It is a war novel by American author Stephen Crane (1871–1900). Taking place during the American Civil War, the story is about a young private of the Union Army, Henry Fleming, who flees from the field of battle. Overcome with shame, he longs for a wound, a "red badge of courage," to counteract his cowardice. When his regiment once again faces the enemy, Henry acts as standard-bearer, who carries a flag.
ellauri144.html on line 541: The Red Badge of Courage garnered widespread acclaim, what H. G. Wells called "an orgy of praise" shortly after its publication, making Crane an instant celebrity at the age of twenty-four. The novel and its author did have their initial detractors, however, including author and veteran Ambrose Bierce. Adapted several times for the screen, the novel became a bestseller. It has never been out of print and is now thought to be Crane´s most important work and a major American text.
ellauri144.html on line 542: Bierce oli toinen sotakirjailija mutta oli sentään ollut sodassa. His war stories influenced Stephen Crane, Ernest Hemingway, and others, and he was considered an influential and feared literary critic.
ellauri144.html on line 546: A prolific and versatile writer, Bierce was regarded as one of the most influential journalists in the United States, and as a pioneering writer of realist fiction. For his horror writing, Michael Dirda ranked him alongside Edgar Allan Poe and H. P. Lovecraft. S. T. Joshi speculates that he may well be the greatest satirist America has ever produced, and in this regard can take his place with such figures as Juvenal, Swift, and Voltaire. His war stories influenced Stephen Crane, Ernest Hemingway, and others, and he was considered an influential and feared literary critic. In recent decades Bierce has gained wider respect as a fabulist and for his poetry.
ellauri198.html on line 141: Harold Bloom observed in the New Leader, “Warren alone among living writers ranks with the foremost American poets of the century: Frost, Stevens, Hart Crane, Williams, Pound, Eliot. ...
ellauri214.html on line 263: P.P.S. Joku David Crane muikeilee rasvasta kiiltävä rapuliina kaulassa: aion syyttää Putinia sotarikoxesta. Tosin niihin on syyllistyneet vähävenäläisetkin mutta niitä ei lasketa. Olen kaatanut 1 presidentin, voin tehdä sen toistekin. Kyseessä oli Liberian presidentti, musta mies jolla oli joxeenkin pienet liperit. In 2017, Crane founded the Global Accountability Network to investigate international crimes in Syria, Yemen, Venezuela, and China. In 2022, his organization published a white paper titled "Russian War Crimes Against Ukraine: The Breach of International Humanitarian Law By The Russian Federation". Mustaa valkoisella. Heppu oli US Armyn rullissa 20v uran alussa. Ezellasta.
ellauri219.html on line 116: Stephen Crane (writer) – barely visible between Issy Bonn's head and raised arm
ellauri219.html on line 421: 46: Stephen Crane
ellauri219.html on line 424: Barely visible tucked in between the head and raised arm of Issy Bonn (No.47), Stephen Crane was a Realist novelist who, though dying aged 28, in 1900, is regarded as one of the most forward-thinking writers of his generation. His work incorporated everyday speech, which gave his characters an added realism, and his novels took an unflinching look at poverty.
ellauri238.html on line 77: Pena Saarikoski on kiven alla Uudessa Valamossa, sitä se yxikin obskyyri kynäilijäbändäri kävi öisin pussaamassa. Hizi kun en muista nimeä. Tero Liukkonen. On se kumma minkäläinen idoli tehtiin tästäkin juoppolallista. Mutta juoppolallejahan on monissa maissa olleet parhaat runoilijat: Li Bai, Du Fu, Anakreon, Omar Khaijam, Baudelaire, Hart Crane, Eikka Leikka, Ismo Alanko, vaikka kuinka monta muuta. Joutilaisuus tekee mestarin myös pullonkallistelussa. Pullot kalisevat, kallot pulisevat. Kaarlo Kramsu ei ollut ainoastaan juoppo, vaan myös kuppanen ja hullu. Non solum sed etiam. Hullujakin runoilijoita ym. kynäilijöitä lienee kokonainen leegio, viinahuuruisia tai muuten vaan hourulaisia. Alexis Kivi, siinä kanssa 1. Hänen loppunsa oli hyvin surkea, kuten varotteli Simo Saarikoski Pentille.
