By David Waldstreicher
This spouse presents a complete survey of the existence, paintings and legacy of Benjamin Franklin - the oldest, so much special, and multifaceted of the founders.
- Includes contributions from throughout a variety of educational disciplines
- Combines conventional and state-of-the-art scholarship, from complete and rising specialists within the box
- Pays particular cognizance to the yank Revolution, the Enlightenment, journalism, colonial American society, and topics of race, classification, and gender
- Places Franklin within the context of contemporary paintings in political concept, American reviews, American literature, fabric tradition reviews, pop culture, and overseas relations
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Additional info for A Companion to Benjamin Franklin
It also seems, however, that the sixteen-year old apprentice was able to sympathize with females because both were under-dogs whose intelligence, talent, and potential were unrecognized and marginalized. In this sense, he and the fair sex were in the same position of being oppressed. His protest against authority and dominance was as much for Silence Dogood as for himself, while his literary devices of satires and ridicules were as much a means of self-expression as a tool in fighting that dominance.
Perhaps the single most remarkable accomplishment in his series was the creation of the persona Silence Dogood. Purported to be a minister’s widow, the pseudonym itself transpired numerous inferences and mysteries. ” The first name, “Silence,” had several connotations. It derided Cotton Mather, who was a notorious busybody never silent in admonishing others. It echoed an essay signed “Rusticus” by Nathaniel Gardner, and may also have alluded to Mather’s recent sermon, Silentiarius. These inferences became apparent as the first essay openly attacked Mather’s Magnalia Christi Americana.
The grid system, based perhaps on the ordered layout of military camps or more likely on a logic based in Enlightenment thought, had stretched only to Fourth Street by the 1720s, as Philadelphians ignored Penn’s call for a “greene countrie towne” spanning between the Delaware and Schuylkill Rivers, and instead built a town that resembled English seaside villages, the new city’s wide streets intersected with smaller alleys and lanes lined with red brick dwellings and small wooden structures all built of native Pennsylvania materials.