Văn bảnTrang WebThis rapid transcon

Văn bảnTrang Web
This rapid transcontinental settlement and these new urban industrial circumstances of the last half of the 19th century were accompanied by the development of a national literature of great abundance and variety. New themes, Line new forms, new subjects, new regions, new authors, new audiences all emerged in the literature of this half century. As a result, at the onset of World War I, the spirit and substance of American literature had evolved remarkably, just as its center of production had shifted from Boston to New York in the late 1880s and the sources of its energy to Chicago and the Midwest. No longer was it produced, at least in its popular forms, in the main by solemn, typically moralistic men from New England and the Old South; no longer were polite, well-dressed, grammatically correct, middle-class young people the only central characters in its narratives; no longer were these narratives to be set in exotic places and remote times; no longer, indeed, were fiction, poetry, drama, and formal history the chief acceptable forms of literary expression; no longer, finally, was literature read primarily by young, middle class women. In sum, American literature in these years fulfilled in considerable measure the condition Walt Whitman called for in 1867 in describing Leaves of Grass: it treats, he said of his own major work, each state and region as peers "and expands from them, and includes the world ... connecting an American citizen with the citizens of all nations." At the same time, these years saw the emergence of what has been designated "the literature of argument," powerful works in sociology, philosophy, psychology, many of them impelled by the spirit of exposure and reform. Just as America learned to play a role in this half century as an autonomous international political, economic, and military power, so did its literature establish itself as a producer of major works.

Hasil (Bahasa Indonesia) 1:

Van bảnTrang WebThis rapid transcontinental settlement and these new urban industrial circumstances of the last half of the 19th century were accompanied by the development of a national literature of great abundance and variety. New themes, Line new forms, new subjects, new regions, new authors, new audiences all emerged in the literature of this half century. As a result, at the onset of World War I, the spirit and substance of American literature had evolved remarkably, just as its center of production had shifted from Boston to New York in the late 1880s and the sources of its energy to Chicago and the Midwest. No longer was it produced, at least in its popular forms, in the main by solemn, typically moralistic men from New England and the Old South; no longer were polite, well-dressed, grammatically correct, middle-class young people the only central characters in its narratives; no longer were these narratives to be set in exotic places and remote times; no longer, indeed, were fiction, poetry, drama, and formal history the chief acceptable forms of literary expression; no longer, finally, was literature read primarily by young, middle class women. In sum, American literature in these years fulfilled in considerable measure the condition Walt Whitman called for in 1867 in describing Leaves of Grass: it treats, he said of his own major work, each state and region as peers "and expands from them, and includes the world ... connecting an American citizen with the citizens of all nations." At the same time, these years saw the emergence of what has been designated "the literature of argument," powerful works in sociology, philosophy, psychology, many of them impelled by the spirit of exposure and reform. Just as America learned to play a role in this half century as an autonomous international political, economic, and military power, so did its literature establish itself as a producer of major works.

Hasil (Bahasa Indonesia) 2:

Văn bảnTrang Web
pemukiman ini benua yang cepat dan situasi yang industri perkotaan baru paruh terakhir abad ke-19 yang disertai dengan pengembangan sastra nasional kelimpahan besar dan berbagai. Tema baru, bentuk-bentuk baru Line, mata pelajaran baru, daerah baru, penulis baru, pemirsa baru semua muncul dalam literatur abad setengah ini. Akibatnya, pada awal Perang Dunia I, semangat dan substansi sastra Amerika telah berkembang sangat, hanya sebagai pusatnya produksi telah bergeser dari Boston ke New York pada 1880-an dan sumber energi untuk Chicago dan Midwest. Tidak lagi apakah itu diproduksi, setidaknya dalam bentuk populer, di utama oleh khusyuk, laki-laki biasanya moralistik dari New England dan Old South; tidak lagi sopan, berpakaian rapi, tata bahasa yang benar, kelas menengah muda-satunya karakter sentral dalam narasi tersebut; tidak lagi berada narasi ini harus ditetapkan di tempat-tempat eksotis dan kali terpencil; tidak lagi, memang, adalah fiksi, puisi, drama, dan sejarah resmi bentuk diterima Kepala ekspresi sastra; tidak lagi, akhirnya, itu sastra dibaca terutama oleh muda, wanita kelas menengah. Singkatnya, sastra Amerika di tahun-tahun ini terpenuhi dalam ukuran yang cukup besar kondisi Walt Whitman menyerukan pada tahun 1867 dalam menggambarkan Daun Rumput: memperlakukan, katanya dari pekerjaan utama sendiri, masing-masing negara dan daerah sebagai teman "dan memperluas dari mereka, dan termasuk dunia ... menghubungkan warga negara Amerika dengan warga semua bangsa. " Pada saat yang sama, tahun ini melihat munculnya apa yang telah ditunjuk "literatur argumen," karya kuat dalam sosiologi, filsafat, psikologi, banyak dari mereka didorong oleh semangat eksposur dan reformasi. Sama seperti Amerika belajar untuk memainkan peran dalam setengah abad ini sebagai kekuatan politik, ekonomi, dan militer internasional otonom, jadi sastra membangun dirinya sebagai penghasil karya besar.