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Journal articles on the topic 'Irving, Washington'

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Published: 4 June 2021

Last updated: 11 February 2022

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1

Petrič, Jerneja. "Washington Irving in Slovene." Acta Neophilologica 38, no. 1-2 (2005): 83–95. http://dx.doi.org/10.4312/an.38.1-2.83-95.

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Washington Irving played a crucial role in the development of the American short story. His tales featuring American characters and American settings represented a giant step forward in the development of an independent American literature. His tales have so far been translated into Slovene a few times. The objectives of my paper were to establish the number of Slovene translations of Irving's work, record pertinent information regarding the translations, evaluate the translators' achievement in terms of their ability to present the period and the characters relative to the original texts as well as their ability to transplant Irving's unique humor and finally research Slovene critical response on Irving.

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2

McLamore, Richard V. "Postcolonial Columbus: Washington Irving and The Conquest of Granada." Nineteenth-Century Literature 48, no. 1 (1993): 26–43. http://dx.doi.org/10.2307/2933939.

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Irving's politically pious persona in The Chronicle of the Conquest of Granada (1829), "Fray Agapida," indicts Irving's own exemplification of the postcolonial American literary sanctification of discovery, conquest, and colonization presented in The Life and Voyages of Columbus (1828). Through his satire of Agapida, Irving undermines the nationalistic and religious grounds upon which both the Conquest of Granada was most often justified and his biography of Columbus was commissioned to further. Irving links the reconquest of Moorish Granada, Columbus's voyages, the Inquisition, and the Crusades to Irving's satire of contemporary acts of literary, mercantile, and political imperialism in A History of New York. Instead of being a writer absorbed in his own romantic fantasies, in The Chronicle Irving attacks the casuistic use of religion, nobility, and enlightenment to sanctify conquest and usurpation. The conflict indicated by Irving's satire of self- and nation-fashioning reflects many of the United State's own struggles to establish a postcolonial identity.

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3

Kaufman, Frederick. "Gut Reaction: The Enteric Terrors of Washington Irving." Gastronomica 3, no. 2 (2003): 41–49. http://dx.doi.org/10.1525/gfc.2003.3.2.41.

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Every school child has read Washington Irving's Legend of Sleepy Hollow, the story of an itinerant schoolteacher, poetaster, and rejected suitor named Ichabod Crane who witnesses the apparition of a headless horseman, that terrifying spectre whose detached cranium is in fact nothing but a pumpkin. Over the years this country's most famous ghost story has been interpreted in many waysas political allegory, archetypal comedy, forerunner of the American gothic traditionbut never specifically as a piece about food. Gut Reaction: The Enteric Terrors of Washington Irving will examine the role of squash and other edibles in Irving's work and seek to define a relationship between the early American food story and the early American ghost story, the link between what Irving once called America's "eating mania" and gut terror.

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4

Rubin-Dorsky, Jeffrey. "Washington Irving: Sketches of Anxiety." American Literature 58, no. 4 (1986): 499. http://dx.doi.org/10.2307/2926438.

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5

Tucker, Edward L. "Two Letters by Washington Irving." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 16, no. 4 (2003): 48–50. http://dx.doi.org/10.1080/08957690309598480.

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6

Einboden, Jeffrey. "Washington Irving in Muslim Translation: Revising the American Mahomet." Translation and Literature 18, no. 1 (2009): 43–62. http://dx.doi.org/10.3366/e0968136108000368.

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Washington Irving's ‘sketch of the life of the founder of the Islam Faith’, Mahomet (1849), was one of the first works by an American dedicated to explaining Muslim history and its prophetic heritage to Western readers. For its time it was an enlightened work, recognizing many virtues within Islamic belief and practice alike, but nevertheless Irving's presentation frequently challenges Muslim orthodoxy, and has the potential to offend Muslim sensibilities. This article considers the tactics of its first Arabic translator in 1960, the prominent Muslim scholar ‘Alī Husnī al-Kharbūtlī. The translation encourages readers to understand Irving's work as a ‘meeting’ between ‘Western Christian thought and Arab Islamic thought’. It does so through a revisionary procedure commencing with minor shifts in diction, and culminating in comprehensive inversions. Through radical changes to his source, al-Kharbūtlī depicts Irving as Islamic advocate, rather than the Islamic critic he intended to be.

