This examination of nineteenth-century journalism explores the specific actions and practices of the publications that provided a true picture of slavery to the general public. From Boston's strident <i>Liberator</i> to Frederick Douglass' <i>North Star</i>, the decades before the Civil War saw more than forty newspapers founded with the specific aim of promoting emancipation. Not only did these sheets provide a platform for discourse, but they also gave slavery a face for a wider audience. The reach of the abolitionist press only grew as the fiery publications became objects of controversy and targets of violence in both South and North. These works kept the issue of slavery in the public eye even as mainstream publications took up the call for emancipation, as the nation went to war, up to the end of slavery. Their legacy has endured, as dedicated reform writers and editors continue to view the press as a vital tool in the fight for equality.
Sarah Parker Remond (1826–1894) left the free black community of Salem, Massachusetts, where she was born, to become one of the first women to travel on extensive lecture tours across the United Kingdom. Remond eventually moved to Florence, Italy, where she earned a degree at one of Europe's most prestigious medical schools. Her language skills enabled her to join elite salons in Florence and Rome, where she entertained high society with musical soirees even while maintaining connections to European emancipation movements.
Remond's extensive travels and diverse acquaintances demonstrate that the nineteenth-century grand tour of Europe was not exclusively the privilege of white intellectuals but included African American travelers, among them women. This biography, based on international archival research, tells the fascinating story of how Remond forged a radical path, establishing relationships with fellow activists, artists, and intellectuals across Europe.
Abolitionists have been painted in extremes—vilified as reckless zealots who provoked the bloodletting of the Civil War, or praised as daring reformers who hastened the end of slavery. Delbanco sees them as the embodiment of a driving force in American history: the recurrent impulse of an adamant minority to rid the world of outrageous evil.
Before the Civil War, slaveholders made themselves into the most powerful, most deeply rooted, and best organized private interest group within the United States. Not only did slavery represent the national economy's second largest capital investment, exceeded only by investment in real estate, but guarantees of its perpetuation were studded throughout the U.S. Constitution. The vast majority of white Americans, in North and South, accepted the institution, and pro-slavery presidents and congressmen consistently promoted its interests. In Abolitionist Politics and the Coming of the Civil War, James Brewer Stewart explains how a small group of radical activists, the abolitionist movement, played a pivotal role in turning American politics against this formidable system. He examines what influence the movement had in creating the political crises that led to civil war and evaluates the extent to which a small number of zealous reformers made a truly significant political difference when demanding that their nation face up to its most excruciating moral problem. In making these assessments, Stewart addresses a series of more specific questions: What were the abolitionists actually up against when seeking the overthrow of slavery and white supremacy? What motivated and sustained them during their long and difficult struggles? What larger historical contexts (religious, social, economic, cultural, and political) influenced their choices and determined their behavior? What roles did extraordinary leaders play in shaping the movement, and what were the contributions of abolitionism's unheralded "foot soldiers"? What factors ultimately determined, for better or worse, the abolitionists' impact on American politics and the realization of their equalitarian goals?
Seven years after the death of Anton Chekhov, his sister, Maria, wrote to a friend, "You asked for someone who could write a biography of my deceased brother. If you recall, I recommended Iv. Al. Bunin . . . . No one writes better than he; he knew and understood my deceased brother very well; he can go about the endeavor objectively. . . . I repeat, I would very much like this biography to correspond to reality and that it be written by I.A. Bunin."
In About Chekhov Ivan Bunin sought to free the writer from limiting political, social, and aesthetic assessments of his life and work, and to present both in a more genuine, insightful, and personal way. Editor and translator Thomas Gaiton Marullo subtitles About Chekhov "The Unfinished Symphony," because although Bunin did not complete the work before his death in 1953, he nonetheless fashioned his memoir as a moving orchestral work on the writers' existence and art. . . . "Even in its unfinished state, About Chekhov stands not only as a stirring testament of one writer's respect and affection for another, but also as a living memorial to two highly creative artists." Bunin draws on his intimate knowledge of Chekhov to depict the writer at work, in love, and in relation with such writers as Tolstoy and Gorky. Through anecdotes and observations, spirited exchanges and reflections, this memoir draws a unique portrait that plumbs the depths and complexities of two of Russia's greatest writers.
Above the American Renaissance takes David S. Reynolds's classic study Beneath the American Renaissance as a model and a provocation to consider how language and concepts broadly defined as spiritual are essential to understanding nineteenth-century American literary culture. In the 1980s, Reynolds's scholarship and methodology enlivened investigations of religious culture, and since then, for reasons that include a rising respect for interdisciplinarity and the aftershocks of the 9/11 attacks, religion in literature has become a major area of inquiry for Americanists. In essays that reconsider and contextualize Emily Dickinson, Walt Whitman, Harriet Beecher Stowe, Herman Melville, Abraham Lincoln, and others, this volume captures the vibrancy of spiritual considerations in American literary studies and points a way forward within literary and spiritual investigations.
In addition to the editors and David S. Reynolds, contributors include Jeffrey Bilbro, Dawn Coleman, Jonathan A. Cook, Tracy Fessenden, Zachary Hutchins, Richard Kopley, Mason I. Lowance Jr., John Matteson, Christopher N. Phillips, Vivian Pollak, Michael Robertson, Gail K. Smith, Claudia Stokes, and Timothy Sweet.
In Above Time, James R. Guthrie explores the origins of the two preeminent transcendentalists' revolutionary approaches to time, as well as to the related concepts of history, memory, and change. Most critical discussions of this period neglect the important truth that the entire American transcendentalist project involved a transcendence of temporality as well as of materiality. Correspondingly, both writers call in their major works for temporal reform, to be achieved primarily by rejecting the past and future in order to live in an amplified present moment.
Emerson and Thoreau were compelled to see time in a new light by concurrent developments in the sciences and the professions. Geologists were just then hotly debating the age of the earth, while zoologists were beginning to unravel the mysteries of speciation, and archaeologists were deciphering the Egyptian hieroglyphs. These discoveries worked collectively to enlarge the scope of time, thereby helping pave the way for the appearance of Darwin's Origin of Species in 1859.
Well aware of these wider cultural developments, Emerson and Thoreau both tried (although with varying degrees of success) to integrate contemporary scientific thought with their preexisting late-romantic idealism. As transcendentalists, they already believed in the existence of "correspondences"—affinities between man and nature, formalized as symbols. These symbols could then be decoded to discover the animating presence in the world of eternal laws as pervasive as the laws of science. Yet unlike scientists, Emerson and Thoreau hoped to go beyond merely understanding nature to achieving a kind of passionate identity with it, and they believed that such a union might be achieved only if time was first recognized as being a purely human construct with little or no validity in the rest of the natural world. Consequently, both authors employ a series of philosophical, rhetorical, and psychological strategies designed to jolt their readers out of time, often by attacking received cultural notions about temporality.
As the first African-American fiction writer to achieve a national reputation, Ohio native Charles W. Chesnutt (1858–1932) in many ways established the terms of the black literary tradition now exemplified by such writers as Toni Morrison, Alice Walker, and Charles Johnson.
Following the highly autobiographical nonfiction produced by Frederick Douglass, Harriet Jacobs, and other slave narrative writers, Chesnutt’s complex, multi-layered short fiction transformed the relationship between African-American writers and their readers. But despite generous praise from W. D. Howells and other important critics of his day, and from such prominent readers as William L. Andrews, Henry Louis Gates, Jr., and Eric Sundquist in ours, Chesnutt occupies a curiously ambiguous place in American literary history.
In The Absent Man, Charles Duncan demonstrates that Chesnutt’s uneasy position in the American literary tradition can be traced to his remarkable narrative subtlety. Profoundly aware of the delicacy of his situation as a black intellectual at the turn of the century, Chesnutt infused his work with an intricate, enigmatic artistic vision that defies monolithic or unambiguously political interpretation, especially with regard to issues of race and identity that preoccupied him throughout his career.
In this first book-length study of the innovative short fiction, Duncan devotes particular attention to elucidating these sophisticated narrative strategies as the grounding for Chesnutt’s inauguration of a tradition of African-American fiction.
Tracing the transformation of early modern academics into modern researchers from the Renaissance to Romanticism, Academic Charisma and the Origins of the Research University uses the history of the university and reframes the "Protestant Ethic" to reconsider the conditions of knowledge production in the modern world.
William Clark argues that the research university—which originated in German Protestant lands and spread globally in the nineteenth and twentieth centuries—developed in response to market forces and bureaucracy, producing a new kind of academic whose goal was to establish originality and achieve fame through publication. With an astonishing wealth of research, Academic Charisma and the Origins of the Research University investigates the origins and evolving fixtures of academic life: the lecture catalogue, the library catalog, the grading system, the conduct of oral and written exams, the roles of conversation and the writing of research papers in seminars, the writing and oral defense of the doctoral dissertation, the ethos of "lecturing with applause" and "publish or perish," and the role of reviews and rumor. This is a grand, ambitious book that should be required reading for every academic.
Although many of the practical and intellectual traditions that make up modern science date back centuries, the category of “science” itself is a relative novelty. In the early eighteenth century, the modern German word that would later mean “science,” naturwissenschaft, was not even included in dictionaries. By 1850, however, the term was in use everywhere. Acolytes of Nature follows the emergence of this important new category within German-speaking Europe, tracing its rise from an insignificant eighteenth-century neologism to a defining rallying cry of modern German culture.
Today’s notion of a unified natural science has been deemed an invention of the mid-nineteenth century. Yet what Denise Phillips reveals here is that the idea of naturwissenschaft acquired a prominent place in German public life several decades earlier. Phillips uncovers the evolving outlines of the category of natural science and examines why Germans of varied social station and intellectual commitments came to find this label useful. An expanding education system, an increasingly vibrant consumer culture and urban social life, the early stages of industrialization, and the emergence of a liberal political movement all fundamentally altered the world in which educated Germans lived, and also reshaped the way they classified knowledge.
Copublished with the Utah State Historical Society. Affiliated with the Utah Division of State History, Utah Department of Heritage & Arts
Andrew J. Russell is primarily known as the man who photographed the famous “East and West Shaking Hands” image of the Golden Spike ceremony on May 10, 1869. He also took nearly one thousand other images that document almost every aspect of the construction of the Union Pacific Railroad. Across the Continent is the most detailed study to date of the life and work of an often-overlooked but prolific artist who contributed immensely not only to documentation of the railroad but also to the nation’s visualization of the American West and, earlier, the Civil War.
The central focus in the book is on the large body of work Russell produced primarily to satisfy the needs of the Union Pacific. Daniel Davis posits that this set of Russell’s photos is best understood not through one or a handful of individual images, but as a photographic archive. Taken as a whole, that archive shows that Russell intended for viewers never to forget who built the Union Pacific. His images celebrate working people—masons working on bridge foundations, freighters and their wagons, surveyors with their transits, engine crews posed on their engines, as well as tracklayers, laborers, cooks, machinists, carpenters, graders, teamsters, and clerks pushing paper.
Russell contributed to a golden age of Western photography that visually introduced the American West to the nation, changing its public image from that of a Great American Desert to a place of apparently unlimited economic potential.
Across the Shaman’s River is the story of one of Alaska’s last Native American strongholds, a Tlingit community closed off for a century until a fateful encounter between a shaman, a preacher, and John Muir.
Tucked in the corner of Southeast Alaska, the Tlingits had successfully warded off the Anglo influences that had swept into other corners of the territory. This tribe was viewed by European and American outsiders as the last wild tribe and a frustrating impediment to access. Missionaries and prospectors alike had widely failed to bring the Tlingit into their power. Yet, when John Muir arrived in 1879, accompanied by a fiery preacher, it only took a speech about “brotherhood”—and some encouragement from the revered local shaman Skandoo’o—to finally transform these “hostile heathens.”
