Bibliografie tematiche / American Writers Congress

Letteratura scientifica selezionata sul tema "American Writers Congress"

Autore: Grafiati
Pubblicato: 27 luglio 2024
Ultima modifica: 29 luglio 2024

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Articoli di riviste sul tema "American Writers Congress"

1

Panova, Olga Yu. "Passing Through Forests of Revolutionary Symbols: Soviet Reception of Kenneth Burke’s Speech at the 1935 American Writers’ Congress". Literature of the Americas, n. 9 (2020): 133–50. http://dx.doi.org/10.22455/2541-7894-2020-9-133-150.

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Kenneth Burke’s performance at the First American Writers’ Congress in 1935 has been already considered by American scholars; for this reason the paper aims to complement the existing research with some facts and details that have to do with the Soviet reception of Kenneth Burke’s speech “Revolutionary Symbolism in America” presented on April 27 1935 (the second day of the Congress). The paper is based on the archival material stored in the Russian State Archive of Literature and Art (RGALI) – a manuscript of the American Writers’ Congress proceedings, translated into Russian, edited and fully prepared for the press that nevertheless remained unpublished. The volume was based on the American record of the Congress edited by Henry Hart (International Publishers, 1935), but two papers were removed – Moissaye J. Olgin’s report about the Soviet Writers’ Congress and Kenneth Burke’s speech. The preface to the Russian edition written by the editor Sergei Dinamov throws light on the reasons for excluding Burke’s paper. In his introduction Dinamov dwelt at some length on Burke’s text and criticized his “errors”. Dinamov’s criticism makes it clear that the main problem was the fact that the American “fellow traveler” used the concepts “people” (narod) and “national spirit” (narodnost’) which at the moment were on the agenda in the USSR due to the Popular Front policy. Kenneth Burke’s speech “Revolutionary Symbolism in America” at the First American Writers’ Congress, translated into Russian by Tatiana A. Pirusskaia, is published herewith as an addendum to the essay.
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Bold, Christine. "Worker-Writers on the WPA: The Case of New Bedford, Massachusetts". Prospects 28 (ottobre 2004): 281–310. http://dx.doi.org/10.1017/s0361233300001514.

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When Joseph Freeman celebrated the standard 1930s' version of heroic worker-writers at the American Writers' Congress, he didn't seem to notice that the Works Progress Administration (WPA) was a conflicted category. His vision assumed that the WPA empowered writers by aligning them with laborers, folding them into the celebration of physical labor promoted by the New Deal, an assumption that reverberated widely both at that political moment and in more recent discussions (Figure 1). This essay argues that bringing together the categories of worker and writer under New Deal sponsorship was a much less seamless, less heroic, and less masculinist operation than is generally asserted. It reconstructs the experiences of WPA writers with a local specificity heretofore missing from the discussion: in this case, the assortment of employees – the white-collar destitute, widows, impoverished gentility – on the New Bedford District Office of the Massachusetts Writers' Project. From this perspective, the experience of WPA employment was more in tension than in solidarity with working-class practices. The dynamics of government bureaucracy most often left project employees stranded between the categories of worker and writer, attempting (with limited success) to negotiate a resolution in both their social and their narrative positions.
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Dworkin, Ira. "Radwa Ashour, African American Criticism, and the Production of Modern Arabic Literature". Cambridge Journal of Postcolonial Literary Inquiry 5, n. 1 (gennaio 2018): 1–19. http://dx.doi.org/10.1017/pli.2017.44.

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In 1973, at the suggestion of her mentor Shirley Graham Du Bois, the Egyptian scholar, activist, teacher, and novelist Radwa Ashour enrolled at the University of Massachusetts, Amherst, to study African American literature and culture. Ashour’s 1975 dissertation “The Search for a Black Poetics: A Study of Afro-American Critical Writings,” along with her 1983 autobiography,Al-Rihla: Ayyam taliba misriyya fi amrika[The Journey: An Egyptian Woman Student’s Memoirs in America], specifically engage with debates that emerged at the First International Congress of Negro Writers and Artists in September 1956 between African Americans and others from the African diaspora (most notably Aimé Césaire) regarding the applicability of the “colonial thesis” to the United States. This article argues that Ashour’s early engagement with African American cultural politics are formative of her fiction, particularly her 1991 novel,Siraaj: An Arab Tale,which examines overlapping questions of slavery, empire, and colonialism in the Arab world.
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Shcherbinina, Olga I. "Howard Fast and Soviet Writers. Article 1. “A Friendly Hand Reaching Out Across the Ocean”: 1949–1955". Literature of the Americas, n. 14 (2023): 285–314. http://dx.doi.org/10.22455/2541-7894-2023-14-285-314.

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The article tracks Howard Fast’s literary contacts with the USSR until 1955, when he met Boris Polevoy, the chairman of the Foreign Commission of the Union of Soviet Writers. Fast’s fame reached its zenith in the late 1940s – early 1950s, the period of the Cold War and fierce anti-American propaganda campaign in the USSR. The paper considers how and why Fast caught Soviet attention, what literary contacts he maintained, how much he had to pay for them, what compromises — reputational, political, he had to make to remain for the Soviet audience “the most widely read author of his century”. Obviously, Fast was acknowledged as a loyal friend of the USSR not only due to his literary achievements, i.e. historical novels, which brought him popularity both at home and around the world. Soviet propaganda perceived Fast’s disgraced experience (in 1950 he was sent to prison for contempt of Congress) as a valuable fact, a compelling proof of his active struggle for the cause of communism. Left Western writers were expected to take part in pickets, rallies, international congresses, demonstrations, and publish their nonfictional materials in the party press. Fast who was a delegate to World Congresses for Peace (Waldorf Conference 1949, Paris Congress 1949), the laureate of the International Stalin Peace Prize in 1953, perfectly met these requirements. Fast’s correspondence with P.A. Pavlenko from the funds of the Russian State Archive of Literature and Art is published in the addendum.
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McCoy, Garnett. "The Rise and Fall of the American Artists' Congress". Prospects 13 (ottobre 1988): 325–40. http://dx.doi.org/10.1017/s0361233300005329.

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In the fall of 1929, just after the stock market crash but before its effects were widely felt, a group of radical artists and writers in New York established the John Reed Club, named after the already legendary journalist, poet, and revolutionary activist. The founders, some of them members of the Communist Party, some loosely associated with the party's cultural magazine New Masses, were committed but restless young men in search of a focus for their political energies. Soon after the club began, the artist members created an art school, organized exhibitions, and sponsored a lecture series and discussion groups with emphasis on the practice and theory of art and art history from a Marxist point of view. As the Depression deepened, with dire consequences to artists dependent on an art market in a state of collapse, the John Reed Club's approach attracted growing attention.
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McCoy, Garnett. "The Rise and Fall of the American Artists' Congress". Prospects 13 (ottobre 1988): 325–40. http://dx.doi.org/10.1017/s0361233300006773.

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Abstract (sommario):
In the fall of 1929, just after the stock market crash but before its effects were widely felt, a group of radical artists and writers in New York established the John Reed Club, named after the already legendary journalist, poet, and revolutionary activist. The founders, some of them members of the Communist Party, some loosely associated with the party's cultural magazine New Masses, were committed but restless young men in search of a focus for their political energies. Soon after the club began, the artist members created an art school, organized exhibitions, and sponsored a lecture series and discussion groups with emphasis on the practice and theory of art and art history from a Marxist point of view. As the Depression deepened, with dire consequences to artists dependent on an art market in a state of collapse, the John Reed Club's approach attracted growing attention.
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IBER, PATRICK. "The Cold War Politics of Literature and the Centro Mexicano de Escritores". Journal of Latin American Studies 48, n. 2 (11 dicembre 2015): 247–72. http://dx.doi.org/10.1017/s0022216x15001492.

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AbstractThis article describes the relationship of the Centro Mexicano de Escritores, Mexico's most important writing centre in the second half of the twentieth century, to the US foundations that funded it. The Centre was founded by a North American writer, Margaret Shedd, with the financial support of the Rockefeller Foundation. The Rockefeller Foundation understood the Centre as a ‘Pan-American’ effort to improve relations between the United States and Mexico by bringing its writers closer together. Later, there were also contributions from two CIA fronts, the Farfield Foundation and the Congress for Cultural Freedom, to the Centre and its star graduate, Juan Rulfo. However, this article argues that none of the US foundations realised the ambitions that they had for the Centre. Through a process of ‘Mexicanised Americanisation', a project that had elements of Yankee cultural imperialism produced instead one of the world's finest writing centres, but without any clear political benefit for the United States.
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George, Ann, e Jack Selzer. "What happened at the first American writers’ congress? Kenneth Burke's “revolutionary symbolism in America”". Rhetoric Society Quarterly 33, n. 2 (marzo 2003): 47–66. http://dx.doi.org/10.1080/02773940309391253.