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7

McCullough, Karen, and Peter Schledermann. "Mystery cairns on Washington Irving Island." Polar Record 35, no. 195 (1999): 289–98. http://dx.doi.org/10.1017/s0032247400015643.

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AbstractIn 1875, members of the British Arctic Expedition under the command of George S. Nares discovered two ancient-looking stone cairns on Washington Irving Island at the entrance to Dobbin Bay, eastern Ellesmere Island, Nunavut, Canada. At least one of these cairns was destroyed by the expedition members to construct their own cairn. The possibility that these cairns were built by Norse voyagers to Kane Basin is supported by the large number of Norse artifacts recovered from Thule culture Inuit sites in the Bache Peninsula region just south of Washington Irving Island. Surveys of the island have identified scattered boulders marking the location of the cairns, but the question of the builders' identity still remains a mystery.

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8

Lemay, J. A. Leo, Washington Irving, Allen Guttman, and James A. Sappenfield. "The Complete Works of Washington Irving." Modern Language Review 81, no. 3 (1986): 725. http://dx.doi.org/10.2307/3729216.

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9

김연만. "Washington Irving and the American Frontier." Literature and Environment 18, no. 4 (2019): 5–24. http://dx.doi.org/10.36063/asle.2019.18.4.001.

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10

Tucker, Edward L. "A New Letter by Washington Irving." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 13, no. 2 (2000): 30–32. http://dx.doi.org/10.1080/08957690009598099.

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11

Portelli, Alessandro. "The buried king and the memory of the future: From Washington Irving to Bruce Springsteen." Memory Studies 13, no. 3 (2020): 267–76. http://dx.doi.org/10.1177/1750698020914012.

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Drawing from stories, literary texts, myths, and songs, the article explores the “intangible” imagery—dreams, souls, ghosts, memory—that uses the nostalgia of the past to announce the possibility of a future. The image of the buried and sleeping king represents myth of a past Golden Age but also the vision of a future rebirth. Such examples include the figures of Rip Van Winkle, Hendrick Hudson, and Boabdil in the works of US author Washington Irving (1783–1859). Other examples include the figure of Metacomet, also rescued by Irving, or of Atahualpa, of Inca mythology. From Washington Irving to the songs of Bruce Springsteen, the image of a past that accompanies and haunts the present to project a utopian future never ceases to reappear.

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12

Kolosova, Ekaterina I. "Walter Scott and Washington Irving: On the History of Personal and Professional Relationship." Literature of the Americas, no. 10 (2021): 8–24. http://dx.doi.org/10.22455/2541-7894-2021-10-8-24.

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Walter Scott and Washington Irving are prominent representatives of the Romantic era who were bound by both professional and friendly relations. Their friendship is a remarkable episode in the history of transatlantic literary contacts. In 1817, in Abbotsford, their personal meeting took place, which positively influenced Irving's career. Scott introduced his colleague to his friend John Murray, who was one of the most influential Scottish publishers of his day. Through this meeting, Irving became the first American writer to gain recognition in the UK. An idea of the relationship between Scott and Irving is given by their personal correspondence. Despite the fact that some letters have been lost or are currently in the hands of private collectors, there is enough published material to outline the main topics and interests that united these two writers. In an addendum to the article there are four letters in Russian translation, written in October–December 1819. They are especially noteworthy because they touch on a number of important aspects for Irving's career. In 1819, the American writer took the first steps towards publication in Great Britain and turned to Scott for help. From the master he received a professional assessment of his American editions of The Sketch Book. Scott gave advice on what books are best to publish for an English reader, as well as offered to take the editor post of an anti-Jacobin magazine. In addition, in these letters Scott introduced his American colleague to the intricacies of 19thcentury Scotland book-making and offered the most beneficial ways to communicate with publishers, which is also of interest from the point of view of the history of publishing in the 19th century Great Britain.