Using Muir’s original journal entries, as well as historic writings of explorers juxtaposed with insights from contemporary tribal descendants, Across the Shaman’s River reveals how Muir’s famous canoe journey changed the course of history and had profound consequences on the region’s Native Americans.
Across the West and Toward the North compares how photographers in Norway and the United States represented the environment in the nineteenth and early twentieth centuries, when once-remote wildernesses were first surveyed, developed, and photographed. Making images while traversing almost inaccessible terrain—often on foot and for months at a time—photographers created a compelling visual language that came to symbolize each nation.
In this edited volume, Norwegian and American scholars offer the first study of the striking parallels in the production, distribution, and reception of these modern expressions of landscape and nationhood. In recognizing how landscape photographs were made meaningful to international audiences—such as tourists, visitors to world’s fairs, scientists, politicians, and immigrants—the authors challenge notions of American exceptionalism and singularly nationalistic histories.
The book includes stunning photographs of mountainous landscapes, glaciers, and forests, punctuated by signs of human development and engineering, with more than one hundred rarely seen plates by photographers Knud Knudsen, Anders Beer Wilse, Timothy O’Sullivan, Charles R. Savage, and others.
In the late nineteenth and early twentieth centuries, during the “protectorate” period of British occupation in Egypt—theaters and other performance sites were vital for imagining, mirroring, debating, and shaping competing conceptions of modern Egyptian identity. Central figures in this diverse spectrum were the effendis, an emerging class of urban, male, anticolonial professionals whose role would ultimately become dominant. Acting Egyptian argues that performance themes, spaces, actors, and audiences allowed pluralism to take center stage while simultaneously consolidating effendi voices.
From the world premiere of Verdi’s Aida at Cairo’s Khedivial Opera House in 1871 to the theatrical rhetoric surrounding the revolution of 1919, which gave women an opportunity to link their visibility to the well-being of the nation, Acting Egyptian examines the ways in which elites and effendis, men and women, used newly built performance spaces to debate morality, politics, and the implications of modernity. Drawing on scripts, playbills, ads, and numerous other sources, the book brings to life provocative debates that fostered a new image of national culture and performances that echoed the events of urban life in the struggle for independence.
Found in scores of eighteenth- and nineteenth-century American narratives, the action-adventure heroine leaves the domestic space to pursue an independent adventure. This bold heroine tramps alone through the forests, demonstrates tremendous physical strength, braves dangers without hesitation, enters the public realm to earn money, and even kills her enemies when necessary. Despite her transgressions of social norms, the narrator portrays this heroine in a positive light and lauds her for her bravery and daring. The Action-Adventure Heroine offers a wide-ranging look at this enigmatic character in eighteenth- and nineteenth-century American literature.
Unlike the “tomboy” or the American frontierswoman, this more encompassing figure has been understudied until now. The action-adventure heroine has special relevance today, as scholars are forcefully challenging the once-dominant separate-spheres paradigm and offering alternative interpretations of gender conventions in nineteenth-century America. The hard-body action heroine in our contemporary popular culture is often assumed to be largely a product of the twentieth-century television and film industries (and therefore influenced by the women’s movement); however, physically strong, agile, sometimes violent female figures have appeared in American popular culture and literature for a very long time.
Smith analyzes captivity narratives, war narratives, stories of manifest destiny, dime novels, and tales of seduction to reveal the long literary history of female protagonists who step into traditionally masculine heroic roles to win the day. Smith’s study includes such authors as Herman Mann, Mercy Otis Warren, Catharine Maria Sedgwick, E.D.E.N. Southworth, Edward L. Wheeler, and many more who are due for critical reassessment. In examining the female hero—with her strength, physicality, and violence—in eighteenth-and nineteenth-century American narratives, The Action-Adventure Heroine represents an important contribution to the field of American studies.
SANDRA WILSON SMITH is an assistant professor of English at Temple University. Her articles have appeared in the Journal of American Studies, Southern Literary Journal, and E-Learning.
In this study of the history of rhetoric education, Susan Kates focuses on the writing and speaking instruction developed at three academic institutions founded to serve three groups of students most often excluded from traditional institutions of higher education in late-nineteenth-and early-twentieth-century America: white middle-class women, African Americans, and members of the working class.
Kates provides a detailed look at the work of those students and teachers ostracized from rhetorical study at traditional colleges and universities. She explores the pedagogies of educators Mary Augusta Jordan of Smith College in Northhampton, Massachusetts; Hallie Quinn Brown of Wilberforce University in Wilberforce, Ohio; and Josephine Colby, Helen Norton, and Louise Budenz of Brookwood Labor College in Katonah, New York.
These teachers sought to enact forms of writing and speaking instruction incorporating social and political concerns in the very essence of their pedagogies. They designed rhetoric courses characterized by three important pedagogical features: a profound respect for and awareness of the relationship between language and identity and a desire to integrate this awareness into the curriculum; politicized writing and speaking assignments designed to help students interrogate their marginalized standing within the larger culture in terms of their gender, race, or social class; and an emphasis on service and social responsibility.
Activist Sentiments takes as its subject women who in fewer than fifty years moved from near literary invisibility to prolific productivity. Grounded in primary research and paying close attention to the historical archive, this book offers against-the-grain readings of the literary and activist work of Harriet Jacobs, Harriet Wilson, Frances E. W. Harper, Victoria Earle Matthews and Amelia E. Johnson.
Part literary criticism and part cultural history, Activist Sentiments examines nineteenth-century social, political, and representational literacies and reading practices. P. Gabrielle Foreman reveals how Black women's complex and confrontational commentary–often expressed directly in their journalistic prose and organizational involvement--emerges in their sentimental, and simultaneously political, literary production.
Despite its importance to literary and cultural texts of resistance, theater has been largely overlooked as a field of analysis in colonial and postcolonial studies. Acts of Authority/Acts of Resistance seeks to address that absence, as it uniquely views drama and performance as central to the practice of nationalism and anti-colonial resistance.
Nandi Bhatia argues that Indian theater was a significant force in the struggle against oppressive colonial and postcolonial structures, as it sought to undo various schemes of political and cultural power through its engagement with subjects derived from mythology, history, and available colonial models such as Shakespeare. Bhatia's attention to local histories within a postcolonial framework places performance in a global and transcultural context. Drawing connections between art and politics, between performance and everyday experience, Bhatia shows how performance often intervened in political debates and even changed the course of politics.
One of the first Western studies of Indian theater to link the aesthetics and the politics of that theater, Acts of Authority/Acts of Resistance combines in-depth archival research with close readings of dramatic texts performed at critical moments in history. Each chapter amplifies its themes against the backdrop of specific social conditions as it examines particular dramatic productions, from The Indigo Mirror to adaptations of Shakespeare plays by Indian theater companies, illustrating the role of theater in bringing nationalist, anticolonial, and gendered struggles into the public sphere.
Nandi Bhatia is Associate Professor of English at the University of Western Ontario.
The keeping of journals and diaries became an almost everyday pastime for many Americans in the nineteenth century. Adeline and Julia Graham, two young women from Berrien Springs, Michigan, were both drawn to this activity, writing about the daily events in their lives, as well as their 'grand adventures.' These are fascinating, deeply personal accounts that provide an insight into the thoughts and motivation of two sisters who lived more than a century ago. Adeline began keeping a diary when she was sixteen, from mid-1880 through mid-1884; through it we see a young woman coming of age in this small community in western Michigan. Paired with Adeline's account is her sister Julia's diary, which begins in 1885 when she sets out with three other young women to homestead in Greeley County, Kansas, just east of the Colorado border. It is a vivid and colorful narrative of a young woman's journey into America's western landscape.
Advertising the Self in Renaissance France is a study of how authors and readers are represented in printed editions of three major literary figures of the French Renaissance: Jean Lemaire de Belges, Clément Marot, and François Rabelais. Print culture is marked by an anxiety of reception that became much more pronounced with increasingly anonymous and unpredictable readerships in the sixteenth century. To allay this anxiety, authors, as well as editors and printers, turned to self-fashioning in order to sell not only their books, but also particular ways of reading. They advertised correct modes of reading as transformative experiences that helped the actual reader attain the image of the ideal reader held up by the text and paratext, experiences provided by selfless authors. Thus, authorial personae were constructed around the self-fashioning offered to readers, creating an interdependent relationship that anticipated modern advertising.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Although Chinese Marxism—primarily represented by Maoism—is generally seen by Western intellectuals as monolithic, Liu Kang argues that its practices and projects are as diverse as those in Western Marxism, particularly in the area of aesthetics. In this comparative study of European and Chinese Marxist traditions, Liu reveals the extent to which Chinese Marxists incorporate ideas about aesthetics and culture in their theories and practices. In doing so, he constructs a wholly new understanding of Chinese Marxism. Far from being secondary considerations in Chinese Marxism, aesthetics and culture are in fact principal concerns. In this respect, such Marxists are similar to their Western counterparts, although Europeans have had little understanding of the Chinese experience. Liu traces the genealogy of aesthetic discourse in both modern China and the West since the era of classical German thought, showing where conceptual modifications and divergences have occurred in the two traditions. He examines the work of Mao Zedong, Lu Xun, Li Zehou, Qu Qiubai, and others in China, and from the West he discusses Kant, Schiller, Schopenhauer, and Marxist theorists including Horkheimer, Adorno, Benjamin, and Marcuse. While stressing the diversity of Marxist positions within China as well as in the West, Liu explains how ideas of culture and aesthetics have offered a constructive vision for a postrevolutionary society and have affected a wide field of issues involving the problems of modernity. Forcefully argued and theoretically sophisticated, this book will appeal to students and scholars of contemporary Marxism, cultural studies, aesthetics, and modern Chinese culture, politics, and ideology.
On January 5, 1845, the Prussian cultural minister received a request by a group of six young men to form a new Physical Society in Berlin. In fields from thermodynamics, mechanics, and electromagnetism to animal electricity, ophthalmology, and psychophysics, members of this small but growing group—which soon included Emil Du Bois-Reymond, Ernst Brücke, Werner Siemens, and Hermann von Helmholtz—established leading positions in what only thirty years later had become a new landscape of natural science. How was this possible? How could a bunch of twenty-somethings succeed in seizing the future?
In Aesthetics, Industry, and Science M. Norton Wise answers these questions not simply from a technical perspective of theories and practices but with a broader cultural view of what was happening in Berlin at the time. He emphasizes in particular how rapid industrial development, military modernization, and the neoclassical aesthetics of contemporary art informed the ways in which these young men thought. Wise argues that aesthetic sensibility and material aspiration in this period were intimately linked, and he uses these two themes for a final reappraisal of Helmholtz’s early work. Anyone interested in modern German cultural history, or the history of nineteenth-century German science, will be drawn to this landmark book.
In the American Civil War missives from relatives to soldiers relating the details of what was occurring in the villages and towns unscarred by the conflict were rare. Edited by Barbara Butler Davis, Affectionately Yours: The Civil War Home-Front Letters of the Ovid Butler Family includes transcriptions of sixty-five holograph letters written from 1863 to 1865 to their son Scot. The letters are housed in the collection of the Irvington Historical Society and relate a fascinating social history of the Indianapolis community during the Civil War. The book also includes a foreword by Civil War historian Alan T. Nolan.