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Kim, Wook-Dong. "John Steinbeck and Korean Connections". Steinbeck Review 18, n. 2 (2021): 182–200. http://dx.doi.org/10.5325/steinbeckreview.18.2.0182.

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Abstract Compared to John Steinbeck's unusually great popularity in Japan, his popularity in South Korea has been regrettably scanty. The Twenty-Ninth International PEN Congress held in Tokyo in August 1957, however, paved the way for the proper introduction of Steinbeck to South Korea on a much greater scale. In-sob Zong's interview with Steinbeck in Tokyo played a central role in making the obscure American writer widely known to Korean readers. The topics discussed in the brief interview include (1) the negative impact of mass media, such as radio, television, and advertisements, on literary artists; (2) the extent to which American writers think and write freely; (3) the role of the writer as a social or political critic; and so on. In addition, this article examines how strenuously Steinbeck tried to fight vicious Communist propaganda with regard to United Nations forces allegedly dumping germs in the Korean peninsula during the Korean War. It also maintains that Steinbeck was greatly concerned with Korea and its civil war. His bedrock conviction for the future of Korea and its people is best articulated in a series of letters he wrote to Alicia Patterson, publisher of Newsday, in 1965–67.
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Buynova, K. R. "Typical Bourgeois Intellectuals and Great Friends of the Soviet Union: Latin American Writers in the USSR during the Khrushchev Thaw". Concept: philosophy, religion, culture 5, n. 3 (28 settembre 2021): 162–76. http://dx.doi.org/10.24833/2541-8831-2021-3-19-162-176.

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The author studies the Latin American writers’ visits to the USSR from 1954 till beginning of 1960s realized via the Foreign Commission of the Union of Soviet Writers. After Stalin’s death, the activity of all departments of the Commission expanded significantly; the lists of those invited from abroad now included writers who were absolutely loyal to the USSR as well as new and yet unknown names. As a result, the staff of the Foreign Commission had to face an unprecedented pluralism. Based on the Commission’s Spanish and Portuguese translators’ reports, stored in the Russian State Archive of Literature and Art, the study analyses the criteria based on which the stay of a guest was perceived as favorable or undesirable for continuing cooperation in order to improve the image of the USSR in foreign literary circles. The study also analyses somewhat of a loyalty marker, reflecting the guests’ perception of the results of the 20th Congress of the CPSU and the state of Soviet-Chinese relations as sensitive topics important for the political self-determination of communist writers. The study of these new sources allows us to conclude that when choosing new foreign partners, the Foreign Commission often relied on the advice of its’ faithful friends, and the protégés of the latter did not always withstand the test of compatibility with the Soviet regime. At the same time, there was no specific criteria for the new friends’ selection. The translators, who were the first to report on the visit, were invited from outside, sometimes just for one particular job; they did not receive clear instructions from the Commission and were guided by their own ideas about the importance of the writer in their care and the expediency of cooperation with him. Later their opinion could not be taken into account; presumably, it was the journalistic and novelistic production of the invited writers published as a result of the visit to the USSR that was of greater importance to decide whether they were worth further attention. The study reviews Soviet Writers’ Union cooperation with P. Neruda, F. González-Urízar, N. Parra, V. Teitelboim, A. Cassigoli, F. Coloane (Chile), J. Amado, M. Rebelo, E. de Moraes, G. Figueiredo, H. Silveira (Brazil), I. Abirad, J.C. Pedemonte, M. Rosencof (Uruguay), N. Guillen, C. Leante, O. Hurtado, Samuel Feijoo (Cuba), E. Barrios Villa (Bolivia), C.A. Leon (Venezuela).
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Libri sul tema "American Writers Congress"

1

1950-, Greene Brenda M., e Beauford Fred, a cura di. Meditations and ascensions: Black writers on writing. Chicago: Third World Press, 2008.