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13

Jones, Catherine. "Romantic Opera in Translation: Carl Maria von Weber and Washington Irving." Translation and Literature 20, no. 1 (2011): 29–47. http://dx.doi.org/10.3366/tal.2011.0004.

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This paper is concerned with the Covent Garden production of Weber's ‘Romantic’ opera Der Freischütz which premiered on 14 October 1824. The production depended on the work of translation and adaptation of Irving, John Barham Livius and James R. Planché. Focusing on Irving's contribution, the relation of his draft libretto to British and continental European theories of translation, and the reception of the production in the London press, the paper demonstrates how the visual, verbal, and musical languages of opera could be changed, diminished, and enriched through the collaborative struggle with the foreign in the process of translation.

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14

Apap, Christopher, and Tracy Hoffman. "Prospects for the Study of Washington Irving." Resources for American Literary Study 35, no. 1 (2012): 3–27. http://dx.doi.org/10.7756/rals.035.001.3-27.

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15

Montfort, Bruno. "Washington Irving et le pittoresque post-romantique." Revue Française d'Etudes Américaines 42, no. 1 (1989): 439–53. http://dx.doi.org/10.3406/rfea.1989.1378.

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16

Semeshko, N. M. "IRVING WASHINGTON'S STORIES: STYLISTIC INTERPRETATION EXPERIENCE." English and American Studies 1, no. 16 (2019): 189–96. http://dx.doi.org/10.15421/381926.

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Irving Washington is considered to be the founder of romanticism in the USA. His creative work was appreciated by W. Scott, Byron and some other writers. For modern readers he is first and foremost the authors of numerous stories. He main peculiarity of his creative works as literary critics state is in the combination of two cultures formed under the influence of the European culture. His story “Legend of the Three Beautiful Princesses” is one of the brightest in the collection “Legends of Algambra”. There is no fairytale fantasy in it and the strange atmosphere is created with the help of the writer’s appeal to the world of the East. In this story Irving Washington proves that love is stronger than religious and national contradictions. The second story under consideration “The Devil and Tom Walker” has a definitely American coloring. Fantastic and real are combined here. There are several fabulous personages in it. Tom Walker, the main character of the story, has some features inherent in any American of that time - inventiveness, practical ness, dexterity. Irving Washington doesn’t simply follow the European patterns and plots. He modifies the European literary traditions wing various comic means, American realia and the folklore. One of the remarkable features of his style in the stories is intertextuality applying to the background knowledge of the readers.

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17

Botella Rodríguez, Manuel. "Un paseo por las praderas de Washington Irving." Cuadernos de Ilustración y Romanticismo, no. 4,5 (1997): 159–68. http://dx.doi.org/10.25267/cuad_ilus_romant.1997.i4.i5.11.

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18

LeMenager, S. "Trading Stories: Washington Irving and the Global West." American Literary History 15, no. 4 (2003): 683–708. http://dx.doi.org/10.1093/alh/ajg049.

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19

DE MORALES GALIANA, JAVIER MUÑOZ. "Un andaluz responde a Washington Irving: las Tradiciones granadinas (1849) de José Soler de la Fuente." Bulletin of Hispanic Studies: Volume 98, Issue 7 98, no. 7 (2021): 643–59. http://dx.doi.org/10.3828/bhs.2021.38.

