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Slang bei Sinclair Lewis ...Wasmuth, Hans Werner, January 1935 (has links)
Diss.--Hamburg. / Lebenslauf. Reproduced from type-written copy. "Quellenangabe": iii p. at end.
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Juxtaposition as a Satiric Technique in Sinclair Lewis's "Main Street," "Babbitt," and "Elmer Gantry"Wood, David C. January 1959 (has links)
No description available.
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The Sociology of Sinclair Lewis's WritingsBish, Cora Frank January 1938 (has links)
No description available.
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The Sociology of Sinclair Lewis's WritingsBish, Cora Frank January 1938 (has links)
No description available.
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Satire on American Life as Portrayed in the Novels of Sinclair LewisNorman, Helen Marjorie 08 1900 (has links)
Since 1920, Lewis has written only novels in which he has ridiculed the leading phases of American life. He has given an exact picture; he has left no faults uncovered. He loves America and he hates to see her in a state of degeneration. He has tried to appeal to the human side of his public in order to open the eyes of America to her own defects. He has been cynical, satirical, and humorous in his attempt to picture America as she really is. I have chosen the novels that Lewis has written since the year 1920 to show that he has satirized America in her various phases of life. I have not explored the fields of poetry and drama nor the earlier novels; for beginning with Main Street in 1920 and ending with the Prodigal Parents in 1938, Lewis has depicted the faults of a nation struggling for peace and security in a world of materialistic ideals.
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[pt] O UR-FASCISMO ONTEM E HOJE: APARIÇÕES LITERÁRIAS DE UMA METODOLOGIA DE PODER / [en] THE UR-FASCISM YESTERDAY AND TODAY: LITERARY APPARITIONS OF A POWER METHODOLOGYSERGIO SCHARGEL MAIA DE MENEZES 24 May 2021 (has links)
[pt] A Freedom House, instituição estadunidense, reportou 2019 como o décimo
quarto ano seguido de recessão democrática mundial, uma crise que ressuscita
a discussão acerca do conceito usado para denominar esses movimentos antidemocráticos.
Muito se fala que eles seriam novas versões de um fascismo, a despeito
de características distintas em cada manifestação. O semiólogo italiano Umberto
Eco antecipou essa questão e criou um conceito que busca resolver essa problemática:
Ur-Fascismo. O Ur-Fascismo é o fascismo que nunca acaba, que se
reconstrói, se retrabalha, se adequa a cada época, dado seu caráter infinito. As
distintas aparições do fascismo não se limitam à política da realidade: a política da
ficção tratou de apresentá-lo de diversas formas. Partindo da discussão de uma
base teórica sobre teoria política, em particular sobre o Ur-Fascismo, será possível
perceber como a ficção tratou aparições e características desse fenômeno, tomando,
para isso, dois objetos: Não vai acontecer aqui, de Sinclair Lewis, e Ele está de
volta, de Timur Vermes. Assim, será possível trabalhar as idiossincrasias dos Ur-
Fascismos dessas ficções, suas diferenças e similitudes, em consoante com as bases
da teoria política e, no processo, expandir tanto o estado da arte sobre literaturas
do Ur-Fascismo, quanto contribuir à discussão sobre um fenômeno político
pouco compreendido. Por fim, encerra-se com uma discussão, a partir da ideia de
vaga-lumes de Pasolini e Didi-Huberman, sobre a importância da arte, em especial
a arte antifascista, na luta contra o Ur-Fascismo. / [en] Freedom House, an US institution, reported 2019 as the fourteenth year in
a row of a global democratic recession, a crisis that resuscitates the discussion
about the concept used to name these anti-democratic movements. Much is said
that they would be new versions of fascism, despite different characteristics in
each manifestation. Italian semiologist Umberto Eco anticipated this issue and
created a concept that seeks to resolve this issue: Ur-Fascism. Ur-Fascism is fascism
that never ends, that is reconstructed, reworked, adapted to each era, given
its infinite character. The different appearances of fascism are not limited to the
politics of reality: the politics of fiction tried to present it in different ways. Starting
from the discussion of a theoretical basis on political theory, in particular on
Ur-Fascism, it will be possible to perceive how fiction treated apparitions and
characteristics of this phenomenon, taking, for this, two objects: It can t happen
here, by Sinclair Lewis, and Look who s back, by Timur Vermes. Thus, it will be
possible to work on the Ur-Fascism idiosyncrasies of these fictions, their differences
and similarities, in line with the bases of political theory and, in the process,
expand both the state of the art on Ur-Fascism literatures and contribute to the
discussion on a little understood political phenomenon. Finally, it ends with a discussion,
based on the idea of fireflies, developed by Pasolini and Didi-Huberman,
about the importance of art, especially anti-fascist art, in the fight against Ur-
Fascism.
