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This unprecedented monograph on the print maker John Melville Kelly (1878-1962) is the first to trace the artist's extraordinary career from his early years in California to his stunning commercial success in Hawaii. While skilled in a variety of media, including painting and drawing, Kelly is best known for his alluringly beautiful and poignantly nostalgic etchings of native Hawaiians. His prints and drawings capture the essence of the islands and their people, even as they evoke a time and place far removed from modern experience.

We know who the Founding Fathers were economically and politically, but who founded America culturally and spiritually? For John Gardner, it was not until the generation after Jefferson and Adams that the revolutionary principles of American spiritual life were laid down. For him, Emerson, Melville, and Whitman speak for the spirit as it lives in America.This is not so much a work of literary criticism as a meditative attempt to allow the ideas of these founding fathers to be thought anew. The result is that we hear these heralds of the spirit as if for the first time. Their words, presented with uncanny directness, become prophetic of America today.

“Who would have looked for philosophy in whales, or for poetry in blubber?” the London John Bull remarked in October of 1851. And yet, the reviewer went on, “few books which professedly deal in metaphysics, or claim the parentage of the muses, contain as much true philosophy and as much genuine poetry as the tale of the Pequod's whaling expedition.” A decade and a half before surprising the world with a book of Civil war poetry, Melville was already confident of what was “poetic” in his prose. As Hershel Parker demonstrates in this book, Melville was steeped in poetry long before he called himself a poet. Here Parker, the dean of Melville studies, gives a compelling, in-depth account of how one of America’s greatest writers grew into the vocation of a poet. His work corrects two of the most pernicious misconceptions about Melville perpetuated by earlier critics: that he repudiated fiction writing after Pierre, and that he hadn’t begun writing poetry (let alone had a book of poems ready for publication) as early as 1860. In clearing up these misapprehensions, Parker gives a thorough and thoroughly involving account of Melville’s development as a poet. Parker demonstrates for the first time just how crucial poetry was to Melville from childhood to old age, especially its re-emergence in his life after 1849. Drawing on Melville's shrewd annotations of great British poets and on his probing, skeptical engagement with commentaries on poetry (particularly by the great Scots reviewers), Parker paints a richly textured portrait of a hitherto unseen side of Herman Melville.

“Who would have looked for philosophy in whales, or for poetry in blubber?” the London John Bull remarked in October of 1851. And yet, the reviewer went on, “few books which professedly deal in metaphysics, or claim the parentage of the muses, contain as much true philosophy and as much genuine poetry as the tale of the Pequod's whaling expedition.” A decade and a half before surprising the world with a book of Civil war poetry, Melville was already confident of what was “poetic” in his prose. As Hershel Parker demonstrates in this book, Melville was steeped in poetry long before he called himself a poet. Here Parker, the dean of Melville studies, gives a compelling, in-depth account of how one of America’s greatest writers grew into the vocation of a poet. His work corrects two of the most pernicious misconceptions about Melville perpetuated by earlier critics: that he repudiated fiction writing after Pierre, and that he hadn’t begun writing poetry (let alone had a book of poems ready for publication) as early as 1860. In clearing up these misapprehensions, Parker gives a thorough and thoroughly involving account of Melville’s development as a poet. Parker demonstrates for the first time just how crucial poetry was to Melville from childhood to old age, especially its re-emergence in his life after 1849. Drawing on Melville's shrewd annotations of great British poets and on his probing, skeptical engagement with commentaries on poetry (particularly by the great Scots reviewers), Parker paints a richly textured portrait of a hitherto unseen side of Herman Melville.

The narrative of facts―probably best exemplified in the literature of exploration―was an immensely popular genre in mid-nineteenth-century America. In White Lies, John Samson offers full contextual readings of Melville's five major narratives of facts―Typee, Omoo, Redburn, White-Jacket, and Israel Potter. Samson demonstrates that in these novels Melville critically rewrote the sources on which he drew, in effect making the genre itself a subject of his writing.In his introduction, Samson discusses Melville's knowledge of the genre and its ideology. He then reads each novel in terms of Melville's confrontation with its sources. In each, Samson says, an unreliable narrator represents particular ideological tendencies in Melville's sources. Melville heightens and extends these tendencies, exposes the contradictions and biases within them, and ends by showing the narrator evading or denying experiences that conflict with his ideology. According to Samson, Melville sees the concept of historical progress as the basis of these biases and evasions.In these five novels, Melville reveals the conflict between democratic, humanitarian, and individualistic principles, on the one hand, and the forces of racial superiority, religious bigotry, economic determinism, and political conservatism, on the other. Taken together, Samson asserts, these novels deconstruct the intellectual foundations of the form of historical narration endorsed by white patriarchal culture.Scholars and students of nineteenth-century American literature, specialists in the novel, and other readers of Melville will welcome Samson's provocative reinterpretation of these key works in American culture.

John Bryant has assembled a unique collection of critical writings dealing with the life, art, and influence of Herman Melville. More than just a survey of his works, this book is an intellectual guide that comprises the learning and insight of twenty-five noted Melville scholars, as well as their suggestions for further research. In combining criticism and bibliography, each chapter assesses the critical debates that have emerged concerning Melville's thought and art. The Companion also examines Melville's life and influence on the world of books, modern thought, foreign cultures, and popular culture.

John Bryant's book is a strong and significant argument for the centrality of the comic and repose in Melville's novels. The purpose of Melville and Repose is dual: to ground the uses of romantic humor in Melville in sensitive readings of contemporaneous European and American writings, and to offer a definitive account of the comic as the shaping force of Melville's narrative voice throughout the major phase of his literary career. Bryant argues that Melville fused a "rhetoric of geniality" and "picturesque sensibility" adopted from the British with a "rhetoric of deceit" borrowed from the American tall tale in order to create his own amiably cosmopolitan "rhetoric of aesthetic repose." Thorough research into American culture and recent Melville manuscript findings, an engaging style, and full, scholarly readings combine to make this historicist study a welcome addition to the libraries of Americanists and Melville scholars and enthusiasts.

