LEGACY最新文献_第10页

Mary Jane Holmes (1825–1907) 玛丽·简·霍姆斯(1825-1907)

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-13 DOI: 10.1353/LEG.0.0003

Earl F. Yarington

引用次数: 15

Gender and the Poetics of Reception in Poe’s Circle (review) 性别与坡的接受诗学(述评)

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-13 DOI: 10.1353/leg.0.0016

Mary Louise Kete

引用次数: 1

Is Women's Poetry Passé?: A Call for Conversation 女性诗歌是通行证吗?对话的呼唤

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-01 DOI: 10.1353/LEG.0.0032

A. Leahy

{"title":"Is Women's Poetry Passé?: A Call for Conversation","authors":"A. Leahy","doi":"10.1353/LEG.0.0032","DOIUrl":"https://doi.org/10.1353/LEG.0.0032","url":null,"abstract":"In the January 2006 issue of Poetry, three women writers assert, \"[W]e all concur that we ought to abolish the unpleasant term 'women's poetry\"' (322). The poets who made this conclusion are Meghan O'Rourke, an editor for Slate and the Paris Review and author of Halflife; J. Allyn Rosser, whose most recent poetry collection is Misery Prefigured; and Eleanor Wilner, a 1991 MacArthur Foundation Fellow, whose latest collection is The Girl with Bees in Her Hair. My initial response to their commentary was \"Bravo\"! Why, after all, should women writers worry that their work may be judged in relation to their womanness? Why should they be obligated to fit or resist gendered expectations? As a woman poet who still remembers the struggle over ratification of the Equal Rights Amendment, I understand how categorization according to gender can be, and has been, crippling for women. Ultimately, however, I believe that we risk losing more by doing away with the term women's poetry than we do by keeping it. Certainly, one reason for this is that gender inedquality still shapes our lives, despite apparent gains (recently, a student expressed shock when she discovered that the Equal Rights Amendment had failed). And my female creative writing students tend to be drawn--as I was--to the work of confessional poets like Sylvia Plath and Sharon Olds, to women poets and their work. In some way, women's poetry as a category asserts that the woman poet exists within a tradition that long ago left her in the dark. As pleasant as it sounds to eliminate wording that reinforces stereotypes, rejecting the term risks obfuscating recent history, erasing the artistic work that the category delineates, and silencing questions about canonization. The exchange in Poetry, then, is a call for conversation among poets writing today and scholars studying women writers of the past. Given the journal's prestigious history (it published T.S. Eliot's \"The Love Song of J. Alfred Prufrock\") and its now unequalled financial power in contemporary poetry (in 2002, Poetry received a bequest of more than one hundred million dollars from Ruth Lilly), the commentary among O'Rourke, Rosser, and Wilner deserves serious consideration, even though it echoes the same issues I heard debated twenty years ago as an undergraduate. POETRY BY WOMEN: CONTEXTS FOR OUR CAREERS Harriet Monroe founded Poetry in 1912 with the following statement of the magazine's \"Mission\": \"The Open Door will be the policy of this magazine--may the great poet we are looking for never find it shut, or half-shut, against his ample genius! ... [The editors] desire to print the best English verse which is being written today, regardless of where, by whom, or under what theory of art it is written.\" Because this statement announces that various kinds of work commingle within the pages of Poetry, one might expect gender to be equitably represented, especially recently, unless men--or women--have more \"ample genius.\" While a sweeping st","PeriodicalId":42944,"journal":{"name":"LEGACY","volume":"25 1","pages":"311 - 323"},"PeriodicalIF":0.3,"publicationDate":"2008-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LEG.0.0032","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66263707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Reading Published Letter Collections as Literary Texts: Maria Chabot—Georgia O'Keeffe Correspondence, 1941-1949 as a Case Study 作为文学文本阅读已出版的信件集:玛丽亚·夏博特与乔治亚·奥基夫的通信，1941-1949为个案研究

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-01 DOI: 10.1353/LEG.0.0033

L. Grasso

{"title":"Reading Published Letter Collections as Literary Texts: Maria Chabot—Georgia O'Keeffe Correspondence, 1941-1949 as a Case Study","authors":"L. Grasso","doi":"10.1353/LEG.0.0033","DOIUrl":"https://doi.org/10.1353/LEG.0.0033","url":null,"abstract":"\"I had to tell you.\" (1) \"I must tell you\" (454). The sense of urgency, the desire for a witness--and a recipient--of intense feeling, permeates the letters between Maria Chabot and Georgia O'Keeffe that are now collected in a single, edited volume, published by University of New Mexico Press in 2003. When Chabot and O'Keeffe met in New Mexico in 1940, O'Keeffe was a fifty-three-year-old established artist and Chabot was a rootless, talented young woman of twenty-six, yearning to actualize her literary ambitions. The relationship between the two women began as a mutual system of exchange: Chabot would provide domestic and daily living services; O'Keeffe would provide housing and a salary. But this original arrangement developed into a much more complicated and murky relation, the nature of which we--scholars, readers, retrospective vicarious participants--will most likely never be able to reconstruct or fully understand. How, then, and for what purpose, are we to read these letters? Here they are, 678 of them, a remarkably rich two-way exchange, bounded by the covers of a book, spanning an eight-year period. How do we make meaning of what we are reading? In this essay, I begin to answer these questions by proposing two ideas: First, published letter collections, