Relevant bibliographies by topics / Adams, Henry

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Adams, Henry'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Adams, Henry"

1

Jodziewicz, Thomas W. "Henry Adams." Renascence 63, no. 4 (2011): 251–72. http://dx.doi.org/10.5840/renascence201163462.

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Jacobson, Joanne, and Ernest Samuels. "Henry Adams." New England Quarterly 63, no. 4 (1990): 649. http://dx.doi.org/10.2307/365922.

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Sommer, Robert F., and Ernest Samuels. "Henry Adams." American Literature 62, no. 2 (1990): 333. http://dx.doi.org/10.2307/2926929.

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DelGaudio, Julian J., and Ernest Samuels. "Henry Adams." History Teacher 26, no. 1 (1992): 139. http://dx.doi.org/10.2307/494117.

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Adams, Henry. "From Henry Adams." Art Journal 49, no. 3 (1990): 339. http://dx.doi.org/10.2307/777132.

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Stowe, William W. "Henry Adams, Traveler." New England Quarterly 64, no. 2 (1991): 179. http://dx.doi.org/10.2307/366120.

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Cotkin, George, and Ernest Samuels. "Henry Adams: Selected Letters." Journal of American History 79, no. 4 (1993): 1624. http://dx.doi.org/10.2307/2080285.

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Ahrens, Prue. "Henry Adams in Tahiti." Journal of New Zealand & Pacific Studies 8, no. 1 (2020): 23–37. http://dx.doi.org/10.1386/nzps_00013_1.

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While touring Tahiti in 1891, the American historian Henry Adams compiled an album of large-scale photographic prints that he purchased from commercial studios in Papeete. Souvenir album making was a popular pursuit amongst nineteenth-century Euro-American travellers who used the opportunity to project, validate and narrate desired travel experiences. Unlike others, Adams’s album is seemingly random and banal and lacks any clear narrative. This article attempts to make sense of Adams’s album. It asks to what extent the photographs performed their common function and validated Adams’s experience and expectations of Tahiti. It questions what the album reflects of Adams’s background, tastes and position in the islands as an elite traveller. It considers what was available for Adams to purchase from Papeete’s commercial studios, businesses that traded at a key moment in Tahiti’s complex colonial history. This article suggests that the album is a site where Adams’s desires and despair in colonial Tahiti overlap and contradict. Ultimately, it is a sign of his disappointment in photography as a medium incapable of capturing his island experiences.
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Taylor, M. A. "THE "PHANTASMODESTY" OF HENRY ADAMS." Common Knowledge 15, no. 3 (2009): 373–94. http://dx.doi.org/10.1215/0961754x-2009-019.

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Contosta, David R., and Robert Muccigrosso. "Henry Adams and His World." Transactions of the American Philosophical Society 83, no. 4 (1993): i. http://dx.doi.org/10.2307/1006584.

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Dissertations / Theses on the topic "Adams, Henry"

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Meyers, Cherie Kay Beaird. "Aestheticism and the "paradox of progress" in the work of Henry James, Edith Wharton, and Henry Adams, 1893-1913 /." Access abstract and link to full text, 1987. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/8803555.

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Atem, Félix. "Henry Adams et le Pacifique sud : de l'expérience tahitienne aux Mémoires d'Ariitaimai." Paris 3, 1996. http://www.theses.fr/1996PA030148.