ellauri263.html on line 643: Vuonna 1880 Charles Bradlaugh valittiin Northamptonin parlamentin edustajaksi, mutta koska ei ollut kristitty, hän kieltäytyi vannomasta perinteisen kaavan mukaista uskollisuudenvalaa, ja häntä estettiin sen vuoksi ottamasta paikkaansa vastaan. Samaan aikaan Besant työskenteli yhä Bradlaughin kanssa, mutta tutustui myös tunnettuihin sosialisteihin kuten George Bernard Shaw, Walter Crane ja Edward Aveling.
ellauri331.html on line 359: Vuonna 2004 sanomalehti julkaisi seitsemän kolumnisti Georgi Rozhnovin artikkelia, joissa Sergei Kirijenkoa syytettiin 4,8 miljardin Yhdysvaltain dollarin Kansainvälisen valuuttarahaston varojen kavalluksesta vuonna 1998, kun hän oli Venäjän pääministeri. Sanomalehti perustui syytöksensä kirjeeseen, jonka väitettiin kirjoittaneen Colin Powellille ja jonka allekirjoittivat Yhdysvaltain kongressiedustajat Philip Crane, Mike Pence, Charlie Norwood, Dan Burton ja Henry Bonilla ja joka julkaistiin American Defense Councilin verkkosivuilla. Sanomalehti väitti, että Kirijenko oli käyttänyt osan kavaltaetuista varoista ostaakseen kiinteistöjä Yhdysvalloista. Myöhemmin paljastettiin, että kirje oli The eXilen keksimä kepponen. Läppä läppä! Naura sinäkin! Vastauksena Kirijenko haastoi Novaja Gazetan ja Rožnovin oikeuteen kunnianloukkauksesta, ja antamassaan tuomion Kirijenkon hyväksi tuomioistuin määräsi Novaja Gazetan peruuttamaan kaikki syytöksiin liittyvät julkaisut ja sanoi, että sanomalehti "on velvollinen julkaisemaan vain virallisesti todistettu tieto, joka yhdistää herra Kirijenkon kavallukseen."
ellauri378.html on line 177: Журавли lyrics Cranes sanoitukset
xxx/ellauri075.html on line 523: Stephen Crane: Maggie katujen tyttö
xxx/ellauri075.html on line 525: Stephen Crane (1. marraskuuta 1871 – 5. kesäkuuta 1900) oli yhdysvaltalainen kirjailija. Lyhyen elämänsä aikana hän loi monipuolisen kirjallisen tuotannon, johon kuuluu romaaneja, runoja, novelleja ja lehtikirjoituksia.
xxx/ellauri075.html on line 526: Cranen kaunokirjalliset teokset edustivat realismia ja varhaista yhdysvaltalaista naturalismia sekä impressionismia. Häntä pidetään nykyisin yhtenä sukupolvensa innovatiivisimmista kirjailijoista. Lisäksi Stephen Crane voidaan sanoa olevan yksi harvoista vakavasti otettavista villiä länttä kuvanneista kirjailijoista. Cranen teksteissä yhdistyvät realistinen kuvaus, korkeakieliset ilmaisut, tavallinen puhekieli ja liioittelevat kielikuvat.