“If I had to choose between betraying my country and betraying my friend, I hope I should have the guts to betray my country.” So E. M. Forster famously observed in his Two Cheers for Democracy. Forster’s epigrammatic manifesto, where the idea of the “friend” stands as a metaphor for dissident cross-cultural collaboration, holds the key, Leela Gandhi argues in Affective Communities, to the hitherto neglected history of western anti-imperialism. Focusing on individuals and groups who renounced the privileges of imperialism to elect affinity with victims of their own expansionist cultures, she uncovers the utopian-socialist critiques of empire that emerged in Europe, specifically in Britain, at the end of the nineteenth century. Gandhi reveals for the first time how those associated with marginalized lifestyles, subcultures, and traditions—including homosexuality, vegetarianism, animal rights, spiritualism, and aestheticism—united against imperialism and forged strong bonds with colonized subjects and cultures.
Gandhi weaves together the stories of a number of South Asian and European friendships that flourished between 1878 and 1914, tracing the complex historical networks connecting figures like the English socialist and homosexual reformer Edward Carpenter and the young Indian barrister M. K. Gandhi, or the Jewish French mystic Mirra Alfassa and the Cambridge-educated Indian yogi and extremist Sri Aurobindo. In a global milieu where the battle lines of empire are reemerging in newer and more pernicious configurations, Affective Communities challenges homogeneous portrayals of “the West” and its role in relation to anticolonial struggles. Drawing on Derrida’s theory of friendship, Gandhi puts forth a powerful new model of the political: one that finds in friendship a crucial resource for anti-imperialism and transnational collaboration.
The surprising claim of this book is that dwelling on loss is not necessarily depressing. Instead, Jonathan Flatley argues, embracing melancholy can be a road back to contact with others and can lead people to productively remap their relationship to the world around them. Flatley demonstrates that a seemingly disparate set of modernist writers and thinkers showed how aesthetic activity can give us the means to comprehend and change our relation to loss.
The texts at the center of Flatley’s analysis—Henry James’s Turn of the Screw, W. E. B. Du Bois’s The Souls of Black Folk, and Andrei Platonov’s Chevengur—share with Freud an interest in understanding the depressing effects of difficult losses and with Walter Benjamin the hope that loss itself could become a means of connection and the basis for social transformation. For Du Bois, Platonov, and James, the focus on melancholy illuminates both the historical origins of subjective emotional life and a heretofore unarticulated community of melancholics. The affective maps they produce make possible the conversion of a depressive melancholia into a way to be interested in the world.
Debunking conventional narratives, Faiz Ahmed presents a vibrant account of the first Muslim-majority country to gain independence, codify its own laws, and ratify a constitution after the fall of the Ottoman Empire. Afghanistan, he shows, attracted thinkers eager to craft a modern state within the interpretive traditions of Islamic law and ethics.
In March of 1827 the nation's first black newspaper appeared in New York City—to counter attacks on blacks by the city's other papers. From this signal event, The African American Newspaper traces the evolution of the black newspaper—and its ultimate decline--for more than 160 years until the end of the twentieth century.
The book chronicles the growth of the black press into a powerful and effective national voice for African Americans during the period from 1910 to 1950--a period that proved critical to the formation and gathering strength of the civil rights movement that emerged so forcefully in the following decades. In particular, author Patrick S. Washburn explores how the Pittsburgh Courier and the Chicago Defender led the way as the two most influential black newspapers in U.S. history, effectively setting the stage for the civil rights movement's successes. Washburn also examines the numerous reasons for the enormous decline of black newspapers in influence and circulation in the decades immediately following World War II. His book documents as never before how the press's singular accomplishments provide a unique record of all areas of black history and a significant and shaping affect on the black experience in America.
Essays by the foremost labor historian of the Black experience in the Appalachian coalfields.
This collection brings together nearly three decades of research on the African American experience, class, and race relations in the Appalachian coal industry. It shows how, with deep roots in the antebellum era of chattel slavery, West Virginia’s Black working class gradually picked up steam during the emancipation years following the Civil War and dramatically expanded during the late nineteenth and early twentieth centuries.
From there, African American Workers and the Appalachian Coal Industry highlights the decline of the region’s Black industrial proletariat under the impact of rapid technological, social, and political changes following World War II. It underscores how all miners suffered unemployment and outmigration from the region as global transformations took their toll on the coal industry, but emphasizes the disproportionately painful impact of declining bituminous coal production on African American workers, their families, and their communities. Joe Trotter not only reiterates the contributions of proletarianization to our knowledge of US labor and working-class history but also draws attention to the gender limits of studies of Black life that focus on class formation, while calling for new transnational perspectives on the subject. Equally important, this volume illuminates the intellectual journey of a noted labor historian with deep family roots in the southern Appalachian coalfields.
Exploration of African American contributions to the state ofFloridaduring the era of Reconstruction
Despite their shortcomings, “radical” politicians, including African Americans, made worthy contributions to the state of Florida during the era of Reconstruction. Joe Richardson disputes many of the misconceptions about the state’s debt and corruption by exploring how some African American politicians were quite capable and learned their duties quickly. Even more remarkable was the rapidity with which the unlettered ex-slaves absorbed education and adjusted to their status as free men. African Americans in the Reconstruction of Florida delves into the problems encountered by the freed men and traces their successes and failures during the first decade after emancipation.
Beginning with the colonial era, Western biomedicine has radically transformed African medical beliefs and practices. Conversely, in using Western biomedicine, Africans have also transformed it. The African Transformation of Western Medicine and the Dynamics of Global Cultural Exchange contends that contemporary African medical systems—no less “biomedical” than Western medicine—in fact greatly enrich and expand the notion of biomedicine, reframing it as a global cultural form deployed across global networks of cultural exchange.
The book analyzes biomedicine as a complex and dynamic sociocultural form, the conceptual premises of which make it necessarily subject to ongoing change and development as it travels the globe. David Baronov captures the complexities of this cultural exchange by using world-systems analysis in a way that places global cultural processes on equal footing with political and economic processes. In doing so, he both allows the story of Africa’s transformation of “Western” biomedicine to be told and offers new insights into the capitalist world system.
In this bestselling companion to her pioneering study, Invisible Poets, Joan Sherman continues to make new generations aware of the "invisible" legacy of nineteenth-century black American poetry. The 171 poems here, by thirty-five men and women, have been transcribed
from first editions and are annotated in detail.
The Atlantic slave trade was the largest forced migration in history, yet most of its stories are lost. Randy Sparks examines the few remaining reconstructed experiences of West Africans who lived in the South between 1740 and 1860. Their stories highlight the diversity of struggles that confronted every African who arrived on American shores.
The Civil War did not end with Confederate capitulation in 1865. A second phase commenced which lasted until 1871—not Reconstruction but genuine belligerency whose mission was to crush slavery and create civil and political rights for freed people. But as Gregory Downs shows, military occupation posed its own dilemmas, including near-anarchy.
The fear of falling, the awareness of lost innocence, lost illusions, lost hopes and intentions, of civilization in decline—these are the themes which link literature to theology, both concerned with the shape of human destiny. Otten discusses the continuing viability of the myth of the Fall in literature. He relates a wide variety of romantic and modern works to fundamental issues in modern Christianity.
The 1676 killing of Metacomet, the tribal leader dubbed "King Philip" by colonists, is commonly seen as a watershed event, marking the end of a bloody war, dissolution of Indian society in New England, and even the disappearance of Native peoples from the region. This collection challenges that assumption, showing that Indians adapted and survived, existing quietly on the fringes of Yankee society, less visible than before but nonetheless retaining a distinct identity and heritage. While confinement on tiny reservations, subjection to increasing state regulation, enforced abandonment of traditional dress and means of support, and racist policies did cause dramatic changes, Natives nonetheless managed to maintain their Indianness through customs, kinship, and community.
What happened in Victorian painting and sculpture after the Pre-Raphaelites? Aestheticism has been called the next avant-garde movement but attention has centered on literary figures such as Algernon Charles Swinburne, Walter Pater, and Oscar Wilde. This volume is the first scholarship study of parallel trends in the visual arts, including the work of Dante Gabriel Rossetti, James McNeill Whistler, Edward Burne-Jones, Simeon Solomon, and Albert Moore among others.
Victorian Aestheticism has often been traded as a frivolous elevation of art above the concerns of political and social life. This book reinterprets Aestheticism as a significant exploration of what it might mean to produce works of art in the modern world. The chapters address not only "art for art's sake" but also linkages with the realms of science and morality. A major concern is the relationship between art and sexuality, from the experiments of the Rossetti circle in the 1860s to the male nude in late-Victorian sculpture. Both homosexual and heterosexual eroticism emerge as key issues in the artistic debates of the late-Victorian period.
As a complement to the existing literature on Pre-Raphaelitism, this collection is essential reading for all students of nineteenth-century art, literature, and culture.
Contributors are: Caroline Arscott, Robyn Asleson, Colin Cruise, Whitney Davis, Kate Flint, Alastair Grieve, Michael Hatt, Anne Koval, Alison Smith, and Robin Spencer
The Afterlives of Specimens explores the space between science and sentiment, the historical moment when the human cadaver became both lost love object and subject of anatomical violence. Walt Whitman witnessed rapid changes in relations between the living and the dead. In the space of a few decades, dissection evolved from a posthumous punishment inflicted on criminals to an element of preservationist technology worthy of the presidential corpse of Abraham Lincoln. Whitman transitioned from a fervent opponent of medical bodysnatching to a literary celebrity who left behind instructions for his own autopsy, including the removal of his brain for scientific study.
Grounded in archival discoveries, Afterlives traces the origins of nineteenth-century America’s preservation compulsion, illuminating the influences of botanical, medical, spiritualist, and sentimental discourses on Whitman’s work. Tuggle unveils previously unrecognized connections between Whitman and the leading “medical men” of his era, such as the surgeon John H. Brinton, founding curator of the Army Medical Museum, and Silas Weir Mitchell, the neurologist who discovered phantom limb syndrome. Remains from several amputee soldiers whom Whitman nursed in the Washington hospitals became specimens in the Army Medical Museum.
Tuggle is the first scholar to analyze Whitman’s role in medically memorializing the human cadaver and its abandoned parts.
In Against the Gallows, Paul Christian Jones explores the intriguing cooperation of America’s writers—including major figures such as Walt Whitman, John Greenleaf Whittier, E. D. E. N. Southworth, and Herman Melville—with reformers, politicians, clergymen, and periodical editors who attempted to end the practice of capital punishment in the United States during the 1840s and 1850s. In an age of passionate reform efforts, the antigallows movement enjoyed broad popularity, waging its campaign in legislatures, pulpits, newspapers, and literary journals.
Although it failed in its ultimate goal of ending hangings across the United States, the movement did achieve various improvements in the practices of the justice system, including reducing the number of capital crimes, eliminating public executions in most northern states, and abolishing capital punishment completely in three states.
Although a few historians have studied the antebellum movement against capital punishment, until now very little attention has been paid to the role of America’s writers in these efforts. Jones’s study recovers the relationship between the nation’s literary figures and the movement against the death penalty, illustrating that the editors of literary journals actively encouraged and published antigallows writing, that popular crime novelists created a sympathy toward criminals that led readers to question the state’s justifications for capital punishment, that poets crafted verse that advocated strongly for Christian sympathy for criminals that coincided with an antipathy to the death penalty, and that female sentimental writers fashioned melodramatic narratives that illustrated the injustice of the hanging and reimagined the justice system itself as a sympathetic subject capable of incorporating compassion into its workings and seeing reform rather than revenge as its ends.
Senelick's biography of the panto clown Laff Fox, renowned in his time as America's funniest performer, brings this most popular and most tragic legend to life. In his new essay to this expanded edition, Senelick draws upon recent discoveries and insights to further animate Fox's remarkable career.