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Du periple effectue par henry adams en 1890 dans le pacifique sud en compagnie de son ami john la farge, l'escale tahitienne constitue certainement l'etape la plus importante. Sa rencontre avec les dignitaires indigenes et notamment la derniere cheffesse du clan des teva a genere les memoires de ariitaimai, oeuvre en apparence autobiographique qui occupe une place particuliere dans la vie aussi bien que dans la carriere litteraire de l'ecrivain americain. Plus qu'un simple divertissement, l'ouvrage initialement intitule memoirs of marau taaroa, last queen of tahiti, puis devenu memoirs of ariitaimai, marama of eimeo, teriirere of tooarai, teriinui of tahiti, tauraatua i amo, contient en effet en filigrane nombre d'idees cheres a henry adams et developpees dans les ouvrages posterieurs au voyage dans les mers du sud. Ouvrage en apparence autobiographique, les memoires de ariitaimai s'inscrit dans l'oeuvre d'adams comme un prelude a the education et constitue un jalon incontournable dans l'evolution de la pensee de l'auteur<br>Henry adams's tout to the south pacific in 1890 shows that his stay in tahiti was no doubt the most important stage. His encounter with the local chiefs and espacially the last member of the great teva clan, the chieftess ariitaimai, led to the writing of the memoirs of ariitaimai, an apparently autobiographical work. More than a mere entertainment, the work initially called memoirs of marautaaroa, last queen of tahiti, then, memoirs of ariitaimai, marama of eimeo, teriirere of tooarai, teriinui of tahiti, teriitua i amo, contains a great number of important ideas adams was to develop in his works written after the travel to the south seas. The memoirs of ariitaimai thus appears as a prelude to the education as well as an essential landmark in the evolution of the writer's thought
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Kabot, Damian. "Hierarchical development in ecclesiologies of Johann Adam Möhler and John Henry Newman." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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Chalifour, Bruno. "Le paysage de la photographie américaine de paysage : 1960-1990." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2058.

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La période 1960 – 1990 a été agitée et féconde aux États-Unis malgré l’échec du projet de Grande Société et de lutte contre la pauvreté du président L.B. Johnson. L’Amérique a profité des retombées de sa domination économique et militaire pour financer l’éducation, le logement (G.I. Bill) ainsi que les arts (N.E.A.). De 1960 à 1990 la photographie est entrée massivement à l’université, dans les musées et dans le marché de l’art. Le paysage a toujours été un genre artistique privilégié aux États-Unis, de la peinture du dix-neuvième siècle à la photographie depuis son invention qui coïncide avec la découvertes de nouveaux territoires qui crée le pays. Le médium a documenté le développement territorial du pays puis s’est affirmé sur la scène de la photographie créative occidentale. Les années considérées vont voir la photographie créative américaine passer d’une période « romantique » tournée vers l’abstraction et le monde intérieur de l’artiste, conséquence des persécutions politiques de l’immédiat après-guerre, vers une réflexion ontologique et expérimentale, pour finalement traiter de problèmes de société tout en restant connectée aux réflexions esthétiques et philosophiques communes aux autres arts. Au sortir des années 1980, la photographie américaine de paysage, celle des grands espaces mais également celle des espaces humanisés, urbanisés, domine la scène internationale inspirant un renouveau du genre en Europe, au Canada, au Japon,…. Lancé par une exposition alors jugée mineure en 1975, le phénomène New Topographics est devenu planétaire et perdure. Ces quinze dernières années, de nombreuses expositions des paysagistes américains de cette période ont circulé à travers le monde, phénomène révélateur de leur rôle dans notre culture occidentalo – planétaire ainsi que pour l’histoire du médium<br>During the 1960 – 1990 period, in spite of the psychological and economical fall-outs of the various wars (Cold War, Korea and Vietnam ) undermining L.B. Johnson’s hopes and plans for a Great Society and his War on Poverty, the American government used its world supremacy and the derived wealth acquired in the wake of W.W. II (the USA was the only western country whose industrial production was impacted positively) to finance popular housing, adult education (G.I. Bill), and the arts (N.E.A.). During those years photography crashed the doors of academia, museum and art institutions, and entered the art market. Landscape has always been a major genre in the American visual arts, from the paintings of the nineteenth century (the Hudson River School, the Luminists) to photography. An interesting synchronicity can be observed between the birth, growth and coming of age of both the medium and the country. Landscape photography participated in the creation of an American identity. A century later, during what we can now call the Golden Age of American landscape photography from New Topographics in the 1970s to the advent of color photography in the 1980s, photographers turned their lenses back toward the east at the damage done and the state of the landscape left behind. The production of wall-size prints followed, competing for attention with paintings on the walls of museums and galleries that welcome them. Since the Culture Wars of the late 1980s and the 1990s, and the defunding of the arts that ensued, the rest of the world has caught up, influenced by the traveling exhibitions and publications of that generation of American photographers
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Fougère, Marie-Ange. "Ironie et sérieux : Le bourgeois en représentation dans la littérature française en prose des années 1880 : Une belle journée d'Henry CéardPot-Bouille d'Émile ZolaContes cruels de Villiers de L'Isle-Adam." Paris 3, 1994. http://www.theses.fr/1994PA030161.