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North American Native Writers' Festival (1st 1992 Norman, Okla.). Returning the gift: Poetry and prose from the First North American Native Writers' Festival. A cura di Bruchac Joseph 1942- e Association for Study of American Indian Literatures (U.S.). Tucson: University of Arizona Press, 1994.

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Collegium for African American Research, a cura di. Loopholes and retreats: African American writers and the nineteenth century. Wien: Lit, 2009.

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Nicholas, Delbanco, e Goldstein Laurence 1943-, a cura di. Writers and their craft: Short stories & essays on the narrative. Detroit: Wayne State University Press, 1991.

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International Richard Aldington Conference (1st 2000). Writers in Provence: Proceedings of the First and Second International Richard Aldington Conferences. Sainte-Maries, France: Gregau Press and The International Richard Aldington Society, 2003.

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Thérèse, Tseng M., e State University of New York at Buffalo. French Graduate Student Association., a cura di. Raymond Federman and French marginal writers. Baltimore, Md: American Literary Press, 2002.

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1924-1987, Baldwin James, Achebe Chinua 1930- e Chametzky Jules, a cura di. Black writers redefine the struggle: A tribute to James Baldwin. Amherst, Mass: University of Massachusetts Press, 1989.

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Wichita State University Conference on Foreign Literature. Continental, Latin-American, and francophone women writers: Selected papers from the Wichita State University Conference on Foreign Literature. Lanham, MD: University Press of America, 1987.

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B, Nathan Rhoda, e Hofstra University, a cura di. Nineteenth-century women writers of the English-speaking world. New York: Greenwood, 1986.

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Middle Atlantic Writers' Association (U.S.). Conference. James Baldwin, in memoriam: Proceedings of the Annual Conference of the Middle Atlantic Writers' Association, 1989. A cura di Reckley Ralph 1935- e Baldwin James 1924-. Baltimore: Middle Atlantic Writers' Association Press, 1992.

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Capitoli di libri sul tema "American Writers Congress"

1

Graham, Maryemma. "Colleagues and Comrades". In The House Where My Soul Lives, 130—C8.F2. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780195341232.003.0008.

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Abstract This chapter illustrates how, almost two months after she had begun working at the Writers’ Project, Margaret Walker received a postcard inviting her to the organizing meeting for a group of Negro writers. The card was signed “Richard Wright.” Although they were now coworkers, most of what she knew about Wright came from conversations with others rather than with him. She doubted if he had remembered her from the American Writers Congress meeting where Langston Hughes had introduced them, but she was nonetheless pleased to be identified as part of a group who would soon have its own moniker, “South Side Writers.” Walker connected immediately to Wright’s ideas, after having discovered the power in his prose. In his view, the network of Black intellectuals at the Writers’ Project had an opportunity to envision a different context in which Negro writing could develop. The John Reed Club was the model for the South Side Writers Group, and, in Wright’s view, the ideal of communism did not necessarily have to be unifying factor among them. What communism did for him in part was to demonstrate the importance of collective work.
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Bystrova, Olga V. "“Who Are You with, ‘Masters of Culture’?” Anti-Fascist Theme in Gorky’s Journalism". In Maxim Gorky and World Culture: A Collection of Scientific Articles (Materials of the Gorky Readings 2018 “World Value of M. Gorky (on the 150th Anniversary of the Birth)”, 443–51. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0693-2-443-451.

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The theme of the confrontation with fascism still dominates the society. All attempts in the 20th century to distort the meaning, results and heritage of the great victory of the Russian people are debunked by the creative heritage of M. Gorky. The writer was one of the first to oppose the emerging “brown plague” in Europe. The clash of the concepts of fascism and anti-fascism in the 1930s suggests seeing the events of the turbulent twentieth century in the dialectical development of the struggle of various ideologies, understanding the deeper confrontation between the Soviet Union and Nazi Germany. On this line of confrontation, Gorky became a figure who, linking the worlds of different ideologies, turned out to be a person whose voice was heard on this and on that side. The proposed analysis of the position of the country and the artist in the time frame, when the war has not yet come, allows us to realize the deep forerunners and the origins of those terrible events that will unfold after the death of the writer. His artistic flair and intuition, excellent human knowledge and understanding of the internal currents of political games of States, in this case, can be considered as the Providence of the terrible events of the future. His journalistic articles, in particular “Who are you with, ʻmasters of cultureʼ? (The answer to the American correspondent” (1932), testifies to it fully. M. Gorky’s journalism, his speeches at conferences testified to the danger of strengthening fascism in Europe. In particular, the writer spoke about this in his address to “Delegates of the anti-war Congress: a Speech that was not made” (1932) and participants оf the international Congress of writers in defense of culture in 1935. The stated topic is relevant not only because it is a stage in the history of the writer’s creative biography, but also because so many years after the victory over fascism, attempts are made to revive this inhuman system of destruction of the world.
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Rubin, Andrew N. "Archives of Authority". In Archives of Authority. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691154152.003.0002.

