Sienkiewicz's First Translator, Jeremiah Curtin

Slavic Review ◽  
1965 ◽  
Vol 24 (2) ◽  
pp. 189-214 ◽  
Author(s):  
H. B. Segel
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
New York ◽  
The United States ◽  
Polish Literature ◽  
American Theater ◽  
The Subject ◽  
Quo Vadis

Let Peary seek his Arctic goal;His countrymen prefer a PoleLess brumal and uncertain;And Roe and Howells the prolixMust bow to Henry Sienkiewicz,Democratized by Curtin.Anonymous, "Columbus Sienkiewicz,"The Outlook, New York,March 12, 1898The subject of Henryk Sienkiewicz and America is hardly exhausted with the acknowledgment of the enormous popularity of Quo Vadis in the United States. Sienkiewicz himself visited America in 1876, in fact traveled extensively through the country and recorded his impressions at some length in his Listy z Ameryki (Letters from America), a large part of which was translated into English and published in 1959. Sienkiewicz's relations with Helena Modrzejewska (Modjeska) and her debut in the American theater at the time of his visit add to the interest of his sojourn in the United States. Another phase of Sienkiewicz's relations with this country embraces the fascinating career of his American translator, Jeremiah Curtin, whose name remains as intimately linked with translations from Polish literature, particularly the works of Sienkiewicz, as Constance Garnett's has been with English renditions of the Russian masters of the nineteenth century.

scholarly journals Collections, Compilations, and Convolutes of Medieval and Renaissance Manuscript Fragments in North America before ca. 1900

Fragmentology ◽  
10.24446/dlll ◽  
2020 ◽  
pp. 73-139
Author(s):  
Scott Gwara
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
New York ◽  
North America ◽  
The United States ◽  
New York University ◽  
Historical Society ◽  
Cornell University ◽  
Private Collections ◽  
Public Exhibition

Using evidence drawn from S. de Ricci and W. J. Wilson’s Census of Medieval and Renaissance Manuscripts in the United States and Canada, American auction records, private library catalogues, public exhibition catalogues, and manuscript fragments surviving in American institutional libraries, this article documents nineteenth-century collections of medieval and Renaissance manuscript fragments in North America before ca. 1900. Surprisingly few fragments can be identified, and most of the private collections have disappeared. The manuscript constituents are found in multiple private libraries, two universities (New York University and Cornell University), and one Learned Society (Massachusetts Historical Society). The fragment collections reflect the collecting genres documented in England in the same period, including albums of discrete fragments, grangerized books, and individual miniatures or “cuttings” (sometimes framed). A distinction is drawn between undecorated text fragments and illuminated ones, explained by aesthetic and scholarly collecting motivations. An interest in text fragments, often from binding waste, can be documented from the 1880s.

‘To really trust [...] we had to be open with ourselves and each other’: Community building through Spring Awakening

2020 ◽  
Vol 14 (1) ◽  
pp. 95-111
Author(s):  
Julie K. Hagen ◽  
Jennifer Thomas
Keyword(s):  
United States ◽  
New York ◽  
Focus Group ◽  
Community Building ◽  
The United States ◽  
Musical Theatre ◽  
Ethnographic Study ◽  
Spring Awakening ◽  
Narrative Ethnography ◽  
The Subject

The purpose of this ethnographic study was to better understand how participation in St. Lawrence University’s (New York, the United States) production of Spring Awakening served as a means of intimate and broader community building. This narrative ethnography investigated the director and a focus group of actors involved in the production of Spring Awakening. Analyses of the data revealed four themes: content, interconnectedness, emotion and vulnerability and magic. St. Lawrence University students welcomed and embraced the language, the music and the subject matter presented to them in the content of Spring Awakening. The willingness with which the students opened up to conversation and community continued to resonate with them in an interconnectedness that seemingly had more depth and more meaning than other productions they have worked on, including other musical theatre productions.

Introduction: Immigration and Incorporation

1997 ◽  
Vol 40 (3) ◽  
pp. 333-338 ◽  
Author(s):  
Rubén G. Rumbaut
Keyword(s):  
United States ◽  
New York ◽  
Los Angeles ◽  
Race And Ethnicity ◽  
The United States ◽  
The Past ◽  
Immigrant Settlement ◽  
Wide Range ◽  
The Subject ◽  
American Society

In at least one sense the “American century” is ending much as it had begun: the United States has again become a nation of immigrants, and it is again being transformed in the process. But the diversity of the “new immigration” to the United States over the past three decades differs in many respects from that of the last period of mass immigration in the first three decades of the century. The immigrants themselves differ greatly in their social class and national origins, and so does the American society, polity, and economy that receives them—raising questions about their modes of incorporation, and challenging conventional accounts of assimilation processes that were framed during that previous epoch. The dynamics and future course of their adaptation are open empirical questions—as well as major questions for public policy, since the outcome will shape the future contours of American society. Indeed, as the United States undergoes its most profound demographic transformation in a century; as inexorable processes of globalization, especially international migrations from Asia, Africa, and the Americas, diversify still further the polyethnic composition of its population; and as issues of immigration, race and ethnicity become the subject of heated public debate, the question of incorporation, and its serious study, becomes all the more exigent. The essays in this special issue of Sociological Perspectives tackle that subject from a variety of analytical vantages and innovative approaches, covering a wide range of groups in major areas of immigrant settlement. Several of the papers focus specifically on Los Angeles and New York City, where, remarkably, fully a quarter of the total U.S. immigrant population resides.

The Changing Role of Foreign Money in the United States, 1782–1857

1977 ◽  
Vol 37 (4) ◽  
pp. 1009-1027 ◽  
Author(s):  
David A. Martin
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
New York ◽  
The United States ◽  
National Currency ◽  
Legal Tender ◽  
Silver Standard ◽  
Changing Role ◽  
The U.S

Foreign money remained in widespread use in the United States until the middle of the nineteenth century. Several foreign coins were provided legal tender status in order to supplement the scanty American specie supply. A particular disadvantage was the perpetuation of non-decimal units of account, especially in New York. When the U.S. enacted a subsidiary silver standard in 1853, the expedient bases for the lawful status of foreign coin was removed. In 1857, the United States coinage was finally reformed to secure an exclusive national currency.

The Comic Grotesque

2020 ◽  
pp. 29-66
Author(s):  
Jean Lee Cole
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
New York ◽  
Social Order ◽  
The United States ◽  
Comic Strip ◽  
Melting Pot ◽  
Logical Basis ◽  
Ethnic Populations ◽  
The Social

A particularly grotesque form of the comic sensibility emerged in the closing years of the nineteenth century in the works of George Luks. Luks was called on to take over Richard Outcault’s phenomenally popular Yellow Kid comic strip at Joseph Pulitzer’s New York World in 1896; he soon made the Yellow Kid his own. As Outcault’s duplicate or twin, Luks capitalized on the grotesque potential of twinning, doubling, and replication to question the social order from below, laying bare—and then savagely mocking—fears of the rapidly growing immigrant and ethnic populations in the United States. In subsequent strips, including The Little Nippers and Mose’s Incubator, his representations of polyglot America become positively fantastical, even monstrous, reflecting the interchangeability and reproducibility of ethnic identity that formed the logical basis of the “melting pot.”

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