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Le but de cette these est l etude d une nouvelle forme d ironie apparue dans les annees 1880, et dont la cible est la toute-puissante bourgeoisie. Trois oeuvres sont eutidees : une belle journee d henry ceard (1881). Pot-bouille d emile zola (1882) et contes cruels de villiers de l isle-adam (1883). Apres un examen theorique de la notion d ironie dans ses aspects linguistiques et litteraires, la premiere partie definit les types fondamentaux dans lesquels s incarnent les relations entre ironie et serieux apres 1850 : l individu serieux, le blagueur et l ironiste. Les trois strategies polyphoniques que l ironiste peut alors adopter sont etudiees d un point de vue stylistique : l emphase du blageur, l antiphrase implicite du discours faussement serieux et enfin les figures de la distance dans le discours ironique proprement dit. La troisieme partie est consacree a une metaphore ironique privilegiee, la metaphore du theatre, et se prolonge sur une analyse plus generale du primat de l apparence dans l ideologie bourgeoise- la "comedie bourgeoise". Enfin la quatrieme partie est consacree a l intertextualite, ironique (villiers et zola) ou serieuse (ceard), et debouche sur l analyse de l ambiguite propre au discours ironique<br>The aim of thesis is the study of a new form of irony which appeared in the 1880 years, and whose target is the omnipotent bourgeoisie. Three works are studied : une belle journee d henry ceard (1881). Pot-bouille d emile zola (1882) et contes cruels de villiers de l isle-adam (1883). After a theoric examination of the notion of irony in its linguistic and stylistic aspects, the first part defines the fundamental types in which the relations between irony and serious after 1850 are embodied : the serious man, the blagueur and the ironist. The three polyphonic strategies the ironist can then adopt are studied from a stylistic point of view : the balgueur's bombast, the implicit antiphrasis of the false serious discurse and finally the distance stylistic devices in the ironic discurse. The third part is devoted to a particular ironic metaphor, the theater metaphor, and continues with a more general analysis of the appearance's primacy in the bourgeoisie's ideology - the "bourgeoisie's comedy". Finally the fourth part is devoted to intertextuality, ironic (villiers and zola) or serious (ceard), and leads to the analysis of ambiguity which caracterizes the ironic discurse
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Bruner, Brittany. ""This, too, was myself": Empathic Unsettlement and the Victim/Perpetrator Binary in Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6284.

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At first glance, Strange Case of Dr. Jekyll and Mr. Hyde is a tale that reinforces binaries. One of these is the self/other binary that is central to David Hume's and Adam Smith's theories of sympathy that conceive of a self imaginatively identifying and experiencing fellow-feeling for an other. However, this notion is complicated because Jekyll and Hyde are the same person. Further, many critics argue that Stevenson actually challenges binary thinking. While Hume and Smith do not challenge the self/other binary in connection with sympathy, trauma theory critics do challenge a self/other binary that lies at the heart of sympathy: the victim/perpetrator binary. Noted trauma theorist Dominick LaCapra develops a method of empathizing called empathic unsettlement where a secondary witness listens with empathy to a victim's traumatic witness while recognizing the difference of his or her position as a witness. He argues that perpetrators may also warrant understanding, but this understanding does not come through empathy. However, one of the hallmarks of empathic unsettlement is that it does not neatly resolve or replace traumatic narratives. Therefore, I argue that empathic unsettlement could also be a useful method for allowing a perpetrator to witness. While practicing empathic unsettlement for a perpetrator may not be worth the risk in real life, performing a thought experiment in literature can test how using empathy might provide a better way to theorize perpetration. Using two witnesses who attempt to practice empathic unsettlement for Jekyll and Hyde, Dr. Hastie Lanyon (who fails), and Mr. Gabriel John Utterson (who succeeds), I will show how empathic unsettlement could be used for both a victim and perpetrator to tease out the complexities of assessing a traumatic situation.
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Gilmartin, Virginia. "Henry Adams and the forms of historical explanation." 2010. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.000052115.

