front cover of Moods
Moods
Elbert, Sarah
Rutgers University Press, 1991

Moods, Louisa May Alcott's first novel was published in 1864, four years before the best-selling Little Women. The novel unconventionally presents a "little woman," a true-hearted abolitionist spinster, and a fallen Cuban beauty, their lives intersecting in Alcott's first major depiction of the "woman problem."

Sylvia Yule, the heroine of Moods, is a passionate tomboy who yearns for adventure.  The novel opens as she embarks on a river camping trip with her brother and his two friends, both of whom fall in love with her. These rival suitors, close friends, are modeled on Ralph Waldo Emerson and Henry Daniel Thoreau. Aroused, but still "moody" and inexperienced, Sylvia marries the wrong man. In the rest of the novel, Alcott attempts to resolve the dilemma she has created and leave her readers asking whether, in fact, there is a place for a woman such as Sylvia in a man's world.  

In 1882, eighteen years after the original publication, Alcott revised and republished the novel. Her own literary success and the changes she helped forge in women's lives now allowed her heroine to meet, as Alcott said, "a wiser if less romantic fate than in the former edition." This new volume contains the complete text of the 1864 Moods and Alcott's revisions for the 1882 version, along with explanatory notes by the editor. A critical introduction places Moods in the context of Alcott's own literary history and in the larger historical setting of nineteenth-century society and culture.

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front cover of The Moods of Early Russian Art
The Moods of Early Russian Art
Justin Willson
University of Chicago Press
An examination of the values and debates that shaped early East Slavic art.
 
The Moods of Early Russian Art
describes an alternative early modernity at the easternmost border of the European cultural sphere, where the Renaissance marked a return not to secular humanism but to the religiosity and art of the Middle Ages. Charting a kind of “Renaissance in reverse,” art historian Justin Willson explores how the value placed on style and virtuosity faded in importance as the Church cultivated miracle-working images during the reigns of Ivan the Great and Ivan the Terrible. Arguing for a broader unity of interests among artistic workshops across the Muscovite landscape—a system of interconnected values that he explains using the language of “moods”—Willson examines icons, illuminated manuscripts, enamelwork, and murals, tracing how the interpretive framework of the age shifted from the “aesthetic” and “literal” moods to the “intoxicated” and “romantic” over the fifteenth and sixteenth centuries.
 
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