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José Soler de la Fuente publicó en 1849 una compilación de cuentos titulada Tradiciones granadinas. La obra tenía por objeto recrear numerosas leyendas y tradiciones asociadas a la ciudad de Granada. Por el tema, la colección bien podría relacionarse con los Cuentos de la Alhambra (1832) de Washington Irving, si bien con una salvedad, y es que Soler de la Fuente se propone, en esta ocasión, llevar a cabo una respuesta a la obra de Washington Irving, que presentaba España como una nación oriental, influenciada por los musulmanes. La Granada que vemos en las Tradiciones granadinas, en cambio, será por completo cristiana, y las tropas islámicas aparecen únicamente retratadas como enemigos que vencer, cuya derrota llena de honor y gloria a las huestes cristianas, y supone un orgullo para la imaginada nación.

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20

McLamore, Richard V. "Postcolonial Columbus: Washington Irving and The Conquest of Granada." Nineteenth-Century Literature 48, no. 1 (1993): 26–43. http://dx.doi.org/10.1525/ncl.1993.48.1.99p04972.

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21

ADORNO, ROLENA. "AMERICANIST VISIONS: STANLEY T. WILLIAMS, WASHINGTON IRVING, AND CHRISTOPHER COLUMBUS." Yale Review 99, no. 2 (2011): 1–25. http://dx.doi.org/10.1353/tyr.2011.0025.

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22

González Alcantud, José Antonio. "WASHINGTON IRVING EN LA ALHAMBRA O CÓMO CONSTRUIR DESDE LA EXPERIENCIA ETNOLITERARIA UN MITO ORIENTAL." SIGLO DIECINUEVE (Literatura hispánica), no. 17 (May 7, 2011): 215–42. http://dx.doi.org/10.37677/sigloxix.vi17.162.

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El escritor norteamericano W. Irving ha levantado con su obra The Alhambra (“Los cuentos de la Alhambra”, en castellano) en pleno romanticismo un monumento literario, una suerte de alter ego de la Alhambra misma. Con posterioridad nadie, ni oral ni escrituralmente, ha sido capaz de contraponerle otro mito tan potente como el suyo a la ideación literaria alhambreña. Las razones últimas de esta “eficacia simbólica” residen en la inmersión cultural, etnográfica podríamos afinar, que realiza Irving durante su estancia andaluza, tanto en Granada como en Sevilla, en el fondo operístico presente en su existencia cotidiana, y sobre todo en la plena conciencia por su parte del proceso creativo que como bricoleur le exige el mito, literario o no, para alcanzar su éxito.

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23

HILLER, ALICE. "“An Avenue to Some Degree of Profit and Reputation”: The Sketch Book as Washington Irving's entrée and undoing." Journal of American Studies 31, no. 2 (1997): 275–93. http://dx.doi.org/10.1017/s0021875897005677.

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“I have,” confided Washington Irving to his friend and effective literary agent Henry Brevoort, “by patient & persevering labour of my most uncertain pen, & by catching the gleams of sunshine in my cloudy mind, managed to open to myself an avenue to 〈a〉 some degree of profit & reputation.” The “avenue” in question was The Sketch Book of Geoffrey Crayon, Gent. – America's first internationally acclaimed work of literature – which, by March 1821, had become a direct route to respectability and the British establishment, opening to Irving the world of stately homes and their real-life avenues, previously only glimpsed from afar. Pieced together after the collapse of his family business, the collection of sketches may have been a carefully engineered career move, but Irving avoided any suggestion of personal cost in catching only those “gleams of sunshine,” and apparently censoring his cloudier, less amenable self. He continued: “I value it the more highly because it is entirely independent and self created; and I must use my best endeavours to turn it to account” (LI.614). In the context, “independent” – a charged word for his generation – is striking, given that The Sketch Book was anything but.

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24

Hedges, William L., and Jeffrey Rubin-Dorsky. "Adrift in the Old World: The Psychological Pilgrimage of Washington Irving." American Literature 61, no. 1 (1989): 106. http://dx.doi.org/10.2307/2926525.

