FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W1543992502> ?p ?o ?g. }

• W1543992502 startingPage "525" @default.
• W1543992502 abstract "We have been here eight days, and I am quite willing to go away, writes Margaret Fuller of her 1843 visit to Niagara Falls (71). The June weather had been cold and Fuller finds the incessant, indefatigable sound and motion of the Falls overwhelming. She acknowledges that in the Falls she has seen what drawings and panoramas and written descriptions have prepared her to see: she has known where to look for everything, and it has all looked she thought it (71-72). On first seeing both the British and American Falls, she has merely felt, 'ah, yes, here is the fall, just as I have seen it in pictures.' She has been so prepared by what she has read and heard about how to react to the Falls that her actual encounter with a place that by the mid-nineteenth century was already turning into over-hyped tourist destination has produced almost a feeling of disappointment (76). If Fuller felt herself over-prepared for viewing the Falls after the Lockport and Niagara Falls railway line (1836) and steamship travel had opened access to tourists, she would have felt even more so after the Civil War when Americans embraced their country's natural resources as images of re-unification and national pride. Fictional and nonfictional accounts of the Falls multiplied as did and panoramas, the most famous being the 1857 seven-foot long painting Niagara by Frederick Church that was exhibited in both the United States and England and was reproduced in thousands of chromolithographs. Yet even as Fuller opens and closes her first chapter of Summer on the Lakes with her exhaustion in the face of a natural wonder that has been turned into a cliche, she embeds within her narrative a description of moments when the Falls have transcended the that images and descriptions have taught her to expect. The Niagara Falls area has inspired in her an undefined dread ... such as may be felt when death is about to usher us into a new existence (72). Her strongest come not from the Falls but from the rapids because she has not been prepared for their sublimity ... by descriptions and by paintings (76). She recognizes the power, also, of the whirlpool below the Falls, finding it fearful ... to know ... that whatever has been swallowed by the cataract, is likely to rise suddenly to light here, whether uprooted tree, or body of man or bird (73). Fuller concludes her description of the Falls, which ironically adds to the growing literature that prepared people for how to feel, envying those who encountered them unspoiled so their feelings were entirely their own (77). In the nineteenth century, Niagara Falls became the most visible of what John Sears has called America's Sacred Places and visitors to the Falls were prepared to feel danger, chaos, and religious awe. (1) But the Falls themselves were not enough. They were popularized with rides on The Maid of the Mist (1846), descents into The Cave of the Winds (stair access opening in 1829), the entertainment of stunt men, access to souvenir shops, and even a museum of curiosities. Competing interests vied for industrial and tourist space until the Free Niagara! movement championed by Frederick Law Olmsted and Frederick Church resulted in the purchase of land from private owners, culminating in the design and building of the Niagara Reservation, America's first state park, which was completed in 1885. Tourism today thrives around a Niagara Falls that includes a protected park with gardens in the form of the Great Lakes and footpaths along the Niagara Gorge and the Falls. The Cave of the Winds and The Maid of the Mist continue to attract tourists as does a scenic trolley ride and aquarium for those who like their nature less raw. Like Fuller, Joyce Carol Oates captures in her 2004 novel The Falls the power of Niagara Falls and its desecration by American industrialism. The word sublime was in the nineteenth century most famously articulated by Thomas Cole, who distinguished it from the harmonious, calm, beautiful and the rough, irregular picturesque by its largeness, its evocation in the viewer of of awe. …" @default.
• W1543992502 created "2016-06-24" @default.
• W1543992502 creator A5068155262 @default.
• W1543992502 date "2006-12-22" @default.
• W1543992502 modified "2023-09-24" @default.
• W1543992502 title "History and Representation in the Falls" @default.
• W1543992502 cites W1564341552 @default.
• W1543992502 cites W1578785048 @default.
• W1543992502 cites W1985102150 @default.
• W1543992502 cites W2013488669 @default.
• W1543992502 cites W2064313899 @default.