John Bryant has assembled a unique collection of critical writings dealing with the life, art, and influence of Herman Melville. More than just a survey of his works, this book is an intellectual guide that comprises the learning and insight of twenty-five noted Melville scholars, as well as their suggestions for further research. In combining criticism and bibliography, each chapter assesses the critical debates that have emerged concerning Melville's thought and art. The Companion also examines Melville's life and influence on the world of books, modern thought, foreign cultures, and popular culture.

Arthur Melville was arguably the most innovative and modernist Scottish artist of his generation and one of the finest British watercolourists of the nineteenth century, yet he avoided categorization. In 1943 the Scottish Colourist John Duncan Fergusson confessed that although they never met, "his work opened up to me the way to free painting - not merely freedom in the use of paint, but freedom of outlook".This book offers a comprehensive survey of Arthur Melville's (1855-1904) rich and varied career as artist-adventurer, Orientalist, forerunner of The Glasgow Boys, painter of modern life and re-interpreter of the landscape of Scotland. His travels inspired spectacular watercolors and paintings. This book illustrates around sixty of his works, each with a catalogue entry, and an essay by Kenneth McConkey, which discusses Melville's art and career.

John Bryant's book is a strong and significant argument for the centrality of the comic and repose in Melville's novels. The purpose of Melville and Repose is dual: to ground the uses of romantic humor in Melville in sensitive readings of contemporaneous European and American writings, and to offer a definitive account of the comic as the shaping force of Melville's narrative voice throughout the major phase of his literary career. Bryant argues that Melville fused a "rhetoric of geniality" and "picturesque sensibility" adopted from the British with a "rhetoric of deceit" borrowed from the American tall tale in order to create his own amiably cosmopolitan "rhetoric of aesthetic repose." Thorough research into American culture and recent Melville manuscript findings, an engaging style, and full, scholarly readings combine to make this historicist study a welcome addition to the libraries of Americanists and Melville scholars and enthusiasts.

This Title Comes In Quantities Of Five (5) Copies(1 Order=5 Copies) John Saw De Numbuh Publisher: Fred Bock Music Company Category: Choral ...

This Title Comes In Quantities Of Five (5) Copies(1 Order=5 Copies) John, the Revelator Publisher: Fred Bock Music Company Category: Choral...

This Title Comes In Quantities Of Five (5) Copies(1 Order=5 Copies) O for a Thousand Tongues to Sing Composer: Charles Wesley (arr. John Ne...

This Title Comes In Quantities Of Ten (10) Copies. 1 Order = 10 Individual Copies It Is Good to Sing Thy Praises Arranger: John Carter (arr. C...

This Title Comes In Quantities Of Ten (10) Copies. 1 Order = 10 Individual Copies Holy, Holy, Holy Arranger: John B. Dykes John B. Dykes/Regin...

Arranger: John Ness Beck O for a Thousand Tongues to Sing Publisher: Fred Bock Music Company Category: Choral Series: Fred Bock Publications ...

Composer: John Jensen I Will Exalt You Publisher: Fred Bock Music Company Category: Choral Series: Fred Bock Publications Format: Paperback ...

This Title Comes In Quantities Of Five (5) Copies(1 Order=5 Copies) Hail, Christmas Day! Arranger: Abbie Betinis Abbie Burt Betinis/John Bu...

Behind the "Big Houses" of the antebellum South existed a different world, socially and architecturally, where slaves lived and worked. John Michael Vlach explores the structures and spaces that formed the slaves' environment. Through photographs and the words of former slaves, he portrays the plantation landscape from the slaves' own point of view.The plantation landscape was chiefly the creation of slaveholders, but Vlach argues convincingly that slaves imbued this landscape with their own meanings. Their subtle acts of appropriation constituted one of the more effective strategies of slave resistance and one that provided a locus for the formation of a distinctive African American culture in the South.Vlach has chosen more than 200 photographs and drawings from the Historic American Buildings Survey--an archive that has been mined many times for its images of the planters' residences but rarely for those of slave dwellings. In a dramatic photographic tour, Vlach leads readers through kitchens, smokehouses, dairies, barns and stables, and overseers' houses, finally reaching the slave quarters. To evoke a firsthand sense of what it was like to live and work in these spaces, he includes excerpts from the moving testimonies of former slaves drawn from the Federal Writers' Project collections.

Behind the "Big Houses" of the antebellum South existed a different world, socially and architecturally, where slaves lived and worked. John Michael Vlach explores the structures and spaces that formed the slaves' environment. Through photographs and the words of former slaves, he portrays the plantation landscape from the slaves' own point of view.The plantation landscape was chiefly the creation of slaveholders, but Vlach argues convincingly that slaves imbued this landscape with their own meanings. Their subtle acts of appropriation constituted one of the more effective strategies of slave resistance and one that provided a locus for the formation of a distinctive African American culture in the South.Vlach has chosen more than 200 photographs and drawings from the Historic American Buildings Survey--an archive that has been mined many times for its images of the planters' residences but rarely for those of slave dwellings. In a dramatic photographic tour, Vlach leads readers through kitchens, smokehouses, dairies, barns and stables, and overseers' houses, finally reaching the slave quarters. To evoke a firsthand sense of what it was like to live and work in these spaces, he includes excerpts from the moving testimonies of former slaves drawn from the Federal Writers' Project collections.