Abstract
This paper reviews the short story "Crapy Cornelia" by Henry James and in particular analyzes how through his images we can see the clear link between James? late style of writing and also his intentions and attitudes towards New York. It uses extracts from the text and other works by Henry James in order to explore his theories of style, specifically dualism, psychological monism and aesthetic monism.

From the Paper
"Henry James is considered one of the greatest realists ever. Crapy Cornelia, as well as many of James? other late period writings, shows this genre and the influences of James? mentors George Eliot and Howells. The main tenet of realism is that writers must not select facts in accord with preconceived aesthetic or ethical ideals but must set down their observations impartially and objectively. Concerned with the faithful representation of life, which frequently lacks form, realists tend to downplay plot in favor of character and concentrate on middle-class life and preoccupations, avoiding larger, more dramatic issues. Bearing these aspects in mind, Crapy Cornelia may be seen as a miniature masterpiece of James? realism."

Tags:aesthetic, dualism, monism, psychological, realism

Abstract
This paper aims to study images of New York in the works of Henry James. It uses a non-fictional work ("The American Scene") and four fictional works ("The Jolly Corner", "Washington Square", "Crapy Cornelia" and "An International Episode") to argue that there are discernable patterns to James' images and that they appear to develop over the course of his literary career.

From the Paper
"It is interesting to note that the monster images are applied at a number of levels. First, they are applied at an overall level, where James asks overtly "Had New York, the miscellaneous monster, a heart at all"? Secondly, they are applied at the level of the greedy producer and consumer that James so despises as "monsters of the mere market". Lastly, they are applied at the level of the new immigrants into New York "in their monstrous, presumptuous interest, the aliens, in New York". What these various levels show is the far-reaching range of distrust that James harbored towards all of the various factors undergoing change in New York at that time."

Tags:american, cornelia, corner, crapy, episode, imagery, international, jolly, scene, square, travelogue, washington

Abstract
This paper compares the use of images of New York in four of James' fictional works ("Crapy Cornelia", "The Jolly Corner", "Washington Square" and "An International Episode") and one of his non-fictional works ("The American Scene") . It finds a number of patterns in the way in which James writes, particularly when his 'late period' style is contrasted with his 'early period' style.

From the Paper
"If we compare the length of James? images of New York from James? late period with those of his earlier works we can notice big differences. With the exception of the excellent descriptions of New York in their introductions, both Washington Square and An International Episode contain images of New York usually within the confines of a single, succinct sentence. This is certainly not the case with James? latter works, the descriptions of which may run into pages (see for example James? three page description of hats in The American Scene). Although it would be out of style with this paper, it would be interesting to do a textual analysis comparison between the images of New York in James? early and late periods (based on the lines of analysis such as that carried out by Smit 1988)."

Tags:cornelia, corner, crapy, episode, international, jolly, square, washington

Abstract
This thesis finds that Henry James' images of New York can be studied and then grouped systematically according to various themes which they represent. These themes are compared, contrasted and analysed in detail. The thesis also finds that there is a clear development in style of the images from James' "early period" through to his "late period".

Introduction
I Chapter One:
I.I The American Scene: A Review
I.II Morality, Manners and the Human Spirit
I.III Masculinity, Femininity and Culture
I.IV Voices in the Air
II. Chapter Two
II.I Washington Square
II.II The Jolly Corner
II.III An International Episode
II.IV Crapy Cornelia
Conclusion
Notes
Works Cited

From the Paper
"I would now like to return to a discussion that was first invoked in Chapter II.III regarding theories of style, specifically: dualism, psychological monism and aesthetic monism. These theories are intrinsically interwoven with discussion of realism and, hence, images of New York in the works of Henry James. To discuss one of these, one needs to discuss the other. "Dualism" contends that a writer's intention may be expressed in a variety of ways. The writer's intention is "deeper" than his expression of it. "Psychological monism" shows that the author's intention directly relates to a particular style. A different intention would, therefore, result in a different style. "Aesthetic monism" argues that an author's intentions are irrelevant in determining the meaning of a work. It is more useful to discuss the intention of the work itself rather than the author."

Tags:imagery, literary, metaphor, style