That Julia Andrews has reached sources that are so sensitive and difficult with such success is remarkable. The book is unquestionably a brilliant job, well-written, understandable, and of enormous scholarly value."--Joan Lebold Cohen, author of The New Chinese Painting
That Julia Andrews has reached sources that are so sensitive and difficult with such success is remarkable. The book is unquestionably a brilliant job, well-written, understandable, and of enormous scholarly value."--Joan Lebold Cohen, author of The New Chinese Painting
In Belles and Poets, Julia Nitz analyzes the Civil War diary writing of eight white women from the U.S. South, focusing specifically on how they made sense of the world around them through references to literary texts. Nitz finds that many diarists incorporated allusions to poems, plays, and novels, especially works by Shakespeare and the British Romantic poets, in moments of uncertainty and crisis. While previous studies have overlooked or neglected such literary allusions in personal writings, regarding them as mere embellishments or signs of elite social status, Nitz reveals that these references functioned as codes through which women diarists contemplated their roles in society and addressed topics related to slavery, Confederate politics, gender, and personal identity. Nitz’s innovative study of identity construction and literary intertextuality focuses on diaries written by the following women: Eliza Frances (Fanny) Andrews of Georgia (1840–1931), Mary Boykin Miller Chesnut of South Carolina (1823–1886), Malvina Sara Black Gist of South Carolina (1842–1930), Sarah Ida Fowler Morgan of Louisiana (1842–1909), Cornelia Peake McDonald of Virginia (1822–1909), Judith White Brockenbrough McGuire of Virginia (1813–1897), Sarah Katherine (Kate) Stone of Louisiana (1841–1907), and Ella Gertrude Clanton Thomas of Georgia (1843–1907). These women’s diaries circulated in postwar commemoration associations, and several saw publication. The public acclaim they received helped shape the collective memory of the war and, according to Nitz, further legitimized notions of racial supremacy and segregation. Comparing and contrasting their own lives to literary precedents and fictional role models allowed the diarists to process the privations of war, the loss of family members, and the looming defeat of the Confederacy. Belles and Poets establishes the extent to which literature offered a means of exploring ideas and convictions about class, gender, and racial hierarchies in the Civil War–era South. Nitz’s work shows that literary allusions in wartime diaries expose the ways in which some white southern women coped with the war and its potential threats to their way of life.
Conceived as a literary form to aggressively publicize the abolitionist cause in the United States, the African American slave narrative remains a powerful and illuminating demonstration of America's dark history. Yet the genre's impact extended far beyond the borders of the U.S. In a period when few books sold more than five hundred copies, slave narratives sold in the tens of thousands, providing British readers vivid accounts of the violence and privation experienced by American slaves. Eloquent, bracing narratives by Frederick Douglass, William Box Brown, Solomon Northrop, and others enjoyed unprecedented popularity, captivating audiences that included activists, journalists, and some of the era's greatest novelists. The American Slave Narrative and the Victorian Novel investigates the shaping influence of the American slave narrative on the Victorian novel in the years between the British Abolition Act and the American Emancipation Proclamation. The book argues that Charlotte Brontë, W. M. Thackeray, Elizabeth Gaskell, Charles Dickens, and Fanny and Robert Louis Stevenson integrated into their works generic elements of the slave narrative-from the emphasis on literacy as a tool of liberation, to the teleological journey from slavery to freedom, to the ethics of resistance over submission. It contends that Victorian novelists used these tropes in an attempt to access the slave narrative's paradigm of resistance, illuminate the transnational dimension of slavery, and articulate Britain's role in the global community. Through a deft use of disparate sources, Lee reveals how the slave narrative becomes part of the textual network of the English novel, making visible how black literary, as well as economic, production contributed to English culture. Lucidly written, richly researched, and cogently argued, Julia Sun-Joo Lee's insightful monograph makes an invaluable contribution to scholars of American literary history, African American literature, and the Victorian novel, in addition to highlighting the vibrant transatlantic exchange of ideas that illuminated literatures on both sides of the Atlantic during the nineteenth century.
This book presents and analyzes Magistrate (Justice of the Peace) Henry Fieldings impact on law and literature through his pamphlets, periodicals and novels, in the context of laws, legal affairs, legal administration, and the social-economic political and legal environment present in 18th century England. I demonstrate and argue that among novels of all timethe most extensive and diversified coverage of laws, Justices of Peace, lawyers, crimes, and the socio-economic environment, particularly rural 18th century England. Of all the noteworthy 18th century novelists or fiction writers, Justice Henry Fielding is the only one who was also a jurist. This book is also focused on demonstrating how extensively Fielding was consumed throughout his life and the area of law, from his early age to his death, but with a far broader spectrum, education, and experience than anyone except perhaps Lord High Chancellor Hardwicke and Sir William Blackstone. Justice Henry Fielding traveled a long and diversified path in the legal arena to reach the level of expertise, which he deployed in providing his public with Tom Jones, Amelia, and Joseph Andrews as well as his journals and political pamphlets.