“The burden of the past” invoked by any discussion of eclecticism is a familiar aspect of modernity, particularly in the history of literature. The Age of Eclecticism: Literature and Culture in Britain, 1815–1885 by Christine Bolus-Reichert aims to reframe that dynamic and to place it in a much broader context by examining the rise of a manifold eclecticism in the nineteenth century. Bolus-Reichert focuses on two broad understandings of eclecticism in the period—one understood as an unreflective embrace of either conflicting beliefs or divergent historical styles, the other a mode of critical engagement that ultimately could lead to a rethinking of the contrast between creation and criticism and of the very idea of the original. She also contributes to the emerging field of transnational Victorian studies and, in doing so, finds a way to talk about a broader, post-Romantic nineteenth-century culture.
By reviving eclecticism as a critical term, Bolus-Reichert historicizes the theoretical language available to us for describing how Victorian culture functioned—in order to make the terrain of Victorian scholarship international and comparative and create a place for the Victorians in the genealogy of postmodernism. The Age of Eclecticism gives Victorianists—and other students of nineteenth-century literature and culture—a new perspective on familiar debates that intersect in crucial ways with issues still relevant to literature in an age of multiculturalism and postmodernism.
Age of Entanglement explores the patterns of connection linking German and Indian intellectuals from the nineteenth century to the years after the Second World War. Kris Manjapra traces the intersecting ideas and careers of philologists, physicists, poets, economists, and others who shared ideas, formed networks, and studied one another's worlds. Moving beyond well-rehearsed critiques of colonialism, this study recasts modern intellectual history in terms of the knotted intellectual itineraries of seeming strangers.
Collaborations in the sciences, arts, and humanities produced extraordinary meetings of German and Indian minds. Meghnad Saha met Albert Einstein, Stella Kramrisch brought the Bauhaus to Calcutta, and Girindrasekhar Bose began a correspondence with Sigmund Freud. Rabindranath Tagore traveled to Germany to recruit scholars for a new university, and Himanshu Rai worked with Franz Osten to establish movie studios in Bombay. These interactions, Manjapra argues, evinced shared responses to the hegemony of the British empire. Germans and Indians hoped to find in one another the tools needed to disrupt an Anglocentric world order. As Manjapra demonstrates, transnational encounters are not inherently progressive. From Orientalism to Aryanism to scientism, German-Indian entanglements were neither necessarily liberal nor conventionally cosmopolitan, often characterized as much by manipulation as by genuine cooperation.
Physicist John Tyndall and his contemporaries were at the forefront of developing the cosmology of scientific naturalism during the Victorian period. They rejected all but physical laws as having any impact on the operations of human life and the universe. Contributors focus on the way Tyndall and his correspondents developed their ideas through letters, periodicals and scientific journals and challenge previously held assumptions about who gained authority, and how they attained and defended their position within the scientific community.
The unquenchable thirst of Dracula. The animal lust of Mr. Hyde. The acquiescence of Lewis Carroll's Alice. Victorian literature--with its overtones of prudishness, respectability, and Old World hypocrisy--belies a subverted eroticism. The Victorian Gothic is monstrous but restrained, repressed but perverse, static but transformative, and preoccupied by gender and sexuality in both regressive and progressive ways.
Laura Helen Marks investigates the contradictions and seesawing gender dynamics in Victorian-inspired adult films and looks at why pornographers persist in drawing substance and meaning from the era's Gothic tales. She focuses on the particular Victorianness that pornography prefers, and the mythologies of the Victorian era that fuel today's pornographic fantasies. In turn, she exposes what porning the Victorians shows us about pornography as a genre.
A bold foray into theory and other forbidden places, Alice in Pornoland reveals how modern-day Victorian Gothic pornography constantly emphasizes, navigates, transgresses, and renegotiates issues of gender, sexuality, and race.
"All is true," realist writers would say of their work, to which critics now respond: All is art and artifice. Offering a new approach to reading nineteenth-century realist fiction, Lilian R. Furst seeks to reconcile these contradictory claims. In doing so, she clarifies the deceptions, appropriations, intentions, and ultimately the power of literary realism. In close textual analyses of works ranging across European and American literature, including paradigmatic texts by Balzac, Flaubert, George Eliot, Zola, Henry James, and Thomas Mann, Furst shows how the handling of time, the presentation of place, and certain narrational strategies have served the realists’ claim. She demonstrates how readers today, like those a hundred years ago, are convinced of the authenticity of the created illusion by such means as framing, voice, perspective, and the slippage from metonymy to metaphor. Further, Furst reveals the pains the realists took to conceal these devices, and thus to protect their claim to be employing a simple form. Taking into account both the claims and the covert strategies of these writers, All Is True puts forward an alternative to the conventional polarized reading of the realist text—which emerges here as neither strictly an imitation of an extraneous model nor simply a web of words but a brilliantly complex imbrication of the two. A major statement on one of the most enduring forms in cultural history, this book promises to alter not only our view of realist fiction but our understanding of how we read it.
Interest in German Idealism--not just Kant, but Fichte and Hegel as well--has recently developed within analytic philosophy, which traditionally defined itself in opposition to the Idealist tradition. Yet one obstacle remains especially intractable: the Idealists' longstanding claim that philosophy must be systematic. In this work, the first overview of the German Idealism that is both conceptual and methodological, Paul W. Franks offers a philosophical reconstruction that is true to the movement's own times and resources and, at the same time, deeply relevant to contemporary thought.
At the center of the book are some neglected but critical questions about German Idealism: Why do Fichte, Schelling, and Hegel think that philosophy's main task is the construction of a system? Why do they think that every part of this system must derive from a single, immanent and absolute principle? Why, in short, must it be all or nothing? Through close examination of the major Idealists as well as the overlooked figures who influenced their reading of Kant, Franks explores the common ground and divergences between the philosophical problems that motivated Kant and those that, in turn, motivated the Idealists. The result is a characterization of German Idealism that reveals its sources as well as its pertinence--and its challenge--to contemporary philosophical naturalism.
During the nineteenth century, nearly ten thousand Americans traveled to Germany to study in universities renowned for their research and teaching. By the mid-twentieth century, American institutions led the world. How did America become the center of excellence in higher education? And what does that story reveal about who will lead in the twenty-first century?
Allies and Rivals is the first history of the ascent of American higher education seen through the lens of German-American exchange. In a series of compelling portraits of such leaders as Wilhelm von Humboldt, Martha Carey Thomas, and W. E. B. Du Bois, Emily J. Levine shows how academic innovators on both sides of the Atlantic competed and collaborated to shape the research university. Even as nations sought world dominance through scholarship, universities retained values apart from politics and economics. Open borders enabled Americans to unite the English college and German PhD to create the modern research university, a hybrid now replicated the world over.
In a captivating narrative spanning one hundred years, Levine upends notions of the university as a timeless ideal, restoring the contemporary university to its rightful place in history. In so doing she reveals that innovation in the twentieth century was rooted in international cooperation—a crucial lesson that bears remembering today.
Mark C. Taylor University of Chicago Press, 1987 Library of Congress B105.D5T39 1987 | Dewey Decimal 110
Readers familiar with Mark C. Taylor's previous writing will immediately recognize Altarity as a remarkable synthetic project. This work combines the analytic depth and detail of Taylor's earlier studies of Kierkegaard and Hegel with the philosophical and theological scope of his highly acclaimed Erring.
In Altarity, Taylor develops a genealogy of otherness and difference that is based on the principle of creative juxtaposition. Rather than relying on a historical or chronological survey of crucial moments in modern philosophical thinking, he explores the complex question of difference through the strategies of contrast, resonance, and design. Taylor brings together the work of thinkers as diverse as Hegel, Heidegger, Merleau-Ponty, Lacan, Bataille, Kristeva, Levinas, Blanchot, Derrida, and Kierkegaard to fashion a broad intellectual scheme.
Situated in an interdisciplinary discourse, Altarity signifies a harnessing of continental and American habits of intellectual thought and illustrates the singularity that emerges from such a configuration. As such, the book functions as a mirror of our intellectual moment and offers the academy a rigorous way of acknowledging the limitations of its own interpretive practices.
Alter-Nations: Nationalisms, Terror, and the State in Nineteenth-Century Britain and Ireland investigates how Victorian cultural production on both sides of the Irish Sea grappled with the complex relationship between British imperial nationalism and Irish anticolonial nationalism. In the process, this study reconceptualizes the history of modern nationhood in Britain and Ireland.
Taking as its archive political theory, polemical prose, novels, political cartoons, memoir, and newspaper writings, Amy E. Martin’s Alter-Nations examines the central place of Irish anticolonial nationalism in Victorian culture and provides a new genealogy of categories such as “nationalism” “terror,” and “the state.” In texts from Britain and Ireland, we can trace the emergence of new narratives of Irish immigration, racial difference, and Irish violence as central to capitalist national crisis in nineteenth-century Britain. In visual culture and newspaper writing of the 1860s, the modern idea of “terrorism” as irrational and racialized anticolonial violence first comes into being. This new ideology of terrorism finds its counterpart in Victorian theorizations of the modern hegemonic state form, which justify the state’s monopoly of violence by imagining its apparatuses as specifically anti-terrorist. At the same time, Irish Fenian writings articulate anticolonial critique that anticipates the problematics of postcolonial studies and attempts to reimagine in generative and radical ways anticolonialism’s relation to modernity and the state form. By so doing, Alter-Nations argues for the centrality of Irish studies to postcolonial and Victorian studies, and reconceptualizes the boundaries and concerns of those fields.
The discovery in recent years of Louisa May Alcott's pseudonymous sensation stories has made readers and scholars increasingly aware of her accomplishments beyond her most famous novel, Little Women, one of the great international best-sellers of all time. What has been recovered throws new light on the children's books and asks us to question our assumptions about the suposedly staid and sentimental Alcott.
Alternative Alcott includes works never before reprinted, including "How I Went Out to Service," "My Contraband," and "Psyche's Art." It also contains Behind a Mask, her most important sensation story; the full and correct text of her last unfinished novel, Diana and Persis; "Transcendental Wild Oats"; Hospital Sketches; and Alcott's other important texts on nineteenth-century social history. This anthology brings together for the first time a variety of Louisa May Alcott's journalistic, satiric, feminist, and sensation texts. Elaine Showalter has provided an excellent introduction and notes to the collection.
The early history of the Church of Jesus Christ of Latter-day Saints is filled with fascinating characters, but few led a more tumultuous life than Amasa Lyman. Though he has been largely forgotten, this new biography provides a unique and revealing account of the early days of Mormonism and Lyman’s role in creating that history. He served as a missionary in the “burned-over” district of upstate New York and in Ohio before moving to Kirtland, where he suffered in the infant church’s financial crisis. He participated in the conflicts with hostile Missourians and emigrated to Nauvoo, Illinois. There, he became a leader in the church and a close associate of Joseph Smith. Lyman then led a company of pioneers across Iowa to Winter Quarters and on to the Salt Lake Valley. He was sent to the California gold fields and led the colonization of San Bernardino, where he became its first mayor, before returning to Utah, and he traveled to Europe as head of the church’s European missions.
Having spent more than thirty years in the service of his church, Lyman began to move away from its teachings after a series of conflicts with its second leader, Brigham Young. Lyman was one of the first Mormons to criticize the Mountain Meadows Massacre, which led to his dismissal as an apostle. He was excommunicated in 1870 and became one of the foremost spokesmen of the Godbeite Church of Zion movement before his death in 1877. Author Edward Leo Lyman chronicles Amasa Lyman’s life and interactions with Mormon history with an honesty true to his ancestor’s freethinking spirit.
Winner of the Francis Armstrong Madsen Best Utah History Book Award from the Utah Division of State History.
