New York Characters

Characters are central to our experiences of screened fictions and invite a host of questions. The contributors to Screening Characters draw on archival material, interviews, philosophical inquiry, and conceptual analysis in order to give new, thought-provoking answers to these queries. Providing multifaceted accounts of the nature of screen characters, contributions are organized around a series of important subjects, including issues of class, race, ethics, and generic types as they are encountered in moving image media. These topics, in turn, are personified by such memorable figures as Cary Grant, Jon Hamm, Audrey Hepburn, and Seul-gi Kim, in addition to avatars, online personalities, animated characters, and the ensembles of shows such as The Sopranos, Mad Men, and Breaking Bad.

Herbert Asbury presents here a vivid and startling account of New York gangdom from its beginning in Revolutionary times to comparatively recent days. Here are the stories of the great gangs which terrorized the city and at times menaced its very existence—from the Bowery Boys and the Dead Rabbits to the Gophers and the Eastmans. Kid Dropper, Dopey Benny, Gyp the Blood and Owney Madden are a few of the gangster luminaries described, not to mention such female evildoers as Gallus Mag and Sadie the Goat. Nor have the underworld’s lesser lights been overlooked; for these pages are crowded with a host of gang warriors, pickpockets, tong leaders, murderers, politicians, gamblers, prostitutes, dive-keepers and a few would-be reformers. Mr. Asbury has created such a rich, factual background for this chronicle of crime and gangsterism that the book gains considerable stature as a revealing picture of New York City’s history through a century of frenzied growth and expansion. Whether you read it as such or merely for amusement, it is a swift, exciting experience.

In 10 essays from previously published articles, the author presents miniature portraits of George Washington, John Adams, Thomas Jefferson, James Madison, Thomas Paine, and others known as the founding fathers.

Records of meetings 1808-1916 in v. 11-27.

How was modern character made or remade at the turn of the twentieth century? Modern Character: 1888-1905 considers a range of literary and dramatic texts, showcasing the extraordinary efforts of various writers to rethink and reinvent 'human character' during this period. Arguing that many of the most significant breakthroughs happened in the small theatres of Europe in the 1890s, the book's first section demonstrates how the countervailing currents of Naturalism and Symbolism created a vortex in which time-honoured truisms about character consistency, depth, and verisimilitude were jettisoned. Works by Ibsen, Strindberg, Maeterlinck, and Chekhov provide evidence of a searching and critical campaign against assumed models of characterization. The second section turns to contemporary prose narratives, with attention to Knut Hamsun, Oscar Wilde, Joris-Karl Huysmans, Gabriele D'Annunzio, Henry James, George Egerton, Edith Wharton, Kate Chopin, and Joseph Conrad, to ask what writers working in the novel, novella, and short-story forms were doing to contest prevailing expectations about represented persons. Inconsistency, bad faith, fragmentation, and unconscious motives creep into the character spaces of these fictions. Character description recedes and plots disintegrate; a penumbral negativity intrudes just where identification and sympathy might have been achieved. Ultimately, Julian Murphet proposes that the 'modern character' emerging over this decade and a half presents a radical rethinking of a venerable category of narrative and dramatic art, with profound consequences for the coming century.