Bøger af William J. Scheick

Puritan American writers faced a dilemma: they had an obligation to use language as a celebration of divine artistry, but they could not allow their writing to become an iconic graven image of authorial self-idolatry.

In this study, William J. Scheick seeks to recover the place of romance in fin-de-siecle England and America; to distinguish among its subgenres of eventuary, aesthetic, and ethical romance; and to reinstate ethical romance as a major mode of artistic exp

Puritan culture in many respects militated against artistic expression. Yet, like nature, art persisted, managing to gain a foothold in whatever crevices Puritan culture provided. Jonathan Edwards's artistry, evident in his deliberate experiments in the management of language, grew out of his duty as a minister to communicate his sermons effectively. Emphasizing recurrent theological and artistic implications, The Writings of Jonathan Edwards focuses on the progressive interiorization of Edwards's primary concerns. Underlying this development was Edwards's desire to resolve the question of whether he was one of God's elect, and his search for genuine selfhood or identity resulted in autobiographical dimensions in many of his public writings. In his quest for true identity, Edwards aligned himself with Puritan orthodoxy, and his regard for tradition is a consistent theme in his work from his earliest notes to his last treatises. Within Puritan tradition Edwards perceived a collective self, a divinely ordained continuity and integrity immune to the vicissitudes of time. Scheick's study will appeal to scholars and students of American literature, history, and culture as well as to those with a special interest in the relation between art and theology. As an explication of Edwards's writings and of the development of his thought, the study will make Edwards more easily accessible to students of American literature.

These works, along with the writings of other colonial women, provide especially noteworthy instances of bifurcations emanating from American colonial women's conflicted confiscation of male authority.

The half-blood -- half Indian, half white -- is a frequent figure in the popular fiction of nineteenth-century America, for he (or sometimes she) served to symbolize many of the conflicting cultural values with which American society was then wrestling.

He is best remembered today as the author of classic works of science fiction, such as The Invisible Man, The War of the Worlds, and The First Men in the Moon.