In 1851, when photographs were first shown at the Great Exhibition of Arts and Industry, photography was primarily a hobby for well-to-do amateurs. These early photographers were members of the intellectual and aristocratic elite. They had the means, the education, and the leisure to pursue this new art-science with ardent seriousness. They formed societies, such as the Photographic Society and the Photographic Exchange Club, and published journals for the purpose of sharing their discoveries, exchanging photographs, and publicizing the medium. In this highly original and sensitive book about the birth and transformation of photography in Victorian England, Grace Seiberling explores the work of thirty-three amateur photographers. She describes how they affected the development of the medium and set technical, subject, and compositional standards for future generations of photographers.
A widely held vision of nineteenth-century American women is of lives lived in naive, domestic peace—the girls of Little Women making do until father comes home from the war. Nothing could be less true of Harriet Prescott Spofford's stories. In fact, her editor at the Atlantic Monthly at first refused to believe that an unworldly woman from New England had written them. Her style, though ornate by our 20th century standards, adds to its atmosphere, like heavy, Baroque furniture in a large and creepy house.
The title story presents a self-centered and captivating woman who ruthlessly steals her orphan cousin's lover. In "Circumstance," a pioneer woman returning home through the woods at night is caught by a panther; her husband, who has come to save her, can only watch from the ground as she sings for her life, pinned in a tree. A train engineer hallucinates again and again that he is running over his wife. And Mrs. Craven, who's a bit "weak" in the head, mindlessly repeats "Three men went down cellar and only two came up." These stories combine elements of the best ghost stories—timing, detail, and character —with just enough chill to make you think twice about turning out your lights at night.
In 1769, Spain took action to solidify control over its northern New World territories by establishing a series of missions and presidios in what is now modern California. To populate these remote establishments, the Spanish crown relied on Franciscan priests, whose role it was to convince the Native Californian population to abandon their traditional religious practices and adopt Catholicism. During their tutelage, the Indians of California would be indoctrinated into Spanish society, where they would learn obedience to the church and crown.
The legal system of Southern California has been used by Anglo populations as a social and demographic tool to control Native Americans. Following the Mexican-American War and the 1849 Gold Rush, as California property values increased and transportation corridors were established, Native Americans remained a sharply declining presence in many communities, and were likely to be charged with crimes. The sentences they received were lighter than those given to Anglo offenders, indicating that the legal system was used as a means of harassment. Additionally, courts chronicled the decline of the once flourishing native populations with each case of drunkenness, assault, or rape that appeared before the bench. Nineteenth-century American society had little sympathy for the plight of Indians or for the destruction of their culture. Many believed that the Indians of Southern California would fade from history because of their inability to adapt to a changing world. While many aspects of their traditional culture have been irreparably lost, the people of southern California are, nevertheless, attempting to recreate the cultures that were challenged by the influx of Europeans and later Americans to their lands.
“John Shields's book is a provocative challenge to the venerable Adamic myth so exhaustively deployed in examinations of early American literature and in American studies. Moreover, The American Aeneas builds wonderfully on Shields's considerable work on Phillis Wheatley. “?—American Literature??
“The American Aeneas should be of interest to classicists and American studies scholars alike.” ?—The New England Quarterly??
John Shields exposes a significant cultural blindness within American consciousness. Noting the biblical character Adam as an archetype who has long dominated ideas of what it means to be American, Shields argues that an equally important component of our nation’s cultural identity—a secular one deriving from the classical tradition—has been seriously neglected.??Shields shows how Adam and Aeneas—Vergil’s hero of the Aeneid— in crossing over to American from Europe, dynamically intermingled in the thought of the earliest American writers. Shields argues that uncovering and acknowledging the classical roots of our culture can allay the American fear of “pastlessness” that the long-standing emphasis on the Adamic myth has generated.
John C. Shields is the editor of The Collected Works of Phillis Wheatley and the author of The American Aeneas: Classical Origins of the American Self, which won a Choice Outstanding Academic Book award and an honorable mention in the Harry Levin Prize competition, sponsored by the American Comparative Literature Association.
Since the Renaissance, architects have been authors and architecture has been the subject of publications. Architectural forms and theories are spread not just by buildings, but by the distribution of images and descriptions fed through the printing press. The study of an architect's library is an essential avenue to understanding that architect's intentions and judging his or her achievements.
In this well-illustrated volume, a chronological sequel to American Architects and Their Books to 1848, twelve distinguished historians of architecture discuss from various points of view the books that inspired architects both famous and not-so-famous, and the books the architects themselves produced. They examine the multifaceted relationship of nineteenth- and early twentieth-century architects to print culture—the literary works that architects collected, used, argued over, wrote, illustrated, designed, printed, were inspired by, cribbed from, educated clients with, advertised their services through, designed libraries for, or just plain enjoyed. The result is a volume that presents the intersection of the history of architecture, the history of ideas, and the history of the book. Changes in print culture during this period had a significant impact on the architectural profession, as revealed in these well-informed scholarly essays.
In addition to the editors, contributors include Jhennifer A. Amundson, Edward R. Bosley, Ted Cavanagh, Elspeth Cowell, Elaine Harrington, Michael J. Lewis, Anne E. Mallek, Daniel D. Reiff, Earle G. Shettleworth, Jr., and Chris Szczesny-Adams. Among the architects discussed are A. J. Downing, Charles Sumner Greene, James Sims, Samuel Sloan, John Calvin Stevens, Thomas U. Walter, and Frank Lloyd Wright.
In this collective biography of the more than 1,200 individuals who engaged in astronomical
research, teaching, or practice in the United States between 1859 and 1940, John Lankford
paints a meticulously documented portrait of this community. He tallies the number with and
without doctorates, the number that taught in colleges or universities versus those involved in
industrial or government work, the number of women versus men, and so on. He also
addresses the crucial question of power within the community—what it meant, which
astronomers had it, and what they did with it.
Drawing on more than a decade of archival research, Lankford attends to the numbers in
concise tables and figures, and takes care to focus through biographical sketches on the
human beings his data represent. This dual approach convincingly illustrates how the changing
structure of a scientific community can alter both the career trajectories of its members and the
nature of the scientific research they choose to pursue.
American Bridge Patents: The First Century (1790-1890), thoroughly illustrated with dozens of photographs and reproductions, presents the findings of a two-decade long study of several thousand pages of patent documents collected from the U.S. Patent Office. The essays in this volume offer readers tremendous insight into the creativity that characterized the evolution of bridge patents during this important and formative period of American engineering history. Of particular interest to the authors is the great variety of innovative and unusual designs that were accommodated by the then ambiguous patent law. Alongside these case studies, authors also address the Patent Office itself, whose processes regarding permissions were reformed in 1836, linking the evolution of patent law to the technology it managed.
In 1898 the United States declared sovereignty over the Philippines, an archipelago of seven thousand islands inhabited by seven million people of various ethnicities. While it became a colonial power at the zenith of global imperialism, the United States nevertheless conceived of its rule as exceptional—an exercise in benevolence rather than in tyranny and exploitation. In this volume, Julian Go and Anne L. Foster untangle this peculiar self-fashioning and insist on the importance of studying U.S. colonial rule in the context of other imperialist ventures. A necessary expansion of critical focus, The American Colonial State in the Philippines is the first systematic attempt to examine the creation and administration of the American colonial state from comparative, global perspectives.
Written by social scientists and historians, these essays investigate various aspects of American colonial government through comparison with and contextualization within colonial regimes elsewhere in the world—from British Malaysia and Dutch Indonesia to Japanese Taiwan and America's other major overseas colony, Puerto Rico. Contributors explore the program of political education in the Philippines; constructions of nationalism, race, and religion; the regulation of opium; connections to politics on the U.S. mainland; and anticolonial resistance. Tracking the complex connections, circuits, and contests across, within, and between empires that shaped America's colonial regime, The American Colonial State in the Philippines sheds new light on the complexities of American imperialism and turn-of-the-century colonialism.
Contributors. Patricio N. Abinales, Donna J. Amoroso, Paul Barclay, Vince Boudreau, Anne L. Foster, Julian Go, Paul A. Kramer
Fakery, authenticity, and identity in American literature and culture at the turn of the 20th century
Focusing on texts written between 1880 and 1930, Mary McAleer Balkun explores the concept of the “counterfeit,” both in terms of material goods and invented identities, and the ways that the acquisition of objects came to define individuals in American culture and literature. Counterfeiting is, in one sense, about the creation of something that appears authentic—an invented self, a museum display, a forged work of art. But the counterfeit can also be a means by which the authentic is measured, thereby creating our conception of the true or real.
When counterfeiting is applied to individual identities, it fosters fluidity in social boundaries and the games of social climbing and passing that have come to be representative of American culture: the Horatio Alger story, the con man or huckster, the social climber, the ethnically ambiguous.
Balkun provides new readings of traditional texts such as The Great Gatsby, Adventures of Huckleberry Finn, and The House of Mirth, as well as readings of less-studied texts, such as Walt Whitman’s Specimen Days and Nella Larsen’s Passing. In each of these texts, Balkun locates the presence of manufactured identities and counterfeit figures, demonstrating that where authenticity and consumerism intersect, the self becomes but another commodity to be promoted, sold, and eventually consumed.
Since the dawn of the republic, faith in social equality, religious freedom, and the right to engage in civic activism have constituted our national creed. In this bracing history, Kathleen D. McCarthy traces the evolution of these ideals, exploring the impact of philanthropy and volunteerism on America from 1700 to 1865. What results is a vital reevaluation of public life during the pivotal decades leading up to the Civil War.
The market revolution, participatory democracy, and voluntary associations have all been closely linked since the birth of the United States. American Creed explores the relationships among these three institutions, showing how charities and reform associations forged partnerships with government, provided important safety valves for popular discontent, and sparked much-needed economic development. McCarthy also demonstrates how the idea of philanthropy became crucially wedded to social activism during the Jacksonian era. She explores how acts of volunteerism and charity became involved with the abolitionist movement, educational patronage, the struggle against racism, and female social justice campaigns. What resulted, she contends, were heated political battles over the extent to which women and African Americans would occupy the public stage.
Tracing, then, the evolution of civil society and the pivotal role of philanthropy in the search for and exercise of political and economic power, this book will prove essential to anyone interested in American history and government.
Reconsiders the centrality of a remarkable American writer of the ante- and postbellum periods
Elizabeth Stoddard was a gifted writer of fiction, poetry, and journalism; successfully published within her own lifetime; esteemed by such writers as William Dean Howells and Nathaniel Hawthorne; and situated at the epicenter of New York’s literary world. Nonetheless, she has been almost excluded from literary memory and importance. This book seeks to understand why. By reconsidering Stoddard’s life and work and her current marginal status in the evolving canon of American literary studies, it raises important questions about women’s writing in the 19th century and canon formation in the 20th century.
Essays in this study locate Stoddard in the context of her contemporaries, such as Dickinson and Hawthorne, while others situate her work in the context of major 19th-century cultural forces and issues, among them the Civil War and Reconstruction, race and ethnicity, anorexia and female invalidism, nationalism and localism, and incest. One essay examines the development of Stoddard’s work in the light of her biography, and others probe her stylistic and philosophic originality, the journalistic roots of her voice, and the elliptical themes of her short fiction. Stoddard’s lifelong project to articulate the nature and dynamics of woman’s subjectivity, her challenging treatment of female appetite and will, and her depiction of the complex and often ambivalent relationships that white middle-class women had to their domestic spaces are also thoughtfully considered.
The editors argue that the neglect of Elizabeth Stoddard’s contribution to American literature is a compelling example of the contingency of critical values and the instability of literary history. This study asks the question, “Will Stoddard endure?” Will she continue to drift into oblivion or will a new generation of readers and critics secure her tenuous legacy?
