusses the importance of seasonal harvests, including chestnuts, huckleberries and tan bark, to the local economy.https://commons.lib.jmu.edu/snp/1043/thumbnail.jp
James Waddell, VMI Faculty member, 1869
No full textFaculty member James H. Waddell (Class of 1855). He taught drawing, English and physics 1869-1870
Engraved portrait of James Nayler (1618–1660)
No full textEngraved portrait of James Nayler (1618-1660) by Robert Grave (1768-1825). Inscribed, 'Born at Ardesloe, near Wakefield, in Yorkshire. Was an Independent and served Quarter Master in ye Parliament Army, about the Year 1641. turn'd Quaker in 1651. Punish'd as a Blasphemer 1656. Author of many Books & Dyed at Holm in Huntingtonshire 1660. Aged 44.
Polyphony and the anxiety of influence in the fiction of Henry James
No full textJames's fiction, especially in the Middle Phase, centres
on the figure of the artist and is characterized by, the two
interrelated aspects which previous criticism has largely
overlooked: the Bakhtinian 'polyphonic' -creation of
'author-thinkers'; and the conflict between ephebes and
precursors, for which Harold-Bloom's concept of 'the-anxiety of
influence' is the most illuminating model. Polyphony is the
narrative mode, and influence is the intra-artistic, theme.
These, as the Introduction to the thesis makes clear, are
rehearsed in James's inaugural novel, Roderick Hudson. Rowland
Mallet is an author-thinker, and his failure is caused by
authorial limitations. His monologism -is impaired by his
mistaking empathy for the authorial sympathy. Likewise,
Hudson's failure does not arise from a mercurial temperament,
but from a polyphonic shortcoming: not possessing the power of
fiction to contain the fiction of power in, his mentor. And the
relationships among the three artists - Gloriani, Hudson and
Singleton - perfectly exemplify the Bloomian-theme. It is these
two concepts, polyphony and influence, which are the major
preoccupation in the Middle Phase; as, the works chosen
demonstrate. These are a novella, a novel, and a number of
short stories all of which have been unjustifiably neglected.
Chapter One, on The Aspern Papers, argues that Tina Bordereau,
far from being, the artless victim seen by many critics,
actually challenges and defeats the narrator by the very form
of her narrative. Her 'realist' discourse undermines his
language of 'romance', and shows up its internal unstability.
Chapter Two is an extensive study of the critical reception of
The Tragic Muse. The most common areas of critical attention
have been its contemporary topicality, its relation to previous
novels on similar themes, and the possible genealogy of Gabriel
Nash. Those have all missed the core of the work. - Chapter Three
demonstrates how polyphony and the anxiety of influence make
the novel what it really is. Influence arises from the
juxtaposition of, and the wrestling between, artistic ephebes
and their precursors (Nick and Nash,, Miriam and Madame Carre).
The dialogic quality defined by Bakhtin is crucial to the
proper, and even-handed, characterization of all, the conflicts
in the novel. And since most of James's tales in the eighties
and nineties -are about 'masters - and acolytes, the anxiety of
influence remains central. Chapter Four is a study of 'The
Author of Beltraffiol' and 'The Lesson of the Master'. Again the
characters' manipulations are a crucial focus in a way that
G6rard Genette's terminology helps to illuminate. The fact that
the ephebe is the author-thinker emphasizes the inextricability
of the Bakhtinian and the Bloomian in James. Just as
polyphony offers a different focus for explicating the poetics
of James's fiction; so the ephebal conflict provides the basis
for a fresh perception of James's own artistic struggle
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