Dissertations / Theses: 'Irving, Washington'

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Hoffman, Tracy Ford Sarah. "A tour on the Atlantic Washington Irving's sketches of transatlantic womanhood /." Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5063.

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Holly, Janice E. "Irving Lowens and the Washington Star the vision, the demise /." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/6837.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2007. Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Stevens, Michael S. "Spanish Orientalism Washington Irving and the romance of the Moors /." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-11202007-125500/.

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Thesis (Ph. D.)--Georgia State University, 2007. Title from file title page. Denise Davidson, committee chair; Maria Gindhart, Christine Skwiot, David McCreery, committee members. Electronic text (352 p. : ill. (some col.)) : digital, PDF file. Description based on contents viewed Jan. 29, 2008. Includes bibliographical references (p. 329-352).

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Stein, Stephen Kenneth. "Washington Irving Chambers : innovation, professionalization, and the new Navy, 1872-1919 /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488192119264628.

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Hykes, Sabrina. "Crossing the bridge between written tale and scenic design the Legend of Sleepy Hollow /." Morgantown, W. Va. : [West Virginia University Libraries], 2009. http://hdl.handle.net/10450/10279.

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Thesis (M.F.A.)--West Virginia University, 2009. Title from document title page. Document formatted into pages; contains v, 66 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 65-66).

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Muller, Karen. "The Legend of Sleepy Hollow the creative challenges of lighting a small show in a large venue /." Morgantown, W. Va. : [West Virginia University Libraries], 2009. http://hdl.handle.net/10450/10223.

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Thesis (M.F.A.)--West Virginia University, 2009. Title from document title page. Document formatted into pages; contains v, 66 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 42).

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Behrendt, Birgit. "Spanien-Bilder bei Gustavo Adolfo Bécquer und Washington Irving : vergleichende Untersuchungen zu Motiven der Romantik /." Frankfurt am Main [u.a.] : Lang, 2003. http://www.gbv.de/dms/sub-hamburg/372473156.pdf.

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Pflueger, Pennie Michelle. "The role of the artist in 19th century America : Hugh Blair's Lectures on rhetoric and belles lettres (1783) and the works of Washington Irving and Herman Melville /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901269.

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Smith, Ferrer Marjorie. "Seducciones narrativas: la Alhambra como un Paraíso Terrenal. El Monumento Escritural de Washington Irving: Apreciaciones de un Contemplador y Explorador Socio Cultural." Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/108973.

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Tesis para optar al grado de Magíster en Literatura mención Literatura general El presente trabajo tiene por objetivo ahondar en la narrativa de Washington Irving, en la obra Cuentos de la Alhambra para observar cómo la narración busca reconstruir una imagen cultural, social e histórica que surge de la contemplación de otra imagen: la Alhambra. Ahora bien, esta imagen socio-cultural e histórica, que emerge del acto de exploración que Irving realiza en la Alhambra, se concretiza como un tejido de imágenes, es decir, como imágenes textuales.

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Kemp, Kara Rebecca. "Linked to His Fellow Man of Civilized Life: Washington Irving, the Transatlantic Native American, and Romantic Historiography in A History of New York and The Sketchbook of Geoffrey Crayon." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3592.

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As representatives of "an earlier stage of civilization," Native Americans in early nineteenth-century literature were integral in conversations of race relations, cultural development, and anthropological strata. They were a baseline of humanity against which more "civilized" nations of the world marked their progress, determined the value of their own cultural advancements, and proclaimed their superiority (Flint 1). They were an object of continuing fascination for Americans and Britons seeking to reinvent themselves in the aftermath of war and revolution, but their image in these nations was used as a derogatory slur (Fulford and Hutchings 1; Flint 6--7). Suggesting that a nation had a kinship with Native Americans was becoming an unfortunately familiar shortcut to suggest disgraceful backsliding into primitive ways. Rather than view Native Americans as markers of social degeneracy, barbarism, or ignorance, Washington Irving argues in his works that these figures could be revived as a positive connecting force for Americans and Britons. He recalls a more dignified Romantic image of the "noble savage" "intelligent, loyal, and proud" to overcome vengeful memories of war and violence. The Indian characters in A History of New York and The Sketchbook of Geoffrey Crayon are more than idle entertainments or broad caricatures; they are carefully crafted Romantic figures that embody the restorative, unifying ideals for which both Americans and Britons yearned in the aftermath of war. Irving uses Knickerbocker's History to reflect the capriciousness of public memory and the sometimes dangerous power of the biased storyteller. He exposes how the Native American legend became tainted by historians who tried to justify the ill-treatment these people received at the hands of the Europeans. In Crayon's Sketchbook, Irving continues to explore the mutability of history by showing how nations like Britain had been successful in inventing a heritage that drew their people together. Finally, in "Traits of Indian Character" and "Philip of Pokanoket," Irving fulfills the promise of the History by restoring the Romantic Indian to a position of respect and power in the American and British memory. Though Irving's writing doesn't attempt to correct the image of Native Americans enough to get at the real people behind the image society invented, he embraces the malleability of these important cultural figures to make observations on how we create and perceive history and align ourselves to the invented past. By re-examining these works through their romantic and historic intent in a transatlantic relationship, we can come to better understand Irving's position as he supported his American nationhood and sentimental British roots with a figure that resonated on both sides.

