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Energetic, shrewd, and charming, Herman B Wells was the driving force behind the transformation of Indiana University—which became a model for American public higher education in the 20th century. A person of unusual sensitivity and a skilled and empathetic communicator, his character and vision shaped the structure, ethos, and spirit of the institution in countless ways. Wells articulated a persuasive vision of the place of the university in the modern world. Under his leadership, Indiana University would grow in size and stature, establishing strong connections to the state, the nation, and the world. His dedication to the arts, to academic freedom, and to international education remained hallmarks of his 63-year tenure as President and University Chancellor. Wells lavished particular attention on the flagship campus at Bloomington, expanding its footprint tenfold in size and maintaining its woodland landscape as new buildings and facilities were constructed. Gracefully aging in place, he became a beloved paterfamilias to the IU clan. Wells built an institution, and, in the process, became one himself.
In this book, Paula Backscheider considers Daniel Defoe's entire canon as related, developing, and in close dynamic relationship to the literature of its time. In so doing, she revises our conception of the contexts of Defoe's work and reassesses his achievement and contribution as a writer. By restoring a literary context for modern criticism, Backscheider argues the intensity and integrity of Defoe's artistic ambitions, demonstrating that everything he wrote rests solidly upon extensive reading of books published in England, his understanding of the reading tastes of his contemporaries, and his engagement with the issues and events of his time. Defoe, the dedicated professional writer and innovator, emerges with a new wholeness, and certain of his novels assume new significance. Defoe's literary status continues to be debated and misunderstood. Even critical studies of the novel often begin with Richardson rather than Defoe. By moving from Defoe's poetry, pamphlets, and histories to the novels, Backscheider offers an argument for the thematic and stylistic coherency of his oeuvre and for a recognition of the dominant place he held in shaping the English novel. For example, Defoe deserves to be recognized as the true originator of the historical novel, for three of his fictions are deeply engaged with just those conceptual and technical issues common to all later historical fiction. And Roxana now appears as Defoe's deliberate attempt to enter the fastest growing market for fiction—that for women readers. What have been powerfully significant for the history of the novel, then, are the very characteristics of his writing that have been held against his literary stature: its contemporaneity, its mixed and untidy form, its formal realism, its concentration on the life of an individual, and its probing of the individual's psychological interaction with the empirical world, making that world representative even as it is referential. It is exactly these characteristics most original, prominent, and subsequently imitated in Defoe's fiction that define the form we call "novel."
Includes Part 1A: Books, Part 1B: Pamphlets, Serials and Contributions to Periodicals and Part 2: Periodicals. (Part 2: Periodicals incorporates Part 2, Volume 41, 1946, New Series)
June and Dec. issues contain listings of periodicals.