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25

Hurst, C. Michael. "Reinventing Patriarchy: Washington Irving and the Autoerotics of the American Imaginary." Early American Literature 47, no. 3 (2012): 649–78. http://dx.doi.org/10.1353/eal.2012.0047.

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26

Tuttleton, James W., and Peter Antelyes. "Tales of Adventurous Enterprise: Washington Irving and the Poetics of Western Expansion." Journal of American History 78, no. 2 (1991): 665. http://dx.doi.org/10.2307/2079585.

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27

McGann, Jerome. "Washington Irving, A History of New York, and American History." Early American Literature 47, no. 2 (2012): 349–76. http://dx.doi.org/10.1353/eal.2012.0031.

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Bence, Erika, and Ferenc Németh. "FARKAS GEIZA A FEJNÉLKÜLI EMBER CÍMŰ REGÉNYÉNEK EURÓPAI KULTURÁLIS KONTEXTUSA." Годишњак Филозофског факултета у Новом Саду 40, no. 1 (2015): 11. http://dx.doi.org/10.19090/gff.2015.1.11-30.

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A kutatás2 kiindulópontja egy mára már jobbára csak az irodalomtörténet-írás által számon tartott regény, Farkas Geiza A fejnélküli ember című, Szabadkán, 1933-ban megjelent regénye, amely egy – a kutatók feltételezése szerint –, a térségi kisebbségi magyar irodalomtól térbeli és kulturális értelemben is távol eső interkulturális és -textuális vonzatkört mozgósít. Az ír Dullahan (gonosz tündér), a kelet-németországi „kürtös vadász”, a skandináv „fehér lovon ülő fej nélküli lovas” legendájának motívumai ismerhetők fel a regényben; a főhőst üldöző fej nélküli démon alakjában. A nyugat-európai kultúrákban ismert történet azonban nem a hiedelemmondák és a babonák világából kiindulva terjedt el az európai irodalmi és filmkultúrában, hanem Amerikából. A jelenlegi kutatások szerint egy 1820-ban megjelent novelláskötetre – az amerikai Washington Irving The Sketch Book of Geoffrey Crayon, Gent című novellagyűjteményére, a benne szereplő a The Legend of Sleepy Hollow című kísértethistóriára vezethető vissza mediális elterjedtsége. Továbbá feltételezhető, hogy Washington Irving, aki hosszabb ideig élt Angliában, egy Karl Musäus nevű német szerző által lejegyzett hiedelemtörténetet transzportált át a The Legend of Sleepy Hollow című novella világába. Amerikában ismert továbbá egy, a függetlenségi háborúban elesett német zsoldoskatonát mint fej nélküli lovast megjelenítő kísértethistória. A kutatás célja feltárni többek között, hogy miként került be a budapesti, bécsi és eleméri (bánáti) családi kötődésekkel és helyszínekkel rendelkező írói pálya alakulásába, s miként tematizálódott irodalommá ez a nyugat-európai legenda.

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29

STALEY, GREGORY A. "Rip Van Winkle's Odyssey." Greece and Rome 59, no. 1 (2012): 90–103. http://dx.doi.org/10.1017/s001738351100026x.

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The wise Ulysses was more indebted to his sleeping than his waking moments for his most subtle achievements, and seldom undertook any great exploit without first soundly sleeping upon it…James Joyce was the first reader of Washington Irving's famous tale of Rip Van Winkle to have noticed that Rip is ‘a lazy Odysseus’, as Andrew Burstein has more recently described him. Rip leaves home for twenty years, just as Odysseus did; however, unlike Odysseus, Rip spends this time not heroically fighting and adventuring but sleeping away his mature years. When he finally returns home, then, it is no surprise that the dog in front of his house ‘has forgotten' him, unlike Odysseus’ dog, who greets his master with a tail-wag of recognition. Irving creates in Rip Van Winkle an ironic and humorous embodiment of an Odysseus/Ulysses who, as quoted above, was ‘more indebted to his sleeping than his waking moments for his most subtle achievements’.