Jaime Osterman Alves / Margaret A. Amstutz / Lawrence Buell / Paul Crumbley / Jennifer Putzi / Lisa Radinovsky / Susanna Ryan / Julia Stern / Ellen Weinauer / Sandra A. Zagarell
This benchmark volume addresses the debate over the effects of early industrialization on standards of living during the decades before the Civil War. Its contributors demonstrate that the aggregate antebellum economy was growing faster than any other large economy had grown before.
Despite the dramatic economic growth and rise in income levels, questions remain as to the general quality of life during this era. Was the improvement in income widely shared? How did economic growth affect the nature of work? Did higher levels of income lead to improved health and longevity? The authors address these questions by analyzing new estimates of labor force participation, real wages, and productivity, as well as of the distribution of income, height, and nutrition.
In modern culture, the essay is often considered an old-fashioned, unoriginal form of literary styling. The word essay brings to mind the uninspired five-paragraph theme taught in schools around the country or the antiquated, Edwardian meanderings of English gentlemen rattling on about art and old books. These connotations exist despite the fact that Americans have been reading and enjoying personal essays in popular magazines for decades, engaging with a multitude of ideas through this short-form means of expression.
To defend the essay—that misunderstood staple of first-year composition courses—Ned Stuckey-French has written The American Essay in the American Century. This book uncovers the buried history of the American personal essay and reveals how it played a significant role in twentieth-century cultural history.
In the early 1900s, writers and critics debated the “death of the essay,” claiming it was too traditional to survive the era’s growing commercialism, labeling it a bastion of British upper-class conventions. Yet in that period, the essay blossomed into a cultural force as a new group of writers composed essays that responded to the concerns of America’s expanding cosmopolitan readership. These essays would spark the “magazine revolution,” giving a fresh voice to the ascendant middle class of the young century.
With extensive research and a cultural context, Stuckey-French describes the many reasons essays grew in appeal and importance for Americans. He also explores the rise of E. B. White, considered by many the greatest American essayist of the first half of the twentieth century whose prowess was overshadowed by his success in other fields of writing. White’s work introduced a new voice, creating an American essay that melded seriousness and political resolve with humor and self-deprecation. This book is one of the first to consider and reflect on the contributions of E. B. White to the personal essay tradition and American culture more generally.
The American Essay in the American Century is a compelling, highly readable book that illuminates the history of a secretly beloved literary genre. A work that will appeal to fiction readers, scholars, and students alike, this book offers fundamental insight into modern American literary history and the intersections of literature, culture, and class through the personal essay. This thoroughly researched volume dismisses, once and for all, the “death of the essay,” proving that the essay will remain relevant for a very long time to come.
Provides a clear view of the realities of the economic and social interactions between Native groups and the expanding Euro-American population
The last quarter of the 18th century was a period of extensive political, economic, and social change in North America, as the continent-wide struggle between European superpowers waned. Native groups found themselves enmeshed in the market economy and new state forms of control, among other new threats to their cultural survival. Native populations throughout North America actively engaged the expanding marketplace in a variety of economic and social forms. These actions, often driven by and expressed through changes in material culture, were supported by a desire to maintain distinctive ethnic identities.
Illustrating the diversity of Native adaptations in an increasingly hostile and marginalized world, this volume is continental in scope—ranging from Connecticut to the Carolinas, and westward through Texas and Colorado. Calling on various theoretical perspectives, the authors provide nuanced perspectives on material culture use as a manipulation of the market economy. A thorough examination of artifacts used by Native Americans, whether of Euro-American or Native origin, this volume provides a clear view of the realities of the economic and social interactions between Native groups and the expanding Euro-American population and the engagement of these Native groups in determining their own fate.
American Literary Minimalism
Robert C. Clark University of Alabama Press, 2015 Library of Congress PS366.M55C53 2015 | Dewey Decimal 810.911
Fills a need for a comprehensive study of this twentieth-century literary movement
Although a handful of books and articles have been written about American literary Minimalism during the last forty years, the mode remains misunderstood. When in a 2011 interview in The Paris Review author Ann Beattie was asked how she felt about being “classed as a minimalist,” she began her answer: “none of us have ever known what that means.” Her response brings into focus the lack of agreement or clarity about the sources and definitions of literary Minimalism. Robert C. Clark’s American Literary Minimalism fills this significant gap.
Clark demonstrates that, despite assertions by many scholars to the contrary, the movement originated in the aesthetic programs of the Imagists and literary Impressionists active at the turn of the twentieth century. The genre reflects the philosophy that “form is thought,” and that style alone dictates whether a poem, story, or novel falls within the parameters of the tradition. The characteristics of Minimalist fiction are efficiency, frequent use of allusion, and implication through omission.
Organizing his analysis both chronologically and according to lines of influence, Clark offers a definition of the mode, describes its early stages, and then explores six works that reflect its core characteristics: Ernest Hemingway’s In Our Time; Raymond Carver’s Cathedral; Jay McInerney’s Bright Lights, Big City; Susan Minot’s Monkeys; Sandra Cisneros’s Caramelo; and Cormac McCarthy’s The Road. In his conclusion, Clark discusses the ongoing evolution of the category.
At a moment in US politics when racially motivated nationalism, shifting relations with Latin America, and anxiety over national futures intertwine, understanding the long history of American preoccupation with magnitude and how it underpins national identity is vitally important. In American Magnitude, Christa J. Olson tracks the visual history of US appeals to grandeur, import, and consequence (megethos), focusing on images that use the wider Americas to establish US character. Her sources—including lithographs from the US-Mexican War, pre–Civil War paintings of the Andes, photo essays of Machu Picchu, and WWII-era films promoting hemispheric unity—span from 1845 to 1950 but resonate into the present.
Olson demonstrates how those crafting the appeals that feed the US national imaginary—artists, scientists, journalists, diplomats, and others—have invited US audiences to view Latin America as a foil for the greatness of their own nation and encouraged white US publics in particular to see themselves as especially American among Americans. She reveals how each instance of visual rhetoric relies upon the eyes of others to instantiate its magnitude—and falters as some viewers look askance instead. The result is the possibility of a post-magnitude United States: neither great nor failed, but modest, partial, and imperfect.
The story of the “American Mediterranean,” both an idea and a shorthand popularized by geographers, historians, novelists, and travel writers from the early nineteenth century to the 1970s.
The naturalist Alexander von Humboldt, visiting the Gulf-Caribbean in the early nineteenth century, called it America’s Mediterranean. Almost a century later, Southern California was hailed as “Our Mediterranean, Our Italy!” Although “American Mediterranean” is not a household phrase in the United States today, it once circulated widely in French, Spanish, and English as a term of art and folk idiom. In this book, Susan Gillman asks what cultural work is done by this kind of unsystematic, open-ended comparative thinking.
American Mediterraneans tracks two centuries of this geohistorical concept, from Humboldt in the early 1800s, to writers of the 1890s reflecting on the Pacific world of the California coast, to writers of the 1930s and 40s speculating on the political past and future of the Caribbean. Following the term through its travels across disciplines and borders, American Mediterraneans reveals a little-known racialized history, one that paradoxically appealed to a range of race-neutral ideas and ideals.
American Naturalism and the Jews examines the unabashed anti-Semitism of five notable American naturalist novelists otherwise known for their progressive social values. Hamlin Garland, Frank Norris, and Theodore Dreiser all pushed for social improvements for the poor and oppressed, while Edith Wharton and Willa Cather both advanced the public status of women. But they all also expressed strong prejudices against the Jewish race and faith throughout their fiction, essays, letters, and other writings, producing a contradiction in American literary history that has stymied scholars and, until now, gone largely unexamined. In this breakthrough study, Donald Pizer confronts this disconcerting strain of anti-Semitism pervading American letters and culture, illustrating how easily prejudice can coexist with even the most progressive ideals.
Pizer shows how these writers' racist impulses represented more than just personal biases, but resonated with larger social and ideological movements within American culture. Anti-Semitic sentiment motivated such various movements as the western farmers' populist revolt and the East Coast patricians' revulsion against immigration, both of which Pizer discusses here. This antagonism toward Jews and other non-Anglo-Saxon ethnicities intersected not only with these authors' social reform agendas but also with their literary method of representing the overpowering forces of heredity, social or natural environment, and savage instinct.
The nineteenth century was the heyday of furious contention between American political parties, and Joel Silbey has recaptured the drama and substance of those battles in a representative sampling of party pamphlets. Political parties mapped the landscape of electoral and ideological warfare, constructing images of themselves and of their adversaries that resonate and echo the basic characteristics of America's then reigning sets of ideas. The nature of political controversy, as well as the substance of politics, is embedded in these party documents which both united and divided Americans. Unlike today's party platforms, these pamphlets explicated real issues and gave insight into the society at large. Andrew Jackson's Democrats, Millard Fillmore's Whigs, Abraham Lincoln's Republicans, and other, lesser-known parties are represented here. The pamphlets demonstrate how, for this fifty-year period, political parties were surrogates for American demands and values. Broad in scope, widely circulated, catalysts for heated debate over the decades, these pamphlets are important documents in the history of American politics.
In an excellent introduction, Silbey teases out and elucidates the themes each party stressed and took as its own in its fight for the soul of the nation.
The American Pipe Dream examines the many iterations of addiction as it was performed over the first half of the twentieth century, working from a massive archive of previously ignored material. Because the stage-addict became the primary way the U.S. public learned about addiction and drug use, Shulman argues that performance was essential in creating the addict in America’s cultural imagination. He demonstrates how modern-day perceptions of addiction and of the addict emerge from a complex history of accumulation and revision that spanned the Progressive Era, the Roaring Twenties, and the Great Depression.
Chapters look at how theatre, film, and popular culture linked the Chinese immigrant and opium smoking; the early attacks on doctors for their part in the creation of addicts; the legislation of addiction as a criminal condition; the comic portrayals of addiction; the intersection of Black, jazz, and drug cultures through cabaret performance; and the linkage between narcotic inebriation and artistic inspiration. The American Pipe Dream creates active connections between these case studies, demonstrating how this history has influenced our contemporary understanding, treatment, and legislation of drug use and addiction.
Although he is revered as one of our greatest presidents, Abraham Lincoln seems to lack the legacy of others like Jefferson or Jackson who brought about new conceptions of American political life. In this study of Lincoln’s political thought, Eric Sands blends political science, history, and political theory to offer a fresh perspective on Lincoln, his thought, and the politics of Reconstruction.
In this new consideration of Lincoln’s “public philosophy”—the nation’s understanding of itself—Sands seeks to determine why the spirit that successfully led the Union through the Civil War was unable to sustain itself during Reconstruction. He defines Lincolnism as a rededication to the principle of natural rights, a narrative of Divine Providence, a sentiment of brotherhood, and an augmentation of founding principles. He then explains how Lincoln’s assassination, Johnson’s succession, and developments in philosophy and science worked to undermine this philosophy after the war.
Sands investigates why the Republican Party was unable to sustain Lincoln’s ideas and why neither Republicans nor Democrats were able to formulate a compelling substitute public philosophy for Lincolnism. He describes how Radical Republicans and Purist Democrats battled for control over America’s public philosophy, then how Moderate Republicans and Legitimist Democrats abandoned battles over first principles completely. By the end of Reconstruction, public philosophy politics were rejected altogether, ultimately frustrating efforts to move the nation toward the realization of full equality under the law.
By reflecting on public policy formation and change, Sands evaluates the strengths and weaknesses of public philosophy politics and shows that the most inspiring and noble kind of politics, even if oriented toward moral principles, can also be dangerous and divisive. His work lends new insight into the role of ideas in politics and offers readers a new understanding of the consequences of Lincoln’s actions and the death of Reconstruction policies—and of why no concept of a “Lincolnian democracy” survived during the Reconstruction era.