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This chapter details the correspondence between the author and the Central Intelligence Agency regarding the release of information in line with the Freedom of Information Act. At the same time the chapter builds on an emerging body of scholarship that examines the relationship between American postwar ascendancy and “cultural diplomacy” in the early years of the Cold War and decolonization. Few studies have considered how the Congress for Cultural Freedom's (CCF) underwriting reshaped and refashioned the global literary landscape, altered the relationships between writers and their publics, and rendered those whom it supported more recognizable figures than others. These practices were conceived as part of an orchestrated imperial effort to occupy a global public space that by 1948 had been largely dominated by the socialist rhetoric of the Communist Information Bureau (Cominform).
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Procter, Ben. "Last Years and Final Edition". In William Randolph Hearst, 234–50. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195325348.003.0011.

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Abstract Early on Sunday morning, December 7, 1941, the Japanese carried out a surprise attack upon the United States naval base at Pearl Harbor in Hawaii. Against little opposition Japanese fliers bombed and strafed selected targets for several hours, inflicting more than 3,000 casualties on the surprised American military. They also destroyed or immobilized most of the American aircraft while sinking or running aground seven battleships, the backbone of the U.S. Pacific fleet. The next day President Roosevelt, in asking Congress for a declaration of war against Japan, de scribed this attack as “a day which will live in infamy: Such a devastating aerial strike did not produce the desired results, however. As early as September 1940, the commander in chief of the Japanese Combined Fleet, Admiral Isoroku Yamamoto, had voiced his concern about such an assault, even if successful.”I shall run wild for the first six months or a year;’ he predicted, “but I have utterly no confidence for the second or third year:• He therefore urged the Japanese government to avoid war with the United States at all costs. Or as Hollywood writers dramatically rephrased this quotation in the 1970 movie Tora! Tora! Tora! Yamamoto solemnly announced that Japan, instead of demoralizing the United States,”had awakened a sleeping giant and filled him with a terrible resolve:• And he was right. The bombs that pulverized Pearl Harbor unified the American people-silencing immediately those advocates of the nation’s powerful isolationist movement.
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Stecopoulos, Harilaos. "Republic of Letters, Cockpit of Controversy". In Telling America's Story to the World, 151–85. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192864635.003.0006.

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Abstract Arthur Miller never worked as a US cultural diplomat; however, he did become president of PEN International thanks to the machinations of the Congress for Cultural Freedom, a CIA-funded front. This chapter examines Miller’s ambitious attempt to use his new position to publicize and oppose the Communist persecution of literary dissidents, thus contributing to US propaganda, and, more surprisingly, to highlight the way in which US writers were, for all their freedom, treated far more dismissively than their Communist counterparts. For the playwright, the two goals proved mutually constitutive. By working to protect their counterparts behind the Iron Curtain, US writers could also demonstrate their importance to a US public that had lost interest in the civic value of literature. Reading Miller’s journalism, plays, speeches, and other public pronouncements of the era, the chapter focuses mainly on his travel book In Russia (1969) and his play The Archbishop’s Ceiling (1977).
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Johns, Elizabeth. "America on Canvas, America in Manuscript: Imaging the Democracy". In Breaking Bounds, 147–62. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195093490.003.0011.