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Schlueter, John P. "Private Practices." Nineteenth-Century Literature 66, no. 3 (2011): 283–306. http://dx.doi.org/10.1525/ncl.2011.66.3.283.

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Abstract This essay uses selected works of Washington Irving and Ralph Waldo Emerson to delineate two different privacies. The first privacy is associated with secreted spaces, whether physical or personal, and is one that has been normalized. The other privacy is under-appreciated and far less understood: it is an unpredictable, speculative flight of what Irving calls “fancy.” The essay argues that each privacy comes with a distinct set of consequences. If we choose to associate privacy with secreted spaces, we ourselves become like texts, able to be read, and we then associate with others as if they can be read as well. If our privacy is “fanciful,” in contrast, we balance the pleasures of being alone with those of being with others. In the end, the essay hopes to dissociate privacy (or a version of it) from privation, and to offer it as a positive, cultural concept. In doing so, it aligns itself with recent explorations of privacy in the context of nineteenth-century American literature.

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31

Carbonell Cortés, Ovidio. "Ecos de historia romántica: la «España mora» en Thomas Rodd y Washington Irving." Sharq Al-Andalus, no. 8 (1991): 11–24. http://dx.doi.org/10.14198/shand.1991.8.01.

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32

Martin, Terence. "Adrift in the Old World: The Psychological Pilgrimage of Washington Irving. Jeffrey Rubin-Dorsky." Modern Philology 87, no. 4 (1990): 417–19. http://dx.doi.org/10.1086/391810.

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33

Clendenning, John. "Adrift in the Old World: The Psychological Pilgrimage of Washington Irving. Jeffrey Rubin-Dorsky." Nineteenth-Century Literature 44, no. 2 (1989): 244–46. http://dx.doi.org/10.2307/3044953.

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34

Cantizano Márquez, Blasina. "Tras los pasos de Washington Irving: viajeras norteamericanas en la Andalucía del siglo XIX." Revista de Filología de la Universidad de La Laguna, no. 38 (2019): 31–42. http://dx.doi.org/10.25145/j.refiull.2019.38.002.

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Clendenning, John. ": Adrift in the Old World: The Psychological Pilgrimage of Washington Irving. . Jeffrey Rubin-Dorsky." Nineteenth-Century Literature 44, no. 2 (1989): 244–46. http://dx.doi.org/10.1525/ncl.1989.44.2.99p0240e.

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Keil, James C. "A Chink in the Armor of Stanley Williams's Washington Irving: Irving's Modern Language Skills and His Use of Quevedo's "El Buscon"." South Atlantic Review 60, no. 1 (1995): 17. http://dx.doi.org/10.2307/3200710.

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Ali, Muhamad Mumtaz, and Muneer Kuttiyani Muhammed. "Sword as a Cultural Symbol or Weapon of Violence in Islam An analysis Pedang Sebagai Simbol Budaya atau Senjata Keganasan Da-lam Islam: Satu Analisis." Journal of Islam in Asia (E-ISSN: 2289-8077) 12, no. 2 (2015): 280–93. http://dx.doi.org/10.31436/jia.v12i2.496.

