{"id":668,"date":"2019-10-10T18:04:10","date_gmt":"2019-10-10T17:04:10","guid":{"rendered":"https:\/\/blog.bham.ac.uk\/englitpostgrad\/?p=668"},"modified":"2019-10-27T15:39:45","modified_gmt":"2019-10-27T15:39:45","slug":"page-breaks-the-machine-in-the-garden","status":"publish","type":"post","link":"https:\/\/blog.bham.ac.uk\/englitpostgrad\/2019\/10\/10\/page-breaks-the-machine-in-the-garden\/","title":{"rendered":"Page Breaks: The Machine in the Garden (Wed 23 Oct)"},"content":{"rendered":"

In this chapter from his 1964 book The Machine in the Garden, <\/em>Leo Marx examines American pastoral, Elizabethan travel narratives, and Shakespeare’s Tempest.\u00a0<\/em> <\/p>\r\n

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Detail from painting of Cambridge Turnpike, by Anna Mary Robertson “Grandma” Moses.<\/figcaption><\/figure>\r\n
“Even in the sixteenth century the American countryside was the object of something like a calculated real estate promotion… fashionable tendencies in the arts helped to popularize the image of a new earthly paradise.” – Leo Marx, The Machine in the Garden<\/blockquote>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n

Text: <\/strong><\/h3>\r\n

Leo Marx, “Shakespeare’s American Pastoral”, from The Machine in the Garden <\/em>(1964). We will focus on Section 1 (pp.34-46), but do read further if you have time. (PDF<\/a>)<\/p>\r\n

Time and Place:<\/strong><\/h3>\r\n