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Abstract In 1871 in Democratic Vistas Walt Whitman dismissed American drama, verse, and art in no uncertain terms: “Do you [call] that perpetual, pistareen, paste-pot work, American art?” (PW 2: 388-89) When several years ago I considered this snub in the context of evidence in the popular anthologies in the Library of Congress, I appreciated his disdain for much of his era’s literary production. I already knew from years of looking at storerooms of museums and old exhibition catalogs that many bad pictures had been relentlessly exhibited during the years that ambition exceeded training. However, because I admired many strong paintings created during even the early years of Whitman’s career, I wondered if there were not an underlying reason for his contempt for images that would tell us something about the very relation in cultural production between “canvas” and “manuscript.” Could there even have been a “Whitman” in paint in the 1850s and 1860s-at least one artist who would have evoked Whitman’s admiration? This essay offers some thoughts on the question. Near the heart of the matter may be the different social “work” taken up by journalists and image makers across Whitman’s lifetime, missions fundamental to the nineteenth-century nature of print and images and their publics. The very function of the printed text, especially in journalism, was to unite the reader with the writer and thus with other readers as well (in recent terms, to interpellate the reader in the same relation to the material as the writer constructs). Much of the population at midcentury shared at least an intuitive grasp of verbal rhetoric and felt at home with words. They did not feel this way about images, however.
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Irmscher, Christoph. "Malyutochka". In Max Eastman. Yale University Press, 2017. http://dx.doi.org/10.12987/yale/9780300222562.003.0007.

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In 1922, Max Eastman travels to Europe to take part in the Genoa Conference, where he meets his future wife, Eliena Krylenko, sister to Nikolai Krylenko, later Stalin’s Commissar of Justice. A prolonged stay in Moscow, where Max tours the Kremlin and attends the Fourth Congress of the Third Communist International, leads to his gradual disenchantment with Bolshevism, though not with Trotsky, whose biography he writes. Living in Sochi on the Black Sea, Max perfects his command of Russian and begins work on a novel. He develops his concept of “social engineering” against Stalin’s attempt to make a religion out of the Communist Party. After marrying Eliena, Max leaves Moscow and lives on the Côte d’Azur and in Paris, implementing his free love philosophy and completing books on Marx, Lenin, and Trotsky. After he publishes Lenin’s “Testament,” with its criticism of Stalin, Trotsky disavows him. In Vienna he meets Freud, who encourages him to write a book about “America the miscarriage.”
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Revesz, Richard, e Jack Lienke. "Congress Misses the Mark". In Struggling for Air. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780190233112.003.0006.

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For polluters, America in 1970 was still something of a Wild West. A number of federal, state, and municipal laws aimed at improving air quality were already on the books, but few were enforced, and pollution from the nation’s ever-growing stock of motor vehicles, power plants, and factories remained uncontrolled in much of the country. A passage from the Ralph Nader Study Group’s Vanishing Air, published in May 1970, vividly illustrates the extent to which dirty air was a fact of life for city dwellers of the period: . . . The New Yorker almost always senses a slight discomfort in breathing, especially in midtown; he knows that his cleaning bills are higher than they would be in the country; he periodically runs his handkerchief across his face and notes the fine black soot that has fallen on him; and he often feels the air pressing against him with almost as much weight as the bodies in the crowds he weaves through daily. . . . New York’s problems with air quality were hardly unique. In an October 1969 letter to the Senate Subcommittee on Air and Water Pollution, a resident of St. Louis expressed similar sentiments about the sheer pervasiveness of pollution in her community: . . . What really made me take the time to write this letter was the realization that I had begun to take the haze and various odors for granted. Close the doors and windows and they’ll be less noticeable[. I]t is very disturbing to think I’ve become used to the burning-rubber smell in the evening and the slightly sour smell in the morning. What does air smell like? . . . And air pollution’s costs went far beyond sour smells and dirty handkerchiefs, as a series of deadly “inversions” both here and abroad had made dramatically clear beginning in the late 1940s. Typically, the air at higher altitudes is cooler than that below. This is because the surface of the earth absorbs sunlight and radiates heat, warming the air closest to the ground. That warm surface air then cools as it rises higher into the atmosphere.
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Wood, Gordon S. "Introduction:Rip Van Winkle’s America". In Empire Of Liberty, 1–4. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195039146.003.0001.