xxx/ellauri075.html on line 530: Tämä oli Cranen esikoiskirja ja nauttii arvoa varhaisena amerikkalaisen naturalismin edustajana, jossa otetaan voimakkaasti kantaa kasvuolosuhteiden vaikutukseen mahdollisuuksiin elämässä, siis vastoin perinteistä amerikkalaista unelmaa että kenestä tahansa voi tulla mitä tahansa. Ja vaikka realismissa pysytäänkin niin vedetään myös vähän melodraaman puolelle, mikä sinänsä sopii hyvin (melodraamat kun olivat aikakauden alaluokkaisten kaupunkilaisten hupina ja sellaista katsellaan kirjassakin), ja paisuttelulla saadaankin hyvin tunnetiloja esiin lukijasta, harvassa taitavat olla niin kyyniset lukijat että kirjan esitetyt epäoikeudenmukaisuudet eivät edes vähän nostata tunteita.
xxx/ellauri075.html on line 532: Tosiasiahan kuitenkin on että siinä missä kirjoitusajankohtanaan tämä epäilemättä oli radikaalia uutta (Crane ei alunperin löytänyt kustantajaa näin rajulle kirjalle joten julkaisi ensimmäisen version itse, tämä käännös ilmeisesti perustuu Red Badge of Couragen suosion jälkeen julkaistuun versioon), niin muu kirjallisuus on ottanut tätä aika haipakkaa kiinni. Ja minä kun en edes ole niin innostunut naturalismista, vaikka onkin todettava että jos jotain sen tyylilajin kirjaa pitäisi lukea niin tämä on reippaasti etenevänä pienoisromaanina varsin hyvä valinta...
xxx/ellauri186.html on line 289: Lowell was a conscientious objector during World War II and served several months at the federal prison in Danbury, Connecticut. He explained his decision not to serve in World War II in a letter addressed to President Franklin Roosevelt on September 7, 1943, stating, "Dear Mr President: I very much regret that I must refuse the opportunity you offer me in your communication of August 6, 1943 for service in the Armed Force." He explained that after the bombing at Pearl Harbor, he was prepared to fight in the war until he read about the American terms of unconditional surrender that he feared would lead to the "permanent destruction of Germany and Japan." Well as it turned out it wasn't as bad as that, but countless beautiful places were bombed beyond recognition. Lowell kept his Tolstoyan stance consistently in the subsequent wars as well. Even evil people have exceptional sane moments. Lowell thought he was Hart Crane reincarnate.
xxx/ellauri225.html on line 73: Apteekin seinällä seisoo kuvakkeilla "huomattava huippu huopahattu, kazoa alas lähteä nousemaan, 2 2naisuus kupeet lanteet liittyä erottaa". Sisään ulos sisään ulos. Hyvää sexiä! Smutty tavaa seinältä: "Tummassa pilvessä laskeutuu taivaalta haarautunut 2haarainen." "- Ah juu niin kylläkin mutta ei ääneen pliis! 2haarainen salamapuu kasvaa maasta", apteekkari posmittaa. Oliko apteekkarin lahja palkinto vai lahjus, vaikea sanoa, ainakin näin jenkkikontextissa. Paha professori oli kätkenyt runkkulehden vuoteensa alle. Mitä sexiin tulee virallisen Akaan parit ovat heteronormaaleja. Täällä ei Elliot tai Crane kauan juhlisi.
xxx/ellauri225.html on line 114: Aineellisen vaurauden ja hengellisen kuivumisen aikakaudella kirjoitettiin kauniita runoja Tekemisestä ja Tehdystä ("tehty mikä tehty / joskus mä teen toisinaan ja sitten taas en") ja vaikeita metafyysisiä runoja kuten Hart Cranella miten 2sta tulee 1 ja 1stä vahingossa 2 (no mitä vaikeaa siinä muka on, huis hais keskijalka sinne ja se on siinä eikä anopin siinä).
xxx/ellauri225.html on line 349: Bloom was born in 1930 to a poor Orthodox Jewish household in the East Bronx, one of five children. He lost faith early in the Jewish God when he accidentally stumbled on the poetry of Hart Crane. He fell in love with Crane’s enthusiasm for life, his belief in the possibility of ecstatic pleasure, and his overall exuberance. This was in stark contrast to Bloom’s childhood, which he confesses was a lonely time.
