Leslie Elizabeth Eckel
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780748669370
- eISBN:
- 9780748684427
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748669370.003.0006
- Subject:
- Literature, American, 19th Century Literature
Sara Jane Clarke Lippincott, writing under the name ‘Grace Greenwood,’ challenged the domestic literary agenda of American publishers in the 1850s by drawing on her European experiences in a popular ...
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Sara Jane Clarke Lippincott, writing under the name ‘Grace Greenwood,’ challenged the domestic literary agenda of American publishers in the 1850s by drawing on her European experiences in a popular series of periodical and book publications. This now critically neglected friend and literary rival of Nathaniel Hawthorne’s once shocked him with her success, leading him to equate female ambition such as hers with prostitution, the world’s oldest profession. In her travel writing, Greenwood dealt in comic stereotypes rather than in the moral and philosophical exchanges that vitally engaged her peers. As the founding editor of The Little Pilgrim, a magazine for children, and the creator of a ‘juvenile public’ sphere, she displayed a fervent faith in both the educational value and the commercial power of transatlantic experience.Less
Sara Jane Clarke Lippincott, writing under the name ‘Grace Greenwood,’ challenged the domestic literary agenda of American publishers in the 1850s by drawing on her European experiences in a popular series of periodical and book publications. This now critically neglected friend and literary rival of Nathaniel Hawthorne’s once shocked him with her success, leading him to equate female ambition such as hers with prostitution, the world’s oldest profession. In her travel writing, Greenwood dealt in comic stereotypes rather than in the moral and philosophical exchanges that vitally engaged her peers. As the founding editor of The Little Pilgrim, a magazine for children, and the creator of a ‘juvenile public’ sphere, she displayed a fervent faith in both the educational value and the commercial power of transatlantic experience.
Stephanie J. Smith
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9781469635682
- eISBN:
- 9781469635699
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469635682.003.0006
- Subject:
- History, Latin American History
The significance of chapter 5 is threefold: (1) to analyze the interactions of Mexico’s printmakers, including those belonging to Liga de Escritores y Artistas Revolucionarios, or the League of ...
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The significance of chapter 5 is threefold: (1) to analyze the interactions of Mexico’s printmakers, including those belonging to Liga de Escritores y Artistas Revolucionarios, or the League of Revolutionary Writers and Artists (LEAR), and the Taller de Gráfica Popular, or the Popular Graphic Art Workshop (TGP), with state officials; (2) to situate Mexico as a vital space within the international struggle against the spread of fascism; and (3) to understand better the transnational influence on culture and politics during Mexico’s postrevolutionary period. Artists associated with Mexico’s Communist Party played key roles in the formation and everyday affairs of the LEAR and TGP, and the alliances between the PCM and the two artists’ groups remained strong. Although tensions eventually developed between individual TGP printmakers and the PCM, the distinctive union of politics and art resulted in the creation of two of Mexico’s most significant creative movements of the twentieth century.Less
The significance of chapter 5 is threefold: (1) to analyze the interactions of Mexico’s printmakers, including those belonging to Liga de Escritores y Artistas Revolucionarios, or the League of Revolutionary Writers and Artists (LEAR), and the Taller de Gráfica Popular, or the Popular Graphic Art Workshop (TGP), with state officials; (2) to situate Mexico as a vital space within the international struggle against the spread of fascism; and (3) to understand better the transnational influence on culture and politics during Mexico’s postrevolutionary period. Artists associated with Mexico’s Communist Party played key roles in the formation and everyday affairs of the LEAR and TGP, and the alliances between the PCM and the two artists’ groups remained strong. Although tensions eventually developed between individual TGP printmakers and the PCM, the distinctive union of politics and art resulted in the creation of two of Mexico’s most significant creative movements of the twentieth century.
