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This Is A New Release Of The Original 1852 Edition.
Daniel Webster captured the hearts and imagination of the American people of the first half of the nineteenth century. This bibliography on Webster brings together for the first time a comprehensive guide to the vast amount of literature written by and about this extraordinary man who dwarfed most of his contemporaries. This bibliography also provides references to materials on slavery, the tariff, banking, Indian affairs, legal and constitutional development, international affairs, western expansion, and economic and political developments in general. This bibliography is divided into fifteen sections and covers every aspect of Webster's distinguished career. Sections I and II deal primarily with Webster's writings and with those of his contemporaries. Sections III through X cover the literature dealing with his family background; childhood and education, his long service in the United States House of Representatives and in the Senate, his two stints as secretary of state, and his career in law. Section X provides guidance in locating materials relating to his associates. Finally, Sections XI through XV provide coverage of his personal life, his death, historiographical materials, and iconography.
The Modern Feminine in the Medusa Satire of Fanny Fern argues that Sara Parton and her literary alter ego, Fanny Fern, occupy a star-power position within the antebellum literary marketplace dominated by women authors of sentimental fiction, writers Nathaniel Hawthorne (in)famously called “the damn mob of scribbling women.” The Fanny Fern persona represents a nineteenth-century woman voicing the modern feminine within a laughter-provoking bourgeois carnival, a forerunner of Hélène Cixous’s laughing Medusa figure and her theory about écriture féminine. By advancing an innovative theory about an Anglo-American aesthetic, comic belles lettres, Caron explains the comic nuances of Parton’s persona, capable of both an amiable and a caustic satire. The book traces Parton’s burgeoning celebrity, analyzes her satires on cultural expectations of gendered behavior, and provides a close look at her variegated comic style. The book then makes two first-order conclusions: Parton not only offers a unique profile for antebellum women comic writers, but her Fanny Fern persona also anchors a potential genealogy of women comic writers and activists, down to the present day, who could fit Kate Clinton’s concept of fumerism, a feminist style of humor that fumes, that embraces the comic power of a Medusa satire.
The Rev Edward T. Taylor (1793–1871), better known as Father Taylor, was a former sailor who became a Methodist itinerant preacher in southeastern New England, and then the acclaimed pastor of Boston’s Seamen’s Bethel. Known for his colorful sermons and temperance speeches, Father Taylor was one of the best-known and most popular preachers in Boston during the 1830s–1850s. A proud Methodist, Father Taylor was active within the New England Annual Conference for over fifty years, and there was no corner of New England where he was unknown. His career mirrored the growth of Methodism and the involvement of New England Methodists in the social issues of the time. In Boston, the Seamen’s Bethel was nondenominational, and Unitarians were its primary supporters. Father Taylor was loyal to his benefactors at a time when Unitarianism was controversial. In turn, he was respected and admired by many Unitarians, including Ralph Waldo Emerson. Father Taylor was a sailors’ missionary and reformer, a lively and eloquent preacher, a temperance advocate, an urban minister-at-large, and a champion of religious tolerance. His story is the portrayal of a unique and forceful American character, set against the backdrop of Boston in the age of revival and reform.