xxx/ellauri225.html on line 380: I also wonder whether Bloom would relinquish his status as an intellectual of the highest order to feel for one day the exuberance and passion of Hart Crane. Stick his doubly branching tree into some applejack and squirt it out. What would he be willing to let go of to actually feel intimately the joy and euphoria that so seduces him in his imagination? Asks Elaine Margolin / TruthDig Contributor.
xxx/ellauri225.html on line 382: Crane Hart">Harold 'Hart' Crane (21. heinäkuuta 1899 – 27. huhtikuuta 1932) oli yhdysvaltalainen runoilija. Hän kirjoitti modernistista tai romanttista, vaikeaa ja huoliteltua runoutta. Esimerkiksi kriitikko Harold Bloom on nimennyt hänet ”henkilökohtaiseksi suosikkirunoilijakseen”.
xxx/ellauri225.html on line 384: Provoked and inspired by T. S. Eliot, Crane wrote modernist poetry that was difficult, highly stylized, and ambitious in its scope. In his most ambitious work, The Bridge, Crane sought to write an epic poem, in the vein of The Waste Land, that expressed a more optimistic view of modern, urban culture than the one that he found in Eliot´s work. But he FAILED! In the years following his suicide at the age of 32, Crane has been hailed by playwrights, poets, and literary critics alike (including Robert Lowell, Derek Walcott, Tennessee Williams, and Harold Bloom), as being one of the most influential poets of his generation.
xxx/ellauri225.html on line 386: Crane was born in Garrettsville, Ohio, the son of Clarence A. Crane and Grace Edna Hart. His father was a successful Ohio businessman who invented the Life Savers candy and held the patent, but sold it for $2,900 before the brand became popular. Bugger it. Too late to save the life of the hart. He made other candy and accumulated a fortune from the candy business with chocolate bars.
xxx/ellauri225.html on line 388: Crane´s mother and father were constantly fighting, and they divorced early in April 1917. Crane dropped out of East High School in Cleveland during his junior year and left for New York City, promising his parents he would attend Columbia University later. His parents, in the middle of their divorce proceedings, were upset. Crane took various copywriting jobs and moved between friends´ apartments in Manhattan. Between 1917 and 1924 he moved back and forth between New York and Cleveland, working as an advertising copywriter and a worker in his father´s factory. From Crane´s letters, it appears that New York was where he felt most at home, and much of his poetry is set there.
xxx/ellauri225.html on line 390: Throughout the early 1920s, small but well-respected literary magazines published some of Crane's poems, gaining him among the avant-garde a respect that White Buildings (1926), his first volume, ratified and strengthened. White Buildings contains many of Crane's best poems, including "For the Marriage of Faustus and Helen", and "Voyages", a sequence of erotic poems. They were written while he was falling in love with Emil Opffer, a Danish merchant mariner. What ho, he was a homophile, like his heroes Wilt Whatman and T.S. Eliot.
xxx/ellauri225.html on line 392: "Faustus and Helen" was part of a larger artistic struggle to meet modernity with something more than despair. Crane identified T. S. Eliot with that kind of despair, and while he acknowledged the greatness of The Waste Land, he also said it was "so damned dead", an impasse, and characterized by a refusal to see "certain spiritual events and possibilities" Crane´s self-appointed work would be to bring those spiritual events and possibilities to poetic life, and so create "a mystical synthesis of America". But he FAILED!