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AbstractOrientalists like Washington Irving and Wilfred Cantwell Smith coined the idea and spread through their virulent writings that Islam spread through sword. This notion has been once again circulating in the media immediately after the incident of 9/11. Orientalists appear to have been uncomfortable with this allegation as they knew very well that political subjugation of people by sword was possible but winning over the hearts of the people by force was impossible. Historically, the Prophet’s (s.a.w.) achievement was the total transformation of man individually as well as socially from all angles, familial, social, economic, cultural, intellectual, educational, moral, political, and spiritual etc. Many well-known scholars have already rebutted the allegation concerning sword of Islam. This paper looks into another dimension of the significance of sword in Arab culture. It tries to trace the socio-cultural value of sword in the history of Arabian Peninsula. . Keywords: Islam, sword, Prophet Muhammad, propagation, Orientalists, allegations.AbstrakPara orientalis seperti Washington Irving dan Wilfred Cantwell Smith mereka dan merebak melalui tulisan mereka bahawa Islam disebarkan melalui pedang. Idea ini sekali lagi diungkit media selepas berlakunya kejadian 9/11. Para orientalis kelihatan tidak selesa dengan dakwaan ini kerana mereka tahu bahawa penaklukan politik rakyat melalui pedang adalah mungkin tetapi untuk memenangi hati rakyat dengan kekerasan adalah mustahil. Dari segi sejarah, pencapaian Nabi Muhammad (saw) adalah transformasi keseluruhan manusia secara individu dan juga secara sosial dari semua sudut seperti kekeluargaan, sosial, ekonomi, budaya, intelektual, pendidikan, moral, politik, rohani dan lain-lain Banyak ulama yang terkenal sudah menyangkal dakwaan mengenai penyebaran Islam melalui pedang.. Kajian ini meneliti kepada satu lagi dimensi kepentingan pedang dalam budaya Arab. Ia juga cuba mengesan nilai sosio-budaya pedang dalam sejarah Semenanjung Arab.Kata Kunci: Islam, Pedang, Nabi Muhammad, Penyebaran, Para Orientalis, Dakwaan.

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Haspel, Paul. "Berlin’s Own Rip Van Winkle: The Washington Irving Connection in Wolfgang Becker’s Good Bye, Lenin!" Seminar: A Journal of Germanic Studies 53, no. 4 (2017): 382–406. http://dx.doi.org/10.3138/seminar.53.4.05.

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39

Murray, L. J. "The Aesthetic of Dispossession: Washington Irving and Ideologies of (De)Colonization in the Early Republic." American Literary History 8, no. 2 (1996): 205–31. http://dx.doi.org/10.1093/alh/8.2.205.

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Morgan, Jack. "Old Sleepy Hollow Calls Over the World: Washington Irving and Joyce's "The Dead"." New Hibernia Review 5, no. 4 (2001): 93–108. http://dx.doi.org/10.1353/nhr.2001.0064.

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Einboden, Jeffrey. "The Early American Qur'an: Islamic Scripture and US Canon." Journal of Qur'anic Studies 11, no. 2 (2009): 1–19. http://dx.doi.org/10.3366/jqs.2009.0002.

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Although considerable scholarly attention has been paid to US Orientalism in the nineteenth century, there remains no targeted study of the formative influence exercised by the Qur'an upon the canon of early American literature. The present paper surveys receptions, adaptations and translations of the Qur'an during the ‘American Renaissance’, identifying the Qur'anic echoes which permeate the seminal works of literary patriarchs such as Ralph Waldo Emerson, Washington Irving and Edgar Allan Poe. Examining the literary and religious tensions raised by antebellum importations of Islamic scripture, the essay interrogates how the aesthetic contours of the Qur'an in particular serve both to attract and obstruct early US readings, mapping the diverse responses to the Muslim sacred generated by American Romantics and Transcendentalists.

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Wilmeth, Don B. "The American Stage: Writing on Theater from Washington Irving to Tony Kushner ed. by Laurence Senelick." Theatre History Studies 32, no. 1 (2012): 244–47. http://dx.doi.org/10.1353/ths.2012.0010.

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Rubin-Dorsky, Jeffrey. "A Crisis of Identity: The Sketch Book and Nineteenth-Century American Culture." Prospects 12 (October 1987): 255–91. http://dx.doi.org/10.1017/s0361233300005603.