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A Group Interpretation Script, "Sinclair Lewis, a Biographical Portrait"McNabb, Michael L. 08 1900 (has links)
The purpose of this project was to prepare a group interpretation script based upon the life of Sinclair Lewis and to direct a production of the script. Major sources for the script are Mark Schorer, Sinclair Lewis: An American Life; Grace Hegger Lewis, With Love From Gracie; and Vincent Sheean, Dorothy and Red. The script employs five readers and has a performance time of approximately fifty-five minutes. The thesis includes a biography of Lewis, a justification for the project, the purpose and procedures followed, as well as discussions of the production concept, adapting material for group interpretation, direction, rehearsal procedures, and evaluations of the script and the performance. The complete script is also included in the thesis.
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Sinclair Lewis : leader of the conflict with conformity in three novels (Main Street, Babbitt, and Arrowsmith) 1920-1925Davenport, Albert Edwin 01 January 1962 (has links) (PDF)
The purpose of this paper is to analyze and discuss the conflict with conformity in three novels of Sinclair Lewis from 1920 to 1925. It is also the intention of this paper to identify Sinclair Lewis as the leader of the conflict - with - conformity movement of this period.
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American ways and their meaning : Edith Wharton's post-war fiction and American history, ideology, and national identityGlennon, Jenny L. January 2011 (has links)
This thesis argues that Edith Wharton’s assessment of American ways and their meaning in her post-war fiction has been widely misread. Its title derives from French Ways and Their Meaning (1919), which she wrote to educate her countrymen about French culture and society. Making sense of America was as great a challenge to Wharton. Much of her later fiction was for a long time dismissed by critics on the grounds that she had failed to ‘make sense’ of America. Wharton was troubled by American materialism and optimism, yet she believed in a culturally significant future for her nation. She advocated – and wrote – an American fiction that looked critically at society and acknowledged the nation’s ties to Europe. Sometimes her assessment of American ways is reductive, and presented in a tone that her critics, then and since, found off- putting and snobbish. But her skepticism about American modernity was penetrating and prophetic, and has not been given its due. In criticism over the last two decades, a case for the place of Wharton’s post-war fiction in canons of feminism and modernism has been persuasively made. The thesis responds to these positions, but makes its own argument that the post-war writing reflects broader shift in American identity and ideology. The thesis is broadly historicist in its strategy, opening with a discussionofthereputationofthesetextsandthatoftheauthormoregenerally. Afterthat entry-point, it is organized thematically, with four chapters covering topics that are seen as key components of American ideology in Wharton’s post-war writing. These include modernity, gender equality, the American Dream of social mobility, and American exceptionalism. The thesis concludes with an assessment of Wharton’s prognostications in the context of twenty-first century America.
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The Great Gatsby and its 1925 ContemporariesFaust, Marjorie Ann Hollomon 16 April 2008 (has links)
ABSTRACT This study focuses on twenty-one particular texts published in 1925 as contemporaries of The Great Gatsby. The manuscript is divided into four categories—The Impressionists, The Experimentalists, The Realists, and The Independents. Among The Impressionists are F. Scott Fitzgerald himself, Willa Cather (The Professor’s House), Sherwood Anderson (Dark Laughter), William Carlos Williams (In the American Grain), Elinor Wylie (The Venetian Glass Nephew), John Dos Passos (Manhattan Transfer), and William Faulkner (New Orleans Sketches). The Experimentalists are Gertrude Stein (The Making of Americans), E. E. Cummings (& aka “Poems 48-96”), Ezra Pound (A Draft of XVI Cantos), T. S. Eliot (“The Hollow Men”), Laura Riding (“Summary for Alastor”), and John Erskine (The Private Life of Helen of Troy). The Realists are Theodore Dreiser (An American Tragedy), Edith Wharton (The Mother’s Recompense), Upton Sinclair (Mammonart), Ellen Glasgow (Barren Ground), Sinclair Lewis (Arrowsmith), James Boyd (Drums), and Ernest Hemingway (In Our Time). The Independents are Archibald MacLeish (The Pot of Earth) and Robert Penn Warren (“To a Face in a Crowd”). Although these twenty-two texts may in some cases represent literary fragmentations, each in its own way also represents a coherent response to the spirit of the times that is in one way or another cognate to The Great Gatsby. The fact that all these works appeared the same year is special because the authors, if not already famous, would become famous, and their works were or would come to represent classic American literature around the world. The twenty-two authors either knew each other personally or knew each other’s works. Naturally, they were also influenced by writings of international authors and philosophers. The greatest common elements among the poets and fiction writers are their uninhibited interest in sex, an absorbing cynicism about life, and the frequent portrayal of disintegration of the family, a trope for what had happened to the countries and to the “family of nations” that experienced the Great War. In 1925, it would seem, Fitzgerald and many of his writing peers—some even considered his betters—channeled a major spirit of the times, and Fitzgerald did it more successfully than almost anyone.
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