xxx/ellauri225.html on line 394: Crane returned to New York in 1928, living with friends and taking temporary jobs as a copywriter, or living off unemployment and the charity of friends and his father. For a time he lived in Brooklyn at 77 Willow Street until his lover, Opffer, invited him to live in Opffer´s father´s home at 110 Columbia Heights in Brooklyn Heights. Crane was overjoyed at the views the location afforded him. He wrote his mother and grandmother in the spring of 1924:
xxx/ellauri225.html on line 402: Crane found a place to start his synthesis in Brooklyn. Arts patron Otto H. Kahn gave him $2,000 to begin work on the epic poem. When he wore out his welcome at the Opffers´, Crane left for Paris in early 1929, but failed to leave his personal problems behind. His drinking, always a problem, became notably worse during the late 1920s, while he was finishing The Bridge. Loppuajat se vietti pääasiassa sillan alla.
xxx/ellauri225.html on line 404: In Paris in February 1929, Harry Crosby, who with his wife Caresse Crosby owned the fine arts press Black Sun Press, offered Crane the use of their country retreat, Le Moulin du Soleil in Ermenonville. They hoped he could use the time to concentrate on completing The Bridge. Crane spent several weeks at their estate where he roughed out a draft of the "Cape Hatteras" section, a key part of his epic poem. In late June that year, Crane returned from the south of France to Paris. Crosby noted in his journal, "Hart C. back from Marseilles where he slept with his thirty sailors and he began again to drink Cutty Sark." Crane got drunk at the Cafe Select and fought with waiters over his tab. When the Paris police were called, he fought with them and was beaten. They arrested and jailed him, fining him 800 francs. After Hart had spent six days in prison at La Santé, Crosby paid Crane´s fine and advanced him money for the passage back to the United States, where he finally finished The Bridge. The work received poor reviews, and Crane´s sense of failure became crushing. He had completely and irrevocably FAILED!
xxx/ellauri225.html on line 406: Crane visited Mexico in 1931–32 on a Guggenheim Fellowship (Sillä oli Guggenheim, kuten sillä etovalla perhostennappaajalla Yellowstonessa. Inkkarit luulivat sitä varmaan joxikin sukupuolitaudixi), and his drinking continued as he suffered from bouts of alternating depression and elation. When Peggy Cowley, wife of his friend Malcolm Cowley, agreed to a divorce, she joined Crane. As far as is known, she was his only heterosexual partner. "The Broken Tower", one of his last published poems, emerged from that affair. Crane still felt himself a failure, in part because he recommenced his homosexual activities in spite of his relationship with Cowley.
xxx/ellauri225.html on line 408: While en route to New York aboard the steamship Orizaba, he was beaten up after making sexual advances to a male crew member. Just before noon on April 27, 1932, Crane jumped overboard into the Gulf of Mexico. Although he had been drinking heavily and left no suicide note, witnesses believed his intentions to be suicidal, as several reported that he exclaimed "Goodbye, everybody!" before throwing himself overboard. His body was never recovered. A marker in the form of a lifesaver candy on his father´s tombstone at Park Cemetery outside Garrettsville, Portage County, Ohio includes the inscription, "Harold Hart Crane 1899–1932 lost completely at sea". Ai Hart olikin oikeasti Harold, niinkuin bändärinsä Bloom. Childe Haroldeja olisivat halunneet olla kumpikin. But they FAILED!
xxx/ellauri225.html on line 410: Crane´s critical effort, like those of Keats and Rilke, is mostly to be found in his letters: he corresponded regularly with Allen Tate, Yvor Winters, and Gorham Munson, and shared critical dialogues with Eugene O´Neill, William Carlos Williams, E. E. Cummings, Sherwood Anderson, Kenneth Burke, Waldo Frank, Harriet Monroe, Marianne Moore, and Gertrude Stein. He was also an acquaintance of H. P. Lovecraft, who eventually would voice concern over Crane´s premature aging due to alcohol abuse. Most serious work on Crane begins with his letters, selections of which are available in many editions of his poetry; his letters to Munson, Tate, Winters, and his patron, Otto Hermann Kahn, are particularly insightful. His two most famous stylistic defenses emerged from correspondences: his "General Aims and Theories" (1925) was written to urge Eugene O´Neill´s critical foreword to White Buildings, then passed around among friends, yet unpublished during Crane´s life; and the famous "Letter to Harriet Monroe" (1926) was part of an exchange for the publication of "At Melville´s Tomb" in Poetry. The literary critic Adam Kirsch has argued that "Crane has been a special case in the canon of American modernism, because his reputation was never quite as secure as that of Eliot or Stevens. In fact he FAILED."