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Abstract During the second decade of the nineteenth century, writer Washington Irving developed an acute sense that his native land was no longer the same place it had been just a generation earlier. Irving had conservative and nostalgic sensibilities, and he sought to express some of his amazement at the transformation that had taken place in America by writing his story “Rip Van Winkle. “ Irving had his character Rip awaken from a sleep that had begun before the Revolution and had lasted twenty years. When Rip entered his old village, he immediately felt lost. The buildings, the faces, the names were all strange and incomprehensible. “The very village was altered—it was larger and more populous, ” and idleness, except among the aged, was no longer tolerated. “The very character of the people seemed changed. There was a busy, bustling disputatious tone about it, instead of the accustomed phlegm and drowsy tranquility “—a terrifying situation for Rip, who had had “an insuperable aversion to all kinds of profitable labour. ” Even the language was strange— “rights of citizens—elections—members of Congress—liberty . . . and other words which were a perfect babylonish jargon to the bewildered Van Winkle. ” When people asked him “on which side he voted ” and “whether he was Federal or a Democrat, ” Rip could only stare “in vacant stupidity. “
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Scheleringer, Arthur. "George Bancroft". In Invisible Giants, 23–31. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195168839.003.0005.

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Abstract Vaguely remembered today as the first consequential American historian-remembered but not read-George Bancroft was also in his own time a political boss, a cabinet officer, a diplomat, a presidential ghostwriter, a parlor radical, and a vivant. His grand achievement was his ten-volume History of the United States-an epic of democracy that vitally shaped Americas conception of itself. Based on diligent archival research, it was written, alas, in a rhetorical style that fatigues modern eyes and ears. An admirer of Andrew Jackson, Bancroft dispensed federal patronage in Massachusetts in the 183os. As secretary of the navy in the 1840s, he founded the Naval Academy at Annapolis and issued the orders in the Mexican War that led to the annexation of California. After Lincolns assassination, he was chosen to give the official eulogy before Congress. He was minister to Germany during the Franco-Prussian War in 1870, and his pro-Prussian sympathies prMokedVictor Hugo to write a scathing poem denouncing him.
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Atti di convegni sul tema "American Writers Congress"

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Barreto, Ana Cristina Alves by Paula, e Lucas Matos Martins. "Savages vs Colonists: The semiotic resources present in the fantastic tale Princess Pocahontas that illustrate the indigenous princess immersed in the colonizer's culture". In V Seven International Multidisciplinary Congress. Seven Congress, 2024. http://dx.doi.org/10.56238/sevenvmulti2024-177.

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This work initially intends to study the ancestry of fairy tales, theorizing the oral dimension that a narrative told from generation to generation can reach. Authors such as Charles Perrault, La Fontaine, Brothers Grimm and Hans Christian Andersen make up the circle of notorious writers who gave life to the wondrous tales sown among castes for centuries. Along with the narrated story, illustrative art presents itself to the reader as a way of visually materializing a tale, a legend, contributing to the discernment of a diegesis that often embraces a very significant social, cultural and historical perspective. The classic Princess Pocahontas , examined in this work, is a fairy tale that addresses the theme of North American colonization in the 16th century. From an investigative look at the semiotic resources present in Virginia Watson's illustrated work, this article proposes to explore the way in which the illustrations of luxury examples seek to represent the indigenous princess immersed in the culture of her colonizer.
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Campos, Francieli do Rocio de. "Notes on public policies to combat hunger in Latin America and the Caribbean based on an integrative review". In V Seven International Multidisciplinary Congress. Seven Congress, 2024. http://dx.doi.org/10.56238/sevenvmulti2024-118.

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The objective of the work focuses on explaining notes on public policies to combat hunger identified in the period from 2010 to 2020 implemented in countries in Latin America and the Caribbean. Bearing in mind, the integrative review used as a research methodology to write the doctoral thesis, which required the inclusion of studies with experimental and quasi-experimental designs, therefore the work was unable to cover all countries in both regions.
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Leite, Hilton Pintor Bezerra, Lucas Figueiredo, Veronica Teichrieb e João Marcelo Teixeira. "WRITEME: uma Ferramenta de Auxílio à Escrita de READMEs Baseada em Dados Abertos". In Congresso Latino-Americano de Software Livre e Tecnologias Abertas. Sociedade Brasileira de Computação - SBC, 2020. http://dx.doi.org/10.5753/latinoware.2020.18609.