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Pilote, Pauline. ""Wizards of the West" : filiations, reprises, mutations de la romance historique de Sir Walter Scott à ses contemporains américains, 1814-1840 (James Fenimore Cooper, Washington Irving et Catharine Maria Sedgwick)." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN074.

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Cette étude se place dans le champ des études transatlantiques afin d’analyser les modalités selon lesquelles les romances historiques ont constitué une réponse aux exigences lancinantes de doter les États-Unis d’une littérature nationale dans la première moitié du XIXe siècle. Créé en Grande-Bretagne par Walter Scott, ce genre est repris et adapté par ses contemporains américains, en particulier James Fenimore Cooper, Washington Irving et Catharine Maria Sedgwick. Dans un premier temps, nous avons étudié la réception de Walter Scott et de ses Waverley Novels et leur impact sur le marché du livre américain. Une analyse, notamment, des journaux qui fleurissent lors du regain de patriotisme de l’après-Guerre de 1812, a permis de montrer que se côtoient alors panégyriques de Walter Scott et appels récurrents à l’émergence d’un « Scott américain ». C’est ensuite la réponse des auteurs américains que nous avons étudiée. S’ils adoptent certains codes génériques scottiens afin de répondre à la volonté nationale de mettre en scène l’Histoire américaine, Cooper, Irving et Sedgwick font de leurs romances historiques le vecteur privilégié d’une mise en valeur de la matière américaine : une Histoire riche en événements, des ancêtres à célébrer, un territoire national aux propriétés spécifiques, qui la mettront sur un pied d’égalité avec les nations européennes. Alors que les romanciers utilisent leurs œuvres pour promouvoir une nation américaine culturellement distincte, s’opère une recomposition générique. La romance historique se fait alors le lieu d’une mythogenèse pour l’Amérique via l’écriture d’une épopée nationale, qui permet de remonter les âges vers une temporalité indéfinie afin de fonder la Jeune République en une nation organique, digne de soutenir la comparaison avec ses homologues outre-Atlantique This work, belonging to the field of transatlantic studies, analyses to what extend historical romances formed a response to the ongoing wish to provide the United States with a national literature in the first half of the nineteenth century. The genre, fashioned in Great Britain by Walter Scott, was taken up and adapted by his American contemporaries, and in particular, James Fenimore Cooper, Washington Irving, and Catharine Maria Sedgwick. The first chapter tackles the reception of Walter Scott and of his Waverley Novels, and their impact on the American book market. Our analysis in particular of the newspapers and periodicals that flourished in the surge of patriotism following the War of 1812, has enabled us to show that the panegyrics for Walter Scott stood just alongside the recurrent calls in the same pages for the birth of an “American Scott.” The response given by the American authors forms the second part of our analysis. As they appropriate some of the generic traits of the Scottian historical romance in order to comply to the nation’s wish for a portrayal of American history, Cooper, Irving, and Sedgwick use the genre to showcase the American matter – a history full of events worth narrating, ancestors worth celebrating, and a national territory with its own features – that would bring the United States on a level with the European nations. As the writers thus promote a culturally distinct American nation, the genre gradually morphs into a form of national epic. Through this mythogenesis at work in the writings under study, the United States are given a timeline that dissolves into an indeterminate temporality, thereby shaping the Early Republic as an organic nation, fit for contention with its transatlantic counterparts

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Vines, Jacob L. "Encounters with the American Prairie: Realism, Idealism, and the Search for the Authentic Plains in the Nineteenth Century." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2511.

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The Great Plains are prevalent among the literature of the nineteenth century, but receive hardly a single representation among the landscapes of the Hudson River School. This is certainly surprising; the public was teeming with interest in the Midwest and yet the principal landscape painters who aimed to represent and idealize a burgeoning America offered hardly a glance past the Mississippi River. This geographical silence is the result of a tension between idealistic and empirical representations of the land, one echoed in James Fenimore Cooper’s The Prairie, Washington Irving’s A Tour on the Prairies, and Margaret Fuller’s Summer on the Lakes, in 1843. Margaret Fuller’s more physical and intimate Transcendentalism unifies this tension in a manner that heralds the rise of the Luminists and the plains-scapes of Worthington Whittredge.

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Harman, K. R. C. "Creditable narratives : Washington Irving's American literary currency." Thesis, University of Cambridge, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603718.

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Confronting the needs of his personal economics. Washington Irving explored the relationship between credit and dis-credit within his writing. With an emphasis on textual analysis, I investigate the effect upon his work of this attempt to create a 'creditable narrative' - both credible as story and capable of functioning satisfactorily in the market. In the search for a satisfactory form he appropriated various narrative voices and styles. I argue that the literary currency introduced into circulation by Irving in the first half of the nineteenth century should be recognised as an important medium of exchange, one against which many later American writers measured their productions. In the first chapter I examine Irving's search for the authority with which to describe the changes consequent upon New York's growing importance as a centre for commerce and consumerism, discussing the first edition of A History of New York (1809) and Salmagundi (1806-07), examining the conflicts exposed by Irving's desire to create an associative poetic history for America, and showing that Irving was dissatisfied with the models he employed. My second and third chapters read Irving's European writings in the light of the author's experience of financial bankruptcy. This experience is deeply implicated within his writing and he uses it as a means to explore the debt owed by the American writer to Europe. Through the mediating voice of Geoffrey Crayon, Irving utilised the trope of the Picturesque to explore the ways in which a writer can appropriate landscape to assert cultural authority. I discuss The Sketch Book of Geoffrey Crayon, Gent. (1819-20).

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14

Vahabi, Hanieh. "Troubled Masculinity in Washington Irving’s “Rip van Winkle” and “The Legend of Sleepy Hollow” in the Historical Context of Antebellum America." Thesis, Högskolan Dalarna, Engelska, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:du-5469.

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Lewis, Darcy Hudelson. "Xenotopia: Death and Displacement in the Landscape of Nineteenth-Century American Authorship." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062864/.

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This dissertation is an examination of the interiority of American authorship from 1815–1866, an era of political, social, and economic instability in the United States. Without a well-defined historical narrative or an established literary lineage, writers drew upon death and the American landscape as tropes of unity and identification in an effort to define the nation and its literary future. Instead of representing nationalism or collectivism, however, the authors in this study drew on landscapes and death to mediate the crises of authorial displacement through what I term "xenotopia," strange places wherein a venerated American landscape has been disrupted or defamiliarized and inscribed with death or mourning. As opposed to the idealized settings of utopia or the environmental degradation of dystopia, which reflect the positive or negative social currents of a writer's milieu, xenotopia record the contingencies and potential problems that have not yet played out in a nation in the process of self-definition. Beyond this, however, xenotopia register as an assertion of agency and literary definition, a way to record each writer's individual and psychological experience of authorship while answering the call for a new definition of American literature in an indeterminate and undefined space.

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16

de, Fee Nicole Reneé. "From colony to empire the decolonization of national literary identity in antebellum American literature /." 2008. http://proquest.umi.com/pqdweb?did=1597607811&sid=7&Fmt=2&clientId=14215&RQT=309&VName=PQD.

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Thesis (Ph.D.)--University of Nebraska-Lincoln, 2008. Title from title screen (site viewed Feb. 17, 2009). PDF text: vii, 213 p. : ill. ; 7 Mb. UMI publication number: AAT 3326859. Includes bibliographical references. Also available in microfilm and microfiche formats.

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17

Lee, Cheng-Lun, and 李政倫. "A Comparative study of two English-to-Chinese translation versions of Washington Irving’s: Rip Van Winkle as a case study." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/xa58ab.

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碩士 長榮大學 翻譯學系(所) 105 This study aims at discussing two different Chinese translation versions of Washington Irving’s Rip Van Winkle by using Nida’s equivalent theory, and Venuti’s domestication and foreignization theories. This thesis also uses the method of comparative analysis to discuss the translation of vocabulary and some phrases, especially when the sentences and phrases are related to humor and other related elements. This thesis is divided into five chapters. The first chapter talks about the author’s motivation, purpose and method of the research. The second chapter is literary review, introducing Washington Irving and his literary achievement. In this chapter, the author also applies equivalence, domestication, and foreignization theories to comparing two Chinese translation versions. The third chapter compares the two versions in terms of such issues as the principles of addition, omission, translation error, missing translation, as well as faithful principle. The chapter four focuses on the translation of vocabulary, centering on the use of precision principle. The author emphasizes that a good translator must have sufficient different target language sentences to translate the source language sentences. Chapter five is the conclusion, emphasizing that the author pays special attention to humors because in Rip Van Winkle, there are a couple of descriptions related to Washington Irving’s special style of writing humor. The story of Rip Van Winkle covers the American Revolution, and the establishment of the United States of America. It is historically significant. The author hopes that the study will be helpful for those who are interested in literary translation and translation theory as well.

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Dissertations / Theses on the topic 'Irving, Washington'

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