xxx/ellauri225.html on line 412: Ongelmaxi muodostui ettei Kraanan runoissa ollut päätä eikä häntääkään. Even a young Tennessee Williams, then falling in love with Crane´s poetry, could "hardly understand a single line—of course the individual lines aren't supposed to be intelligible. The message, if there actually is one, comes from the total effect."
xxx/ellauri225.html on line 416: Recent criticism has suggested reading Crane´s poems—"The Broken Tower", "My Grandmother´s Love Letters", the "Voyages" series, and others—with an eye to homosexual meanings in the text. Queer theorist Tim Dean argues, for instance, that the obscurity of Crane´s style owes partially to the necessities of being a semi-public homosexual—not quite closeted, but also, as legally and culturally necessary, not open: "The intensity responsible for Crane´s particular form of difficulty involves not only linguistic considerations but also culturally subjective concerns. This intensity produces a kind of privacy that is comprehensible in terms of the cultural construction of homosexuality and its attendant institutions of privacy."
xxx/ellauri225.html on line 418: Thomas Yingling objects to the traditional, New Critical and Eliotic readings of Crane, arguing that the "American myth criticism and formalist readings" have "depolarized and normalized our reading of American poetry, making any homosexual readings seem perverse." Thomas E. Yingling was associate professor of English at Syracuse University until his death from AIDS-related causes in 1992. Even more than a personal or political problem, though, Yingling argues that such "biases" obscure much of what the poems make clear; he cites, for instance, the last lines of "My Grandmother´s Love Letters" from White Buildings as a haunting description of estrangement from the norms of (heterosexual) family life:
xxx/ellauri225.html on line 425: Brian Reed has contributed to a project of critical reintegration of queer criticism with other critical methods, suggesting that an overemphasis on the sexual biography of Crane´s poetry can skew a broader appreciation of his overall work. In one example of Reed´s approach, he published a close reading of Crane´s lyric poem, "Voyages", (a love poem that Crane wrote for his lover Emil Opffer) on the Poetry Foundation website, analyzing the poem based strictly on the content of the text itself and not on outside political or cultural matters. We can faintly hear Harold Bloom clap his hands in the body bag.
xxx/ellauri225.html on line 427: Crane was admired by artists including Allen Tate, Eugene O´Neill, Kenneth Burke, Edmund Wilson, E. E. Cummings and William Carlos Williams. Although Hart had his sharp critics, among them Marianne Moore and Ezra Pound, Moore did publish his work, as did T. S. Eliot, who, moving even further out of Pound´s sphere, may have borrowed some of Crane´s imagery for Four Quartets, in the beginning of East Coker, which is reminiscent of the final section of "The River", from The Bridge.
xxx/ellauri225.html on line 429: Important mid-century American poets, such as John Berryman and Robert Lowell, cited Crane as a significant influence. Both poets also wrote about Crane in their poetry. Berryman wrote him one of his famous elegies in The Dream Songs, and Lowell published his "Words for Hart Crane" in Life Studies (1959): "Who asks for me, the Shelley of my age, / must lay his heart out for my bed and board." Lowell thought that Crane was the most important American poet of the generation to come of age in the 1920s, stating that "[Crane] got out more than anybody else ... he somehow got New York City (though an Ohio hick); he was at the center of things in the way that no other poet was." Lowell also described Crane as being "less limited than any other poet of his generation." Talk to the hand, they were both abysmal FAILURES!
xxx/ellauri319.html on line 343: Stephen Crane
43