American Socialist Triptych: The Literary-Political Work of Charlotte Perkins Gilman, Upton Sinclair, and W. E. B. Du Bois explores the contributions of three writers to the development of American socialism over a fifty--year period and asserts the vitality of socialism in modern American literature and culture.
Drawing upon a wide range of texts including archival sources, Mark W. Van Wienen demonstrates the influence of reform-oriented, democratic socialism both in the careers of these writers and in U.S. politics between 1890 and 1940. While offering unprecedented in-depth analysis of modern American socialist literature, this book charts the path by which the supposedly impossible, dangerous ideals of a cooperative commonwealth were realized, in part, by the New Deal.
American Socialist Triptych provides in-depth, innovative readings of the featured writers and their engagement with socialist thought and action. Upton Sinclair represents the movement's most visible manifestation, the Socialist Party of America, founded in 1901; Charlotte Perkins Gilman reflects the socialist elements in both feminism and 1890s reform movements, and W. E. B. Du Bois illuminates social democratic aspirations within the NAACP. Van Wienen's book seeks to re-energize studies of Sinclair by treating him as a serious cultural figure whose career peaked not in the early success of The Jungle but in his nearly successful 1934 run for the California governorship. It also demonstrates as never before the centrality of socialism throughout Gilman's and Du Bois's literary and political careers.
More broadly, American Socialist Triptych challenges previous scholarship on American radical literature, which has focused almost exclusively on the 1930s and Communist writers. Van Wienen argues that radical democracy was not the phenomenon of a decade or of a single group but a sustained tradition dispersed within the culture, providing a useful genealogical explanation for how socialist ideas were actually implemented through the New Deal.
American Socialist Triptych also revises modern American literary history, arguing for the endurance of realist and utopian literary modes at the height of modernist literary experimentation and showing the importance of socialism not only to the three featured writers but also to their peers, including Edward Bellamy, Hamlin Garland, Jack London, Edna St. Vincent Millay, and Claude McKay. Further, by demonstrating the importance of social democratic thought to feminist and African American campaigns for equality, the book dialogues with recent theories of radical egalitarianism. Readers interested in American literature, U.S. history, political theory, and race, gender, and class studies will all find in American Socialist Triptych a valuable and provocative resource.
American Tomboys, 1850-1915
Renée M. Sentilles University of Massachusetts Press, 2018 Library of Congress HQ798.S444 2018 | Dewey Decimal 305.230820973
A lot of women remember having had tomboy girlhoods. Some recall it as a time of gender-bending freedom and rowdy pleasures. Others feel the word is used to limit girls by suggesting such behavior is atypical. In American Tomboys, Renée M. Sentilles explores how the concept of the tomboy developed in the turbulent years after the Civil War, and she argues that the tomboy grew into an accepted and even vital transitional figure. In this period, cultural critics, writers, and educators came to imagine that white middle-class tomboys could transform themselves into the vigorous mothers of America's burgeoning empire. In addition to the familiar heroines of literature, Sentilles delves into a wealth of newly uncovered primary sources that manifest tomboys' lived experience, and she asks critical questions about gender, family, race, and nation. Beautifully written and exhaustively researched, American Tomboys explores the cultural history of girls who, for a time, whistled, got into scrapes, and struggled against convention.
Winner of the 2000 Hubbell Award from the American Literature Section of the Modern Language Association of America
Choice Outstanding Academic Title
During the nineteenth century, the content and institutional organization of the sciences evolved dramatically, altering the public's understanding of knowledge. As science grew in importance, many women of letters tried to incorporate it into a female worldview. Nina Baym explores the responses to science displayed in a range of writings by American women. Conceding that they could not become scientists, women insisted, however, that they were capable of understanding science and participating in its discourse. They used their access to publishing to advocate the study and transmission of scientific information to the general public.
Bayms book includes biographies and a full exploration of these women's works. Among those considered are:
• Almira Phelps, author of Familiar Lectures on Botany (it sold 350,000 copies)
• Sarah Hale, who filled Godey's Lady's Book with science articles
• Catharine Esther Beecher, who based her domestic advice on scientific information
• Elizabeth Cary Agassiz, the actual ghostwriter of her husband's popular science essays
• Emily Dickinson, whose poetry is replete with scientific images.
Baym also investigates science in women's novels, writing by and about women doctors, and the scientific claims advanced by women's spiritualist movements. This book truly breaks new ground, outlining a field of inquiry that few have noted exists.
This publication marks the first time in a hundred years that a wide range of nineteenth-century American women's poetry has been accessible to the general public in a single volume. Included are the humorous parodies of Phoebe Cary and Mary Weston Fordham and the stirring abolitionist poems of Lydia Sigourney, Frances Harper, Maria Lowell, and Rose Terry Cooke. Included, too, are haunting reflections on madness, drug use, and suicide of women whose lives, as Cheryl Walker explains, were often as melodramatic as the poems they composed and published. In addition to works by more than two dozen poets, the anthology includes ample headnotes about each author's life and a brief critical evaluation of her work. Walker's introduction to the volume provides valuable contextual material to help readers understand the cultural background, economic necessities, literary conventions, and personal dynamics that governed women's poetic production in the nineteenth century.
When railroads connected the United States and Mexico in 1884 and overland travel between the two countries became easier and cheaper, Americans developed an intense curiosity about Mexico, its people, and its opportunities for business and pleasure. Indeed, so many Americans visited Mexico during the Porfiriato (the long dictatorship of Porfirio Díaz, 1876–1911) that observers on both sides of the border called the hordes of tourists and business speculators a “foreign invasion,” an apt phrase for a historical moment when the United States was expanding its territory and influence.
Americans in the Treasure House examines travel to Mexico during the Porfiriato, concentrating on the role of travelers in shaping ideas of Mexico as a logical place for Americans to extend their economic and cultural influence in the hemisphere. Analyzing a wealth of evidence ranging from travelogues and literary representations to picture postcards and snapshots, Jason Ruiz demonstrates that American travelers constructed Mexico as a nation at the cusp of modernity, but one requiring foreign intervention to reach its full potential. He shows how they rationalized this supposed need for intervention in a variety of ways, including by representing Mexico as a nation that deviated too dramatically from American ideals of progress, whiteness, and sexual self-control to become a modern “sister republic” on its own. Most importantly, Ruiz relates the rapid rise in travel and travel discourse to complex questions about national identity, state power, and economic relations across the U.S.–Mexico border.
A century before the Philippines came under American control, Americans were already travelling to Southeast Asia regularly. This book looks at the writings of American diplomats, adventurers, and scientists and chronicles how nineteenth-century Americans viewed and imagined Southeast Asia through their own cultural-political lenses. It argues that as Americans came to visit the region they also brought with them a train of cultural assumptions and biases that contributed to the development of American Orientalism in Southeast Asia.
Contemporary America, with its unparalleled armaments and ambition, seems to many commentators a new empire. Others angrily reject the designation. What stakes would being an empire have for our identity at home and our role abroad?
A preeminent American historian addresses these issues in light of the history of empires since antiquity. This elegantly written book examines the structure and impact of these mega-states and asks whether the United States shares their traits and behavior. Eschewing the standard focus on current U.S. foreign policy and the recent spate of pro- and anti-empire polemics, Charles S. Maier uses comparative history to test the relevance of a concept often invoked but not always understood. Marshaling a remarkable array of evidence--from Roman, Ottoman, Moghul, Spanish, Russian, Chinese, and British experience--Maier outlines the essentials of empire throughout history. He then explores the exercise of U.S. power in the nineteenth and twentieth centuries, carefully analyzing its economic and strategic sources and the nation's relationship to predecessors and rivals.
To inquire about empire is to ask what the United States has become as a result of its wealth, inventiveness, and ambitions. It is to confront lofty national aspirations with the realities of the violence that often attends imperial politics and thus to question both the costs and the opportunities of the current U.S. global ascendancy. With learning, dispassion, and clarity, Among Empires offers bold comparisons and an original account of American power. It confirms that the issue of empire must be a concern of every citizen.
A/Moral Economics is an interdisciplinary historical study that examines the ways which social “science” of economics emerged through the discourse of the literary, namely the dominant moral and fictional narrative genres of early and mid-Victorian England. In particular, this book argues that the classical economic theory of early-nineteenth-century England gained its broad cultural authority not directly, through the well- known texts of such canonical economic theorists as David Ricardo, but indirectly through the narratives constructed by Ricardo’s popularizers John Ramsey McCulloch and Harriet Martineau.
By reexamining the rhetorical and institutional contexts of classical political economy in the nineteenth century, A/Moral Economics repositions the popular writings of both supporters and detractors of political economy as central to early political economists’ bids for a cultural voice. The now marginalized economic writings of McCulloch, Martineau, Henry Mayhew, and John Ruskin, as well as the texts of Charles Dickens and J. S. Mill, must be read as constituting in part the entities they have been read as merely criticizing. It is this repressed moral logic that resurfaces in a range of textual contradictions—not only in the writings of Ricardo’s supporters, but, ironically, in those of his critics as well.
Amy Levy: Critical Essays
Naomi Hetherington Ohio University Press, 2010 Library of Congress PR4886.L25Z56 2010 | Dewey Decimal 828.809
Amy Levy has risen to prominence in recent years as one of the most innovative and perplexing writers of her generation. Embraced by feminist scholars for her radical experimentation with queer poetic voice and her witty journalistic pieces on female independence, she remains controversial for her representations of London Jewry that draw unmistakably on contemporary antisemitic discourse.
Amy Levy: Critical Essays brings together scholars working in the fields of Victorian cultural history, women’s poetry and fiction, and the history of Anglo-Jewry. The essays trace the social, intellectual, and political contexts of Levy’s writing and its contemporary reception. Working from close analyses of Levy’s texts, the collection aims to rethink her engagement with Jewish identity, to consider her literary and political identifications, to assess her representations of modern consumer society and popular culture, and to place her life and work within late-Victorian cultural debate.
This book is essential reading for undergraduate and postgraduate students offering both a comprehensive literature review of scholarship-to-date and a range of new critical perspectives.
Susan David Bernstein,University of Wisconsin-Madison
Gail Cunningham,Kingston University
Elizabeth F. Evans,Pennslyvania State University–DuBois
Emma Francis,Warwick University
Alex Goody,Oxford Brookes University
T. D. Olverson,University of Newcastle upon Tyne
Lyssa Randolph,University of Wales, Newport
Meri-Jane Rochelson,Florida International University
After a century of critical neglect, poet and writer Amy Levy is gaining recognition as a literary figure of stature.
This definitive biography accompanied by her letters, along with the recent publication of her selected writings, provides a critical appreciation of Levy’s importance in her own time and in ours.
As an educated Jewish woman with homoerotic desires, Levy felt the strain of combating the structures of British society in the 1880s, the decade in which she built her career and moved in London’s literary and bohemian circles. Unwilling to cut herself off from her Jewish background, she had the additional burden of attempting to bridge the gap between communities.
In Amy Levy: Her Life and Letters Linda Hunt Beckman examines Levy’s writings and other cultural documents for insight into her emotional and intellectual life. This groundbreaking study introduces us to a woman well deserving of a place in literary and cultural history.
Anarchism is generally understood as a failed ideology, a political philosophy that once may have had many followers but today attracts only cranks and eccentrics. This book argues that the decline of political anarchism is only half the story; the other half is a tale of widespread cultural success.
David Weir develops this thesis in several ways. He begins by considering the place of culture in the political thought of the classical anarchist thinkers William Godwin, Pierre-Joseph Proudhon, Mikhail Bakunin, and Peter Kropotkin. He then shows how the perceived "anarchy" of nineteenth-century society induced writers such as Matthew Arnold, Henry James, and Fyodor Dostoyevsky to turn away from politics and seek unity in the idea of a common culture.