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van, Oostrum Duco C. ""No refuge": The woman within/beyond the borders of Henry Adams, Henry James, and others." Thesis, 1994. http://hdl.handle.net/1911/16785.

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The dissertation investigates whether there is a place of refuge for women characters within and/or beyond American literary texts written by men around the turn of the twentieth century. Besides major and minor texts of leading American men of letters, Henry Adams and Henry James, the texts also include two Dutch novels, Multatuli's Max Havelaar and Frederik van Eeden's Van de koele meren des doods. In examining these texts, the dissertation seeks for a male feminist practice that does not immediately turn into a male practice of appropriation and violence, I adopt a feminist practice of exposing gender representations in canonical male-authored texts, giving particular attention to the results of their representations for women. The question I ask of them is also a question I ask of my critical practice: is a genuine representation of female characters by male authors possible? The metaphors of feminism as a "no man's land" and American literature as a "territorial battle" connect issues central in Adams, James, Multatuli, and Van Eeden. The inclusion of the Dutch texts "within" American literature takes place not only on the basis of intertextual links with Harriet Beecher Stowe's Uncle Tom's Cabin, but also because their preoccupation with gender resembles gender systems in texts of Henry Adams and Henry James. All these male authors share an interest in the representation of women in their literary works. Henry Adams argues in The Education that there is "no refuge" for modern American women except "such as the male created for himself." After analyzing the Dutch novels, James's The Wings of the Dove, and Adams's Esther, his South Seas letters, and The Education of Henry Adams, I locate these dubious moments of refuge for women within male representation in strategies of idealizations of female alterity, self-reflexivity, exposure of the cultural construction of gender, and silence. Whether these places of refuge for women within the borders of the male texts go beyond already staked out territories into "no man's land" is a question at the heart of the dissertation.
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FONYODI-SZARKA, CORINA. "UNTER DEM DECKMANTEL VON ICH UND ER: STEFAN ZWEIG IM VERGLEICH ZU HENRY ADAMS. Autobiographie als Geschichtsschreibung oder Geschichtsschreibung als Autobiographie?" Thesis, 2011. http://hdl.handle.net/1974/6675.

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Stefan Zweig had an extraordinary gift for mirroring the complexity of humankind and the human mind, and was undoubtedly one of the most translated authors in the 1930s, but he is still considered a “poor cousin” in the academic world. Indeed, both his life and his work have been consistently viewed through the events of history, something neither caused nor endorsed by him, with the result that his worldview and the general perception of that view often have been misunderstood. In the 1950s and 1960s, scholars focused on the author’s use of genres and language, as well as his political views during the Second World War, rather than on the analysis of his literary texts. Although recent research points to the importance of Zweig’s humanistic worldview, which insists on viewing all human action equally, the poor image of the author caused by his earlier reception still prevails. This thesis focusses on Zweig’s autobiographical work Die Welt von Gestern: Erinnerungen eines Europäers (1942) as an adaptation of both culture and history. This dissertation demonstrates, how through the subject perception of the “I,” “life writing” becomes “history writing,” dismantling a cultural and political world. Not only does this “I” hold multiple functions, but each function illuminates a different fragment of an event in search of a “truth.” Zweig’s autobiography incorporates elements from other genres, which enables us to see him in part as a postmodern author. To illustrate the game-like use of Zweig’s subjective worldview, Philippe Lejeune’s “autobiographical pact,” Mieke Bal’s concept of focalization, and Walter Benjamin’s essay “Der Erzähler” will form the framework for a linguistic, narratological, and philosophical analysis. In order to show that autobiographical writing resides in the tradition of alternative history, rather than in the simple enumeration of facts, Henry Adams’ The Education of Henry Adams (1918) has been woven into the analysis of Zweig’s text, as an example of an autobiography from a historian’s point of view, who, although motivated by different circumstances, exposes a similar philosophy of history to Zweig’s. Besides Zweig’s autobiography this dissertation will also include other works of the author, such as Triumph und Tragik des Erasmus von Rotterdam (1934), Maria Stuart (1935) und “Schachnovelle“ (1942) as part of the analysis in order to show the reflexion of history and life in the author’s biographical work as well.<br>Thesis (Ph.D, German) -- Queen's University, 2011-08-29 09:09:58.611
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"The sense of loss: A comparative study of careers and work of Henry Adams and Mark Twain." Tulane University, 1990.

