Browsing by Author "Hahn, H. George (Henry George), 1942-"
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Item An approach to character development in Defoe's narrative prose(University of Iowa, 1972) Hahn, H. George (Henry George), 1942-; Towson University. Department of English[From article]: The critical approach to character in Defoe’s narrative prose has been mainly circuitous. By emphasizing genres as external patterns that inform his conception of the individual, interpretation of central character is often sacrificed to analysis of the form assumed to beget the character.[...] And as these forms are significations of random bourgeois interests, the characters within them, the criticism suggests, are all representative of resourceful middle-class Englishmen. Yet summarily to dismiss the characters as middle class is at best middling criticism, however undeniably valuable that criticism may otherwise be in its manifold discoveries.[...] I do not suggest, of course, that an internal approach is the only solution, but conceding the question of genre to the critics to say that Defoe uses features of many forms leaves still the problem of character as character. Looking at that problem, however, in terms of events, actions with which the characters are intimately involved can allow more fruitful answers.Item "Auburn" in Goldsmith's The deserted village: possible Gallic overtones?(College Language Association (U.S.), 1978-12) Hahn, H. George (Henry George), 1942-; Towson University. Department of English[From article]: The deserted village of Goldsmith’s 1770 poem has proved to be a lost village as well, for scholars have been unable to find an exact location for it. Many identify Auburn with the poet’s home of Lissoy in Ireland. Professor Friedman allows that the name may have been suggested by a town in Wiltshire. Others believe it to be an English village important more as a type than as a specific place. And Professor Wardle thinks the name and location to be irrelevant because Goldsmith probably conceived the place as a composite of his boyhood memories and his later observations of English villages. Whatever Auburn’s location, Goldsmith was no doubt mainly concerned with providing an emblem in The Deserted Village of a once idyllic place now forever abandoned that could also contrast with the horrific implications of life in the city and in America later in the poem. Whether Irish, English, or irrelevant on the map, in the poem, Auburn embodies Goldsmith’s explicit theme, stressed in his prefatory letter to Reynolds. That theme is the depopulation of the countryside, shown by history and the poem alike to be the result of the displacement of the poor from rural areas by wealthy landowners who wished to improve and expand their own farms, parks, and hunting preserves. In the letter, Goldsmith claims both to inveigh against this cause and to regret its effect. To augment his theme, I would suggest, Goldsmith may have selected the name Auburn for its rich and subtle merging of Gallic sound and sense.Item Book review of A concordance and word-lists to Henry Fielding's "Shamela," Michael G. Farringdon, ed.(Springer, 1983-12) Hahn, H. George (Henry George), 1942-; Towson University. Department of EnglishBook review of a concordance to Henry Fielding's ShamelaItem Book review of An Oxford companion to the Romantic Age: British culture 1776-1832, Iain McCalman, editor(American Society for Eighteenth Century Studies, 2002) Hahn, H. George (Henry George), 1942-; Towson University. Department of EnglishBook review of a reference work on British culture during the Romantic AgeItem Book review of Carleton Jones's Maryland: a picture history, 1632-1976 and Edwin Wolf II's Philadelphia: portrait of an American city(Maryland Historical Society, 1978) Hahn, H. George (Henry George), 1942-; Towson University. Department of EnglishBook review of two pictorial histories; one about Maryland and one about Philadelphia, PennsylvaniaItem Book review of Deborah Kennedy's Poetic sisters: early eighteenth-century women poets(American Society for Eighteenth Century Studies, 2013-09) Hahn, H. George (Henry George), 1942-; Towson University. Department of EnglishBook review of a book on eighteenth century women poetsItem Book review of Eric Parisot's Graveyard poetry: religion, aesthetics and the mid-eighteenth-century poetic condition(American Society for Eighteenth Century Studies, 2015-03) Hahn, H. George (Henry George), 1942-; Towson University. Department of EnglishBook review of a book on graveyard poetryItem Book review of George H. Douglas' H. L. Mencken: critic of American life(Maryland Historical Society, 1978) Hahn, H. George (Henry George), 1942-; Towson University. Department of EnglishBook review of an examination of H.L. MenckenItem Book review of Poetic meditations on death: a Gothic and Romantic literary genre of the long eighteenth century (1693-1858), ed. Evert Jan van Leeuwen(Pennsylvania State University Press, 2017) Hahn, H. George (Henry George), 1942-; application/pdf; Towson University. Department of EnglishBook review of an anthology of graveyard poetryItem Book review of Precursors of Nelson: British admirals of the eighteenth century(American Society for Eighteenth Century Studies, 2002-09) Hahn, H. George (Henry George), 1942-; Towson University. Department of EnglishBook review of a collection of essays about British admirals who preceded Lord Horatio Nelson.Item Book review of Robert Ignatius Letellier's The English Novel, 1660-1700: An annotated bibliography(College of Toronto. Press, 1998-11) Hahn, H. George (Henry George), 1942-; Towson University. Department of EnglishBook review of an annotated bibliography of the early English novelItem Broadsides on the Thames: the social context of The rape of the lock, II, 47-52(Walter de Gruyter & Co., 1986) Hahn, H. George (Henry George), 1942-; Towson University. Department of English[From article]: As Reuben Brower has shown, allusion in Pope is a resource equivalent to metaphor and imagery in other poets1 1 R. A. Brower, Alexander Pope: The Poetry of Allusion (Oxford, 1959). . Yet