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This is the extended and annotated edition including an extensive biographical annotation about the author and his life. When Israel Potter leaves his plough to fight in the American Revolution, he's immediately thrown into the Battle of Bunker Hill, where he receives multiple wounds. However, this does not deter him, and after hearing a rousing speech by General George Washington, he volunteers for further duty, this time at sea, where more ill fortune awaits him. Israel is captured by the British Navy and taken to England. Yet, he makes his escape, and this triggers a series of extraordinary events and meetings with remarkable people. Along the way, Israel encounters King George III, who takes a liking to the Yankee rebel and shelters him in Kew Gardens; Benjamin Franklin, who presses Israel into service as a spy; John Paul Jones, who invites Israel to join his crew aboard The Ranger; and Ethan Allen, whom Israel attempts to free from a British prison. (from wikipedia.com)
Melville's eighth book was begun as a simple rewrite of an obscure little narrative entitled Life and Remarkable Adventures of Israel R. Potter, in which Israel tells the story of his sad fall from Revolutionary hero to London peddler. Following its opening chapter Melville's novel retells that tale, with close adherence to the language and events of the Life, and then, shaking free of the original narrative, alternately moves between invented episodes and historical sources unrelated to the Life. Israel Potter is unique among Melville's books. It is the only one to be offered in the guise of literal biography, the tale presuming to offer an accurate life history of the man Israel Potter who did in fact fight at Bunker Hill. It is also Melville's only historical novel: it presents famous men of the American Revolution - Benjamin Franklin, John Paul Jones, Ethan Allen, and others - in situations that are a matter of historical record.
Alexander Keyssar's study focuses on Melville's treatment of the social and existential condition of the American common man--his inability to realize the happiness promised by the American dream and the impurity of democracy in a society with marked economic classes. The author discusses the literary coherence--thematic rather than narrative--of Melville's work as illustrated by Israel Potter and as representative of the novelist's writing during the 1853-1856 period. He includes a brief analysis of Melville's conception of literary "truth" and a discussion of the peculiar role of comedy in the sad story of Israel Potter. Melville's insights into the political and social flaws of America "contain remarkable relevance for the contemporary reader."
La 4e de couverture indique : "This publication offers a comprehensive corpus of ceramic forms and their typological development organized according to period, geographical region, and cultural tradition. The focus of each chapter is on the most characteristic pottery types and decorative motifs selected from a wide range of sites. Unique in scope, this publication presents a wide range of ceramic types accompanied by specially prepared pottery plates and color photos illustrating thousands of forms. A classic reference work, it serves as an essential resource for archaeologists and other scholars and students of ancient Near Eastern studies."
Nineteenth-century American authors, critics, and readers believed that biography had the power to shape individuals' characters and to help define the nation's identity. In an age predating radio and television, biography was not simply a genre of writing, says Scott Casper; it was the medium that allowed people to learn about public figures and peer into the lives of strangers. In this pioneering study, Casper examines how Americans wrote, published, and read biographies and how their conceptions of the genre changed over the course of a century. Campaign biographies, memoirs of pious women, patriotic narratives of eminent statesmen, "mug books" that collected the lives of ordinary midwestern farmers--all were labeled "biography," however disparate their contents and the contexts of their creation, publication, and dissemination. Analyzing debates over how these diverse biographies should be written and read, Casper reveals larger disputes over the meaning of character, the definition of American history, and the place of American literary practices in a transatlantic world of letters. As much a personal experience as a literary genre, biography helped Americans imagine their own lives as well as the ones about which they wrote and read.
Examines the meaning and possibilities of the present and its relationship to history and historicity in the writings of several familiar figures in antebellum US literary history.
In imagining history, one must inevitably rely on its textual representations, whether fictitious or supposedly “objective”, yet always subject to the constraints and conventions of textuality. Still, it is precisely by exploiting and consciously relying on the textual in the presentation of the past that contemporary authors, including politicians and makers of history, strive to provide it with current significance, emotional impact and universal meaning. The study of such attempts benefits from a variety of perspectives, encompassing not only classical, but also popular texts and media. An interdisciplinary collection of papers devoted to the issues of retelling, rewriting, and representation of the past in fiction and various text-types, this volume juxtaposes modern and post-modern understanding of collective versus personal history. The contributors are scholars specializing in literary studies (e.g. postcolonialism and popular fiction), linguistics (e.g. critical discourse analysis) and cultural studies (e.g. media studies), bringing a wide spectrum of theoretical insights into the field. The collection opens with papers on the general changes in viewing history that have occurred since the 19th century. Further papers discuss postcolonial, feminist and gender-related perspectives on history reflected in postmodern fiction, revealing the power struggle around the depiction of the past. The next part of the volume is devoted to the presentation of historical breakthroughs in political and media discourse. Finally, the collection draws attention to some unorthodox visions of history involving alternative worlds and fantastic elements encountered in the genre of speculative fiction.
Melville: Fashioning in Modernity considers all of the major fiction with a concentration on lesser-known work, and provides a radically fresh approach to Melville, focusing on: clothing as socially symbolic; dress, power and class; the transgressive nature of dress; inappropriate clothing; the meaning of uniform; the multiplicity of identity that dress may represent; anxiety and modernity. The representation of clothing in the fiction is central to some of Melville's major themes; the relation between private and public identity, social inequality and how this is maintained; the relation between power, justice and authority; the relation between the "civilized" and the "savage." Frequently clothing represents the malleability of identity (its possibilities as well as its limitations), represents writing itself, as well as becoming indicative of the crisis of modernity. Clothing also becomes a trope for Melville's representations of authorship and of his own scene of writing. Melville: Fashioning in Modernity also encompasses identity in transition, making use of the examination of modernity by theorists such as Anthony Giddens, as well as on theories of figures such as the dandy. In contextualizing Melville's interest in clothing, a variety of other works and writers is considered; works such as Robinson Crusoe and The Scarlet Letter, and novelists such as Fenimore Cooper, Nathaniel Hawthorne, Henry James, Jack London, and George Orwell. The book has at its core a consideration of the scene of writing and the publishing history of each text.
The confidence-man and alchemy -- Keeping true: Billy Budd, sailor.