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The sense of loss present in the works of Henry Adams and Mark Twain presents a curious parallel. That two men of such different backgrounds and temperaments should reach nearly identical conclusions about American society and the universe at the end of the nineteenth century creates a strong impression that their despair was not entirely personal but also had a basis in their observation of historical changes in the world around them Moving chronologically, this study seeks to understand the struggle of the two writers to make sense of their changing world. Nurtured in the Adams family with a typical patrician sensibility, Adams early decided to wash his hands of politics. Dissatisfied and disillusioned with the life after the Civil War, Adams began wandering around the world. The panic of 1893 made Adams see his own suffering in relation to a cosmic scheme. He found a 'meaning' of the Middle Ages among French cathedrals, but he also realized that the unity of the Virgin necessarily belonged to the past. Consciously depicting his as a representative American experience, Adams wrote the Education in order to record the failure of everything in America Mark Twain achieved the American dream in the midst of changes after the Civil War. To him writing was one of the means of making money, and even after Huckleberry Finn, he never had enough confidence in himself as writer. Beginning with the panic of 1893, Twain was hard hit by a series of personal tragedies, and he started his long wandering through the world. Because he lacked a sense of direction and dedication in his art, Twain left most of his later work unfinished and unpublished, but in his confusion and despair, he also left works that are true records of the travails of the human spirit in a rapidly changing world. The works of Adams and Twain in their last years show their faithful recording of the intellectual climate of their age and their distinctive responses to their sense of loss<br>acase@tulane.edu
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Books on the topic "Adams, Henry"

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Samuels, Ernest. Henry Adams. Belknap Press of Harvard University Press, 1989.

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Baldwin, Stanley P. CliffsNotes Adams' The education of Henry Adams. IDG Books Worldwide, 2001.

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Henry, Adams. Henry Adams: Selected letters. Belknap Press of Harvard University Press, 1992.

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Henry Adams: A biography. Transaction Publishers, 1997.

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Baldwin, Stanley P. CliffsNotes on Adams' The Education of Henry Adams. John Wiley & Sons, Ltd., 2000.

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Henry, Adams. The education of Henry Adams. ICON Classics, 2005.

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Henry, Adams. The letters of Henry Adams. Belknap Press, 1988.

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Michael, O'Brien. Henry Adams & the southern question. University of Georgia Press, 2004.

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Henry, Adams. The education of Henry Adams. ICON Classics, 2005.

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Henry, Adams. The Education of Henry Adams. eBooksLib, 2005.

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Book chapters on the topic "Adams, Henry"

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KLL and Frank Kelleter. "Adams, Henry Brooks: The Education of Henry Adams." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4778-1.

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Kelleter, Frank. "Adams, Henry Brooks." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4777-1.

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Coats, A. W. "Adams, Henry Carter (1851–1921)." In The New Palgrave Dictionary of Economics. Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_56.

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Coats, A. W. "Adams, Henry Carter (1851–1921)." In The New Palgrave Dictionary of Economics. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1057/978-1-349-95121-5_56-1.

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Wichelns, Kathryn. "“Those Who Know”: Henry James and Annie Adams Fields." In Henry James's Feminist Afterlives. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71800-2_2.

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"Henry Adams." In By Broad Potomac's Shore. University of Virginia Press, 2020. http://dx.doi.org/10.2307/j.ctv17mrtx3.75.

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"Henry Adams:." In Autobiography and Imagination. Routledge, 2015. http://dx.doi.org/10.4324/9781315674575-2.

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Stevenson, Elizabeth. "Professor Adams." In Henry Adams. Routledge, 2020. http://dx.doi.org/10.4324/9780429337437-8.

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Stevenson, Elizabeth. "Starting Place." In Henry Adams. Routledge, 2020. http://dx.doi.org/10.4324/9780429337437-1.

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Stevenson, Elizabeth. "Marlborough Street." In Henry Adams. Routledge, 2020. http://dx.doi.org/10.4324/9780429337437-10.

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