Yet as other late-nineteenth-century writers and artists began to sympathize with anarchism, the prospect of a common culture became increasingly remote. In Weir's view, the affinity for anarchism that developed among members of the artistic avant-garde lies behind much of fin de siÃ¨cle culture. Indeed, the emergence of modernism itself can be understood as the aesthetic realization of anarchist politics. In support of this contention, Weir shows that anarchism is the key aesthetic principle informing the work of a broad range of modernist figures, from Henrik Ibsen and James Joyce to dadaist Hugo Ball and surrealist Luis BuÃ±uel.
Weir concludes by reevaluating the phenomenon of postmodernism as only the most recent case of the migration of politics into aesthetics, and by suggesting that anarchism is still very much with us as a cultural condition.
The United States has always imagined that its identity as a nation is insulated from violent interventions abroad, as if a line between domestic and foreign affairs could be neatly drawn. Yet this book argues that such a distinction, so obviously impracticable in our own global era, has been illusory at least since the war with Mexico in the mid-nineteenth century and the later wars against Spain, Cuba, and the Philippines. In this book, Amy Kaplan shows how U.S. imperialism--from "Manifest Destiny" to the "American Century"--has profoundly shaped key elements of American culture at home, and how the struggle for power over foreign peoples and places has disrupted the quest for domestic order.
The neatly ordered kitchen in Catherine Beecher's household manual may seem remote from the battlefields of Mexico in 1846, just as Mark Twain's Mississippi may seem distant from Honolulu in 1866, or W. E. B. Du Bois's reports of the East St. Louis Race Riot from the colonization of Africa in 1917. But, as this book reveals, such apparently disparate locations are cast into jarring proximity by imperial expansion. In literature, journalism, film, political speeches, and legal documents, Kaplan traces the undeniable connections between American efforts to quell anarchy abroad and the eruption of such anarchy at the heart of the empire.
Examining the complex relationships between the political, popular, sexual, and textual interests of Nathaniel Hawthorne's work, Lauren Berlant argues that Hawthorne mounted a sophisticated challenge to America's collective fantasy of national unity. She shows how Hawthorne's idea of citizenship emerged from an attempt to adjudicate among the official and the popular, the national and the local, the collective and the individual, utopia and history.
At the core of Berlant's work is a three-part study of The Scarlet Letter, analyzing the modes and effects of national identity that characterize the narrator's representation of Puritan culture and his construction of the novel's political present tense. This analysis emerges from an introductory chapter on American citizenship in the 1850s and a following chapter on national fantasy, ranging from Hawthorne's early work "Alice Doane's Appeal" to the Statue of Liberty. In her conclusion, Berlant suggests that Hawthorne views everyday life and local political identities as alternate routes to the revitalization of the political and utopian promises of modern national life.
One of the great triumphs of nineteenth-century philology was the development of the wide array of comparative data that underpins the grammars of the Old Germanic dialects, such as Old English, Old Icelandic, Old Saxon, and Gothic. These led to the reconstruction of Common Germanic and Proto-Germanic languages. Many individuals have forgotten that scholars of the same period were interested in reconstructing the body of ancient law that was supposedly shared by all speakers of Germanic. Stefan Jurasinski's Ancient Privileges: Beowulf, Law, and the Making of the Germanic Antiquity recounts how the work of nineteenth-century legal historians actually influenced the editing of Old English texts, most notably Beowulf, in ways that are still preserved in our editions. This situation has been a major contributor to the archaizing of Beowulf. In turn, Jurasinski's careful analysis of its assumptions in light of contemporary research offers a model for scholars to apply to a number of other textual artifacts that have been affected by what was known as the historische Rechtsschule. At the very least, it will change the way you think about Beowulf.
Androgynous Democracy examines how the notions of gender equality propounded by transcendentalists and other nineteenth-century writers were further developed and complicated by the rise of literary modernism. Aaron Shaheen specifically investigates the ways in which intellectual discussions of androgyny, once detached from earlier gonadal-based models, were used by various American authors to formulate their own paradigms of democratic national cohesion. Indeed, Henry James, Frank Norris, Charlotte Perkins Gilman, John Crowe Ransom, Grace Lumpkin, W. E. B. Du Bois, and Marita Bonner all expressed a deep fascination with androgyny—an interest that bore directly on their thoughts about some of the most prominent issues America confronted as it moved into the first decades of the twentieth century.
Shaheen not only considers the work of each of these seven writers individually, but he also reveals the interconnectedness of their ideas. He shows that Henry James used the concept of androgyny to make sense of the discord between the North and the South in the years immediately following the Civil War, while Norris and Gilman used it to formulate a new model of citizenship in the wake of America’s industrial ascendancy. The author next explores the uses Ransom and Lumpkin made of androgyny in assessing the threat of radicalism once the Great Depression had weakened the country’s faith in both capitalism and religious fundamentalism. Finally, he looks at how androgyny was instrumental in the discussions of racial uplift and urban migration generated by Du Bois and Bonner.
Thoroughly documented, this engrossing volume will be a valuable resource in the fields of American literary criticism, feminism and gender theory, queer theory, and politics and nationalism.
Aaron Shaheen is UC Foundation Assistant Professor of English at the University of Tennessee at Chattanooga. He has published articles in the Southern Literary Journal, American Literary Realism, and the Henry James Review.
Abolitionist, women's rights activist, and social reformer, Angelina Grimké (1805-79) was among the first women in American history to seize the public stage in pursuit of radical social reform. "I will lift up my voice like a trumpet," she proclaimed, "and show this people their transgressions." And when she did lift her voice in public, on behalf of the public, she found that, in creating herself, she might transform the world. In the process, Grimké crossed the wires of race, gender, and power, and produced explosions that lit up the world of antebellum reform. Among the most remarkable features of Angelina Grimké's rhetorical career was her ability to stage public contests for the soul of America—bringing opposing ideas together to give them voice, depth, and range to create new and more compelling visions of social change. Angelina Grimké: Rhetoric, Identity, and the Radical Imagination is the first full-length study to explore the rhetorical legacy of this most unusual advocate for human rights. Stephen Browne examines her epistolary and oratorical art and argues that rhetoric gave Grimké a means to fashion not only her message but her very identity as a moral force.
Winner, Frederick Jackson Turner Award, Organization Of American Historians, 1988
American Historical Association, Pacific Branch Book Award, 1989
Texas Institute of Letters Friends Of The Dallas Public Library Award, 1987
Texas Historical Commission T. R. Fehrenbach Award, Best Ethnic, Minority, And Women's History Publication, 1987
A major work on the history of Mexicans in Texas and the relations between Mexicans and Anglos.
Until well into the twentieth century, pack animals were the primary mode of transport for supplying armies in the field. The British Indian Army was no exception. In the late nineteenth century, for example, it forcibly pressed into service thousands of camels of the Indus River basin to move supplies into and out of contested areas—a system that wreaked havoc on the delicately balanced multispecies environment of humans, animals, plants, and microbes living in this region of Northwest India.
In Animal Labor and Colonial Warfare, James Hevia examines the use of camels, mules, and donkeys in colonial campaigns of conquest and pacification, starting with the Second Afghan War—during which an astonishing 50,000 to 60,000 camels perished—and ending in the early twentieth century. Hevia explains how during the nineteenth and twentieth centuries a new set of human-animal relations were created as European powers and the United States expanded their colonial possessions and attempted to put both local economies and ecologies in the service of resource extraction. The results were devastating to animals and human communities alike, disrupting centuries-old ecological and economic relationships. And those effects were lasting: Hevia shows how a number of the key issues faced by the postcolonial nation-state of Pakistan—such as shortages of clean water for agriculture, humans, and animals, and limited resources for dealing with infectious diseases—can be directly traced to decisions made in the colonial past. An innovative study of an underexplored historical moment, Animal Labor and Colonial Warfare opens up the animal studies to non-Western contexts and provides an empirically rich contribution to the emerging field of multispecies historical ecology.
From yaks and vultures to whales and platypuses, animals have played central roles in the history of British imperial control. The contributors to Animalia analyze twenty-six animals—domestic, feral, predatory, and mythical—whose relationship to imperial authorities and settler colonists reveals how the presumed racial supremacy of Europeans underwrote the history of Western imperialism. Victorian imperial authorities, adventurers, and colonists used animals as companions, military transportation, agricultural laborers, food sources, and status symbols. They also overhunted and destroyed ecosystems, laying the groundwork for what has come to be known as climate change. At the same time, animals such as lions, tigers, and mosquitoes interfered in the empire's racial, gendered, and political aspirations by challenging the imperial project’s sense of inevitability. Unconventional and innovative in form and approach, Animalia invites new ways to consider the consequences of imperial power by demonstrating how the politics of empire—in its racial, gendered, and sexualized forms—played out in multispecies relations across jurisdictions under British imperial control.
Contributors. Neel Ahuja, Tony Ballantyne, Antoinette Burton, Utathya Chattopadhyaya, Jonathan Goldberg-Hiller, Peter Hansen, Isabel Hofmeyr, Anna Jacobs, Daniel Heath Justice, Dane Kennedy, Jagjeet Lally, Krista Maglen, Amy E. Martin, Renisa Mawani, Heidi J. Nast, Michael A. Osborne, Harriet Ritvo, George Robb, Jonathan Saha, Sandra Swart, Angela Thompsell
Anonymous Connections asks how the Victorians understood the ethical, epistemological, and biological implications of social belonging and participation. Specifically, Tina Choi considers the ways nineteenth-century journalists, novelists, medical writers, and social reformers took advantage of spatial frames-of-reference in a social landscape transforming due to intense urbanization and expansion. New modes of transportation, shifting urban demographics, and the threat of epidemics emerged during this period as anonymous and involuntary forms of contact between unseen multitudes. While previous work on the early Victorian social body have tended to describe the nineteenth-century social sphere in static political and class terms, Choi’s work charts new critical terrain, redirecting attention to the productive—and unpredictable—spaces between individual bodies as well as to the new narrative forms that emerged to represent them. Anonymous Connections makes a significant contribution to scholarship on nineteenth-century literature and British cultural and medical history while offering a timely examination of the historical forebears to modern concerns about the cultural and political impact of globalization.
At a time when a woman speaking before a mixed-gender audience risked acquiring the label “promiscuous,” thousands of women presented their views about social or moral issues through sentimental poetry, a blend of affect with intellect that allowed their participation in public debate. Bridging literary and rhetorical histories, traditional and semiotic interpretations, Antebellum American Women's Poetry: A Rhetoric of Sentiment explores an often overlooked, yet significant and persuasive pre–Civil War American discourse.
Considering the logos, ethos, and pathos—aims, writing personae, and audience appeal—of poems by African American abolitionist Frances Watkins Harper, working-class prophet Lydia Huntley Sigourney, and feminist socialite Julia Ward Howe, Wendy Dasler Johnson demonstrates that sentimental poetry was an inportant component of antebellum social activism. She articulates the ethos of the poems of Harper, who presents herself as a properly domestic black woman, nevertheless stepping boldly into Northern pulpits to insist slavery be abolished; the poetry of Sigourney, whose speaker is a feisty, working-class, ambiguously gendered prophet; and the works of Howe, who juggles her fame as the reformist “Battle Hymn” lyricist and motherhood of five children with an erotic Continental sentimentalism.
Antebellum American Women's Poetry makes a strong case for restoration of a compelling system of persuasion through poetry usually dismissed from studies of rhetoric. This remarkable book will change the way we think about women’s rhetoric in the nineteenth century, inviting readers to hear and respond to urgent, muffled appeals for justice in our own day.