it is not merely by literary allusion that Pope achieves comic effect in The Rape of the Lock, II, 47-52, the depiction of Belinda's water passage to Hampton Court. He creates a comic irony in these verses by a careful blend of a Watteau-like scene with heroically allusive overtones and a crude Hogarthian undertone given strength by its appeal to contemporary awareness of abusive language by travellers on the Thames. The dual ironic contexts of the heroic and the prosaic further heighten the poem's comic incongruity.Item The campus trials of Mencken's satire(Enoch Pratt Free Library, 2013) Hahn, H. George (Henry George), 1942-; Towson University. Department of English[From article]: “I think that people like to read abuse,” said Mencken to Donald Kirkley in a recorded interview of 1948. His charge prompts four trials about satire to a college-age class today.Item Can a Gentleman Rage?: Ben Franklin on the Curve of Satire(Central Piedmont Community College (Charlotte, N.C.), 2011) Hahn, H. George (Henry George), 1942-; Towson University. Department of English[From article]: It was the Golden Age of satire, the eighteenth century in England, and Swift, Pope, Gay, Addison and Steele, Fielding, and Jane Austen were the gold standard. Never has a country before or since produced so much corrosive free-market laughter. Of course, a veritably free press—the Licensing Act had expired in 1695—brought a sunny climate for English satire. Even colonial America sprouted some humorous dissent, but the crop was sparse because the blazing sun of treason law dried up its ground. After the war, American criticism was more humorless invective fired between the Federalists and Republicans than the sophisticated irony and parody of the wits of the mother country. One American exception, however, is thought to be Benjamin Franklin, hailed by many critics as America's founding satirist. If so, where does he stand in the British empire of satire and how should he be presented in literature classrooms of a post-colonial America?Item The country myth and the politics of the early Georgian novel(Peter Lang Publishing, 1991) Hahn, H. George (Henry George), 1942-; Towson University. Department of EnglishItem The eighteenth-century British novel and its background: an annotated bibliography and guide to topics(Scarecrow Press, 1985) Hahn, H. George (Henry George), 1942-; Behm, Carl, 1942-; Towson University. Department of EnglishItem Henry Fielding: an annotated bibliography(Scarecrow Press, 1979) Hahn, H. George (Henry George), 1942-; Towson University. Department of EnglishItem Historiographic and literary: the fusion of two eighteenth-century modes in Scott's Waverly(University of Hartford, 1974) Hahn, H. George (Henry George), 1942-; Towson University. Department of English[From article]: A first work is often traditional, and the study of it in the contexts of its traditions often yields fresh insights into the later canon that are as much technical as historical. Just as Shakespeare’s early histories, Defoe’s first novels, and Tennyson’s first poems were shaped by the influences of an earlier age, so too was Scott’s Waverley, Or ‘Tis Sixty Years Since. Begun in 1805, though not published until 1814, the novel, both in idea and technique, is a product fashioned largely by eighteenth-century modes. These were personalized by, as Grierson suggests, “a combination in Scott’s mind of a solid interest in … history on the one hand and of romantic fiction on the other, which made him finally the creator of the historical novel.”1 Thus, an examination of Waverley in terms of historiography and fiction as conceived by the eighteenth century brings a focus for its study different from that usually allowed.Item Main lines of criticism of Fielding's Joseph Andrews, 1925-1978(Anglo-American Associates, 1981) Hahn, H. George (Henry George), 1942-; Towson University. Department of English[From article]: Unlike the inferences of a vicious Fielding that the critics draw from Shamela or a gloomy Fielding from Jonathan Wild, those from Joseph Andrews uniformly depict him as a cheerful man highly conscious of his art. This emanation of Henry Fielding emerged from the criticism that focused its attention on its comic structure and its morality.Item Main lines of criticism of Fielding's Tom Jones, 1900-1978(Anglo-American Associates, 1980) Hahn, H. George (Henry George), 1942-; Towson University. Department of EnglishExcept when questions of its morality got in the way of dispassionate criticism, as they did for Richardson, Johnson, and Hawkins, Tom Jones has continually been recognized as a masterpiece of design. As early as 1834 such an acute critic as Coleridge praised the novel, grouping it with the Oedipus Tyrannus and the Alchemist as “the three most perfect plots ever planned.” Basing his remarks on the book’s construction and characterization, Byron termed Fielding “the prose Homer of Human Nature.” Scott envied Fielding the book’s meticulous construction, and Thackeray and the Victorians, though protesting its morality, deemed it a masterpiece of fiction. The great superlative of the twentieth century was written by Wilbur Cross, who called Tom Jones “The Hamlet of English fiction.” Thus the novel moved into this century largely free of the problems attached to Fielding’s other works. Unlike the plays, it was regarded as “serious literature.’’ Unlike Shamela, there were no problems of authorship or protests against overt vulgarity. Unlike Joseph Andrews, its design and morality did not have to be established. And unlike Amelia, it was not victimized by a debate still unsettled, on Fielding’s intentions, philosophy, and merit as a narrator. Consequently, the dominant business of recent criticism of Tom Jones has been formalistic, the observation of refinements and their integration in a novel considered virtually flawless. There are dissents, but for the most part, they are not based on critical grounds, for the demurrers center on a preference for the Richardsonian over the Fieldingesque novel, a preference exhibited most prominently by F. R. Leavis, Frank Kermode, and Ian Watt.