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Repositórios de código são acompanhados de um arquivo chamado README (leia-me, em português) que deve ser lido antes do uso do software que acompanham. Pesquisas recentes identificaram que tipos de conteúdos estão presentes nesses arquivos, porém faltam ferramentas que divulguem e apliquem esses conhecimentos como forma de suporte a desenvolvedores no processo de escrita dos documentos. Neste trabalho apresentamos uma ferramenta de auxílio à escrita de READMEs, que usa dados abertos dos repositórios mais populares do GitHub para gerar recomendações de seções. Os repositórios usados como exemplo são os que mais receberam estrelas, e são de projetos da linguagem de programação escolhida pelo usuário. A ferramenta consiste de um back-end que adquire os READMEs pela API do GitHub, e classifica suas seções de acordo com o tipo de conteúdo presente. No front-end é apresentada uma interface web onde o usuário pode escolher as seções que se aplicam ao seu projeto, e fazer download do esqueleto do seu README.
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Mojica, Jose W., Akihiko Kumagai e Steven Marsh. "Vibration Suppression Drafting Arm for Tremor Patients". In ASME 2013 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/imece2013-65217.

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Essential Tremor (ET) is a progressive neurological condition that affects over 10 million Americans. It causes a rhythmic trembling of the body that is most pronounced in the hands. Many ET patients lose the ability to perform simple yet vital tasks, such as writing. Current writing assisting devices are not able to efficiently cancel or restrict the trembling experienced by these patients when they write. We have developed a drafting arm that diminishes the arm and hand vibrations of ET patients by dampening the motion of the pen. Our design incorporates a two-segment arm with variable dampers at its joints. One end of the arm attaches to any table while the other holds a writing device. The two dampers resist the rotation at each joint. ET patients using this tool have shown significant improvement in their writing ability in comparison to using other consumer devices available today. As the final development stage, considerable effort is being put into engineering the device to be of practical use and to function well in the everyday lives of people.
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Dornelles, Eldair F., Fernando Parahyba, Rafael Z. Frantz, Fabrícia Roos-Frantz, Antonia M. Reina-Quintero, Carlos Molina-Jiménez, José Bocanegra e Sandro Sawicki. "Advances in a DSL to Specify Smart Contracts for Application Integration Processes". In Congresso Ibero-Americano em Engenharia de Software. Sociedade Brasileira de Computação, 2022. http://dx.doi.org/10.5753/cibse.2022.20962.

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Several languages have been developed for writing smart contracts for specific domains, such as health, finance, and business processes. However, none of them includes the constructors needed for writing smart contracts used in application integration processes which have their own particularities. Such smart contracts are responsible for monitoring the communication between the process and the applications to guarantee that the rights of the parties involved in the integration process are observed. To cover the gap, this paper discusses a domain-specific language for writing smart contracts in the application integration domain. It provides constructors to write smart contracts with a level of abstraction close to the natural language used in conventional contracts.
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Honda, Hiroshi, e Shuichi Fukuda. "Industry Focused Courses Utilizing Collaborative Learning Approach". In ASME 2003 International Mechanical Engineering Congress and Exposition. ASMEDC, 2003. http://dx.doi.org/10.1115/imece2003-55237.

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Industry focused, full semester Courses A “Industry and Information Systems” and B “Overview of the Market and Introduction to Marketing” are lectured by the lead author at Tokyo Metropolitan Institute of Technology (TMIT). In these courses, overview of the global and Japanese economies and trends of each industry sector are introduced by the lecturer. Students are assigned to write a report on a specific industry sector, a specific market and other related topics of his or her interest, and opportunities for presentation and discussion on their draft reports with their classmates and the lecturer are given toward the end of the semester. Apart from these courses, a full semester Course C “Evolution of Industry, Business and Engineering Practice in the Global Economy,” utilizing collaborative learning approach, was proposed by the lead author in 1998, and was partially taught at American and Japanese universities, utilizing the Proceedings of the ASME Engineering & Technology Management Group Symposia at IMECE 2000–2002.1)–3) The surveys were conducted concerning the student’s interest of industry sectors, lecture topics, and international topics both at the beginning and at the end of the semester. In addition, surveys to sense students’ new discovery from lectures for all course modules and those to sense useful knowledge in their career planning and in general were conducted at the end of all classes. The results of surveys show that students found the discussion opportunities valuable to gain broader perspectives and insights into their own subject of study when writing their reports, by learning what their classmates are studying and from classmates’ comments. This paper also discusses what motivates students in learning, what influences students’ general, specific, and career interests, and how students’ interests may change from the beginning to the end of the semester for which these courses are given.
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