The dictionary expands on the original idea of Karttunen and Lockhart to map the usage of loans in Nahuatl, by using a much larger and diversified corpus of sources, and by including contextual use, missing in earlier studies. Most importantly, these sources enrich the colonial corpus with modern data – significantly expanding on our knowledge on language continuity and change.
Best known as a novelist and social satirist whose work anticipated Jane Austen's, Frances Burney (1752-1840) has also been recognized as an important writer in the history of feminist literature. Julia Epstein now offers a new interpretation of Burney and her work: that Burney's anger at the economic and social conditions of women emerges in her writing in moments of barely contained violence, and that her representations of violence and hostility provide a key to Burney's literary power. The Iron Pen situates Burney's writings within the sociopolitical context of the late eighteenth century and proposes a new approach to the development of the novel of manners. In addition, Epstein presents a comprehensive study of the reception of Burney's work from its original publication to the present. This study illuminates the history of popular book reviewing and of academic literary scholarship as political enterprises. Beginning with an examination of Burney's journals and letters, including an account of the mastectomy she underwent without anesthesia while in exile in Paris in 1811, Epstein then offers readings of Burney's four novels, paying close attention to the depiction of repressed anger and violence that characterizes all her work. The final section traces critics' responses to Burney's published writings from 1778, when her first novel, Evelina, appeared anonymously, to the present in readings informed by psychoanalysis, post-structuralism and feminist literary theory. Drawing upon the work of critics of eighteenth-century culture such as Mary Poovey, Ellen Pollak, Ruth Perry, and Margaret Doody, Epstein is successful in two ways: in combining an analysis of a set of texts with an analysis of a particular set of cultural assumptions and in her intentional underscoring of the complex nature of critical practice.
By the close of the eighteenth century, the theatrical memoir had become a popular and established genre. This ten-volume facsimile collection presents the lives of some of the most celebrated actresses of their day. These memoirs also provide insights into contemporary constructions of gender, sexuality and fame.
Considered one of the original texts foretelling the black feminist movement, this collection of essays, first published in 1892, offers an unparalleled view into the thought of black women writers in nineteenth-century America. A leading black spokeswoman of her time, Anna Julia Cooper came of age during a conservative wave in the black community, a time when men completely dominated African-American intellectual and political ideas. In these essays, Cooper criticizes black men for securing higher education for themselves through the ministry, while erecting roadblocks to deny women access to those same opportunities, and denounces the elitism and provinciality of the white women's movement. Passionately committed to women's independence, Cooper espoused higher education as the essential key to ending women's physical, emotional, and economic dependence on men.
British women who resisted their own enfranchisement were ridiculed by the suffragists and have since been neglected by historians. Yet these women claimed to form a majority of the female public on the eve of the First World War. Julia Bush rediscovers the history of female anti-suffragism in Britain.
This book offers an introduction to the bilingual brain. It is a useful resource for researchers and students, bringing together various theories and research approaches in the cognitive neuroscience of bilingualism and a state-of-the-art overview of empirical findings on this topic from various perspectives.
A visionary and a madman" was how one British statesman, Lord Carteret, described Theodore von Neuhoff. This exciting biography, Theodore von Neuhoff, King of Corsica: The Man behind the Legend by Julia Gasper, traces the unlikely career of the German baron who in 1736 had himself crowned the King of Corsica. Theodore von Neuhoff's career spanned the entire European continent and his role in the Corsican rebellion against Genoa was as bold and unconventional as everything else in his life. Mixing with royalty, rogues and rabble, he was successively a soldier, secret agent, Jacobite, speculator, alchemist, cabbalist, Rosicrucian, astrologer, fraudster, and spy. He had changed his name several times, abducted a nun and seen the inside of several prisons before turning his hand to revolution. Neuhoff had daring far-sighted ideas about religious tolerance and the abolition of slavery that turned the Corsican rebellion into a significant political event with repercussions way beyond the shores of one small island. Denounced as an arch-criminal, traitor and seditious heretic, he survived pursuit by the agents of the Genoese Republic for twenty years with a price on his head, dodging assassination attempts while meeting countless famous and fascinating people. Valuable to the British as a political tool against the French, he spent his old age in relative comfort in an English debtors' prison. Theodore von Neuhoff, King of Corsica argues that despite all his eccentricity Neuhoff was still a significant Enlightenment figure.
Sociology Looks at the Arts is intended as a concise yet nuanced introduction to the sociology of art. This book will provide a foundation for teaching and discussing a range of questions and perspectives used by sociologists who study the relationship between the arts – including music, performing arts, visual arts, literature, film and new media – and society.
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