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It is one of the commonplaces of our literary history that Washington Irving's Sketch Book put America firmly and finally on the cultural map by pleasing the British reviewers. These arbiters of taste and upholders of cultural standards had long been savaging American publications, and even when they found one to praise, they were reluctant to consider it anything but an anomaly. The Sketch Book “is the first American work,” wrote Francis Jeffrey in the Edinburgh Review, “of any description, but certainly the first purely literary production,” which rose to the level of the great English prose stylists. According to Jeffrey, it was quite “remarkable” that a book produced by an American, “entirely bred and trained in that country,” “should be written throughout with the greatest care and accuracy, and worked up to a great purity and beauty of diction, on the model of the most elegant and polished of our native writers.” Nevertheless, The Sketch Book was deserving of the praise, and the acknowledgment of the British literary establishment was one reason for its continued success. But as Jeffrey noted, even before Irving's sketches had charmed the British they had been “extensively circulated, and very much admired” among his own countrymen, so much so that two of our literary historians have claimed a place for The Sketch Book on the alltime American “best-seller” list. A close and careful scrutiny of the reasons for this success will reveal that Irving's famous book touched his American readers on a deep, subconscious level because Irving himself was an acute register of the anxieties of his age.

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Delogu, Christopher Jon. ""How Did I Get Here?" : An Untimely Meditation on The Sketchbook of Geoffrey Crayon, Gent. by Washington Irving." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 52, no. 1 (2001): 219–28. http://dx.doi.org/10.3406/xvii.2001.1572.

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Bradford, James C. "Book Review: From Torpedoes to Aviation: Washington Irving Chambers and Technological Innovation in the New Navy, 1876–1913." International Journal of Maritime History 20, no. 1 (2008): 439–40. http://dx.doi.org/10.1177/084387140802000174.

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Timothy S. Wolters. "From Torpedoes to Aviation: Washington Irving Chambers and Technological Innovation in the New Navy, 1876-1913 (review)." Journal of Military History 73, no. 1 (2008): 290–91. http://dx.doi.org/10.1353/jmh.0.0156.

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Pollard, Finn. "From Beyond the Grave and Across the Ocean: Washington Irving and the Problem of Being a Questioning American, 1809–20." American Nineteenth Century History 8, no. 1 (2007): 81–101. http://dx.doi.org/10.1080/14664650601178981.

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Mikado, Naruhiko. "THE OBJECT-ORIENTED ASPECT OF IRVING’S A TOUR ON THE PRAIRIES." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 3, no. 1 (2019): 1–9. http://dx.doi.org/10.30743/ll.v3i1.1181.

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This brief paper has basically two aims. First, it intends to introduce object-oriented ontology (OOO), a branch of contemporary thought which regards everything as an individual “object” of equal standing, as a potentially effective theoretical framework to examine a literary text, especially in order to explore the complexity of interactions between/among both human and nonhuman objects on a horizontal plane. Second, it analyzes how the narrator of A Tour on the Prairies, one of the long-neglected texts of Washington Irving, gradually begins to question the naive human/object binary and broadens his horizons through an encounter with another object. Specifically, I examined a series of the contacts which the narrator makes with buffaloes, and then demonstrated how he, though taking a naïve, human-centered schema in the beginning, gradually attains the liberal perspective through the recognition that the object before him is a being that is ontologically equal with him. I concluded the argument by attesting that the text, albeit in a gentle manner, invited us to see the world and existences in it with a more liberal—i.e. object-oriented—perspective.

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Morency, Jean. "Les chemins perdus : figurations de la vie, de la mort et de la renaissance chez Washington Irving, Alejo Carpentier et Gabrielle Roy." Urgences, no. 34 (1991): 75. http://dx.doi.org/10.7202/025686ar.

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Lamonde, Yvan. "Jean Morency, Le mythe américain dans les fictions d'Amérique de Washington Irving à Jacques Poulin, Québec, Nuit blanche éditeur, 1994, 258 p." Tangence, no. 48 (1995): 161. http://dx.doi.org/10.7202/025871ar.

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