• W1543992502 cites W238111094 @default.
• W1543992502 cites W638357289 @default.
• W1543992502 cites W98867491 @default.
• W1543992502 hasPublicationYear "2006" @default.
• W1543992502 type Work @default.
• W1543992502 sameAs 1543992502 @default.
• W1543992502 citedByCount "1" @default.
• W1543992502 crossrefType "journal-article" @default.
• W1543992502 hasAuthorship W1543992502A5068155262 @default.
• W1543992502 hasConcept C113522999 @default.
• W1543992502 hasConcept C124952713 @default.
• W1543992502 hasConcept C142362112 @default.
• W1543992502 hasConcept C15744967 @default.
• W1543992502 hasConcept C17744445 @default.
• W1543992502 hasConcept C199539241 @default.
• W1543992502 hasConcept C205783811 @default.
• W1543992502 hasConcept C2776359362 @default.
• W1543992502 hasConcept C2779628136 @default.
• W1543992502 hasConcept C2779728303 @default.
• W1543992502 hasConcept C52119013 @default.
• W1543992502 hasConcept C77805123 @default.
• W1543992502 hasConcept C94625758 @default.
• W1543992502 hasConcept C95457728 @default.
• W1543992502 hasConceptScore W1543992502C113522999 @default.
• W1543992502 hasConceptScore W1543992502C124952713 @default.
• W1543992502 hasConceptScore W1543992502C142362112 @default.
• W1543992502 hasConceptScore W1543992502C15744967 @default.
• W1543992502 hasConceptScore W1543992502C17744445 @default.
• W1543992502 hasConceptScore W1543992502C199539241 @default.
• W1543992502 hasConceptScore W1543992502C205783811 @default.
• W1543992502 hasConceptScore W1543992502C2776359362 @default.
• W1543992502 hasConceptScore W1543992502C2779628136 @default.
• W1543992502 hasConceptScore W1543992502C2779728303 @default.
• W1543992502 hasConceptScore W1543992502C52119013 @default.
• W1543992502 hasConceptScore W1543992502C77805123 @default.
• W1543992502 hasConceptScore W1543992502C94625758 @default.
• W1543992502 hasConceptScore W1543992502C95457728 @default.
• W1543992502 hasIssue "4" @default.
• W1543992502 hasLocation W15439925021 @default.
• W1543992502 hasOpenAccess W1543992502 @default.
• W1543992502 hasPrimaryLocation W15439925021 @default.
• W1543992502 hasRelatedWork W1517156117 @default.
• W1543992502 hasRelatedWork W1522460815 @default.
• W1543992502 hasRelatedWork W156141455 @default.
• W1543992502 hasRelatedWork W181356885 @default.
• W1543992502 hasRelatedWork W187840027 @default.
• W1543992502 hasRelatedWork W2010143338 @default.
• W1543992502 hasRelatedWork W2014443187 @default.
• W1543992502 hasRelatedWork W2045572540 @default.
• W1543992502 hasRelatedWork W228663590 @default.
• W1543992502 hasRelatedWork W2333876829 @default.
• W1543992502 hasRelatedWork W2416753905 @default.
• W1543992502 hasRelatedWork W245747901 @default.
• W1543992502 hasRelatedWork W2495560360 @default.
• W1543992502 hasRelatedWork W267587277 @default.
• W1543992502 hasRelatedWork W2735415775 @default.
• W1543992502 hasRelatedWork W2751066509 @default.
• W1543992502 hasRelatedWork W343794454 @default.
• W1543992502 hasRelatedWork W347995656 @default.
• W1543992502 hasRelatedWork W858163652 @default.
• W1543992502 hasRelatedWork W176773432 @default.
• W1543992502 hasVolume "38" @default.
• W1543992502 isParatext "false" @default.
• W1543992502 isRetracted "false" @default.
• W1543992502 magId "1543992502" @default.
• W1543992502 workType "article" @default.