101 American English Riddles: Understanding Language and by Harry Collis

By Harry Collis

Юмористические загадки с комическими иллюстрациями помогут студентам, изучающим английский язык, получить новую способность проникновения в суть американского языка и культуры. Каждая загадка сопровождается поясняющим текстом, который помогает понять основные лингвистические и культурные причины забавности шутки.Humorous riddles with comedian illustrations aid ESL scholars achieve new insights into American language and tradition. each one riddle is followed by way of textual content that is helping scholars take hold of and grasp the underlying linguistic and cultural explanation why the comic story is humorous.

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A secret sharer or vicarious “observer” rather than an actively engaged “producer,” Mallet prefers escaping to Europe, where “the burden of idleness is less heavy,” instead of “work[ing] to get reconciled to America” (RH 68–9). 19 In the 1870s James was interested in exploring the more patent tension (whatever its subtexts in bodily desire) between “a native sense of beauty,” such as Mallet’s, and an uncongenial social and moral environment, such as New England (RH 234). As is the case with a surprising number of other New Englanders in James’s œuvre – Mary Garland herself; the Unitarian minister Babcock in The American, who is positively tortured by his “exquisite sense of beauty”; and Gertrude Wentworth in The Europeans, to name a few – Mallet’s aestheticist bent relentlessly wars with the classic “moral passion” of American Puritanism, a contest that (as I have suggested) will find its fullest expression in Strether’s losing battle with the relaxing atmosphere of Paris, where moral caveats seem utterly vanquished by the “visual sense” (AM 69; RH 157; A 126).

The implication, of course, is that significant evidence of masculine desire lurks in James’s texts – both his fiction and the biographical record – but any expectation of seeing such desire embodied and fulfilled is bound to be disappointed. 51 Walpole’s stories of the Master (whether panicking or frolicking) seem to be “outrageous stories” indeed, as David Leeming says, but viewed from another angle, they show what James’s intimates and the keenest readers of his fiction – Woolf, Forster, and Spender himself all came within range of Walpole’s storytelling – were prepared to believe about him, or about the kind of life James might have led but for fate and ban.

The masculine” and disapproved of fictional men who appeared to be (in a suggestive phrase) “the reverse of masculine” (1865; LC 1: 637). At the level of style, where the expression of gender and sexual valences was at once highly resonant and highly ambiguous, James encouraged his readers to disdain the “sickly and unmasculine tone” of overly elegant writing (1876; LC 2: 347), to stick with the traditional view that the “masculine hand” of authorship was superior to the feminine (1887; LC 1: 646), and to appreciate a type of prose that displayed “masculine firmness, [a] quiet force of .

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