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- ItemAn 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.
- ItemHistoriographic 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.
- ItemBook 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. Mencken
- ItemBook 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, Pennsylvania
- 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.
- ItemThe rake reformed: a literary history of the recent critical fortunes of Henry Fielding with a guide to research(1979) Hahn, H. George (Henry George), 1942-; Towson University. Department of English
- ItemMain 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.
- ItemMain 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.
- ItemSymbolic landscaping: Housman's Bredon hill(Housman Society, 1982) Hahn, H. George (Henry George), 1942-; Towson University. Department of English[From article]: Structured by a series of juxtaposed images, A.E. Housman’s Bredon Hill articulates in a tautly symbolic way some of the elemental themes of A Shropshire Lad (1896), the book of poems in which it appears.
- ItemThe orchard and the street: the political mirror of the tragic in Julius Caesar and Coriolanus(College Language Association (U.S.), 1983) Hahn, H. George (Henry George), 1942-; Towson University. Department of English[From article]: It is perhaps no coincidence that in Julius Caesar and Coriolanus Shakespeare demonstrates his most “Roman” virtues: political concern, sobriety of language, tonal reserve, dignity of mood, spare and functional structure, singleness of direction, and proud nobility in his heroes. Yet if these plays exhibit these outward classical virtues, there is at least one kind of common inner virtue that may be branded “Roman,” and that is their taciturnity, or perhaps laconism, for within each is a highly suggestive scene, insignificant at first glance, whose implications provide a scaled-down version of the issues of the entire play. In another sense, this kind of scene functions, to borrow a term from the classical oration, as a highly charged exordium which informs the audience of the means and end of some issues of the dramatic discourse, and to see this is to recognize a technique of construction that is a miniature of the raw, central issues of each play. The orchard (II.i) of Julius Caesar and the street (I.i) of Coriolanus are such emblematic scenes. Both are placed early in their dramatic actions as if by their prime locations they call attention to themselves and, as we shall see, to the dual concerns of each play as a whole. They yield as much meaning about the tragic concern as they do about the more apparent political one, and by fusing these concerns they aid their plays in carrying a greater impact and significance. More is at stake, for example, than the personal fortunes of Brutus and Coriolanus; indeed, the very columns of Roman government are being swayed in terms of them. An understanding of this fusion of the personal and political is essential to an understanding of the play, so it is in two well-placed scenes that Shakespeare illustrates this fusion by means of two constants, one ethical, one poetic: the political rationale of the hero and the dominant image patterns.
- ItemBook 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 Shamela
- ItemTwilight reflections: the hold of Victorian Baltimore on Lizette Woodworth Reese and H.L. Mencken(University of Southern Mississippi. College of Arts and Sciences, 1984) Hahn, H. George (Henry George), 1942-; Towson University. Department of English[From article]: To the old, as Faulkner wrote in “A Rose for Emily,” “all the past is not a diminishing road but, instead, a huge meadow which no winter ever quite touches.” Certainly for Baltimore’s two preeminent native authors, the spring meadows of their youth remain forever green in a set of autobiographical masterpieces, in many ways the crowns of their respective achievements. Taken together, Lizette Woodworth Reese’s A Victorian Village (1929) and The York Road (1931) and H. L. Mencken’s Happy Days (1940) and Heathen Days (1943) provide sensitive and vivid glimpses of the last forty years of nineteenth-century Baltimore. Even more, they reveal the Victorian Baltimore of their early years to have been a fertile soil and salubrious climate for the nurturing of their geniuses. Combined, these reminiscences allow a shape and color to their times often unnoticed by social historians and highlight a dimension to their work usually neglected by literary historians concerned more with belles lettres than with autobiography.
- ItemThe 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 English
- ItemBroadsides 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.
- ItemTarsicius: a hagiographical allusion in Joyce's "Araby"(Southern Illinois University at Edwardsville, 1991) Hahn, H. George (Henry George), 1942-; Towson University. Department of English[From article]: In his story "Araby" Joyce alludes to a Roman martyr both to designate a comic touch by the narrator and to deepen the themes of disillusionment and deflated romanticism. This purposefully melodramatic allusion also provides another example of how closely religion is woven into Joyce's life and fiction.
- ItemThe country myth and the politics of the early Georgian novel(Peter Lang Publishing, 1991) Hahn, H. George (Henry George), 1942-; Towson University. Department of English
- ItemThe country myth: motifs in the British novel from Defoe to Smollett(Peter Lang Publishing, 1991) Towson University. Department of English
- ItemDisability Rights on the Public Agenda: Elite News Media Coverage of The Americans With Disabilities Act(Temple University, 1995) Haller, Beth A.; Towson University, Department of Mass Communication and Communication StudiesThis dissertation undertook a content analysis of U.S. elite newspapers and the three major news magazines (N=524), news photographs (N=171), and TV network news (N =24) to understand how the news media presented the 1990 Americans with Disabilities Act The Act embodies a new civil rights issue that sharply contrasts with stereotypes and myths about people with disabilities Therefore, this study could assess how the news media juxtapose the newer disability rights perspective relative to older stereotypes of the disability experience and competing perspectives such as U S business interests. This study also assists in the understanding of the news media role in characterizing a new issue on the public's agenda. The findings show that the elite media covered the ADA in the obligatory way it has covered much major federal legislation. Only rarely did media further contextualize and expand ADA information. The coverage of the ADA illustrates that the notion of disability rights is only making a moderate amount of headway into news media representations. However, when they did do stories, the news media did a good Job of casting the ADA as a civil rights act. But they also presented the norms of U.S. society and the business community by looking often at the upfront cost of the Act, as opposed to long-term cost savings the Act might provide. But the news media misrepresented disability in incidence, race, and gender They sought out the visible disabilities as examples and missed the fact that more people have hidden disabilities. They portrayed disability in terms of the white middle class, which reflects the primary composition of the disability rights movement. The nature of the ADA story, however, did not allow the media to use the traditional stereotypes, which present people with disabilities as medical problems or as superhuman. The media accepted a progressive frame of minority group status for people with disabilities because the federal government gave it to them. And because the governmental rhetoric had been fashioned by activists from the disability community, the message of civil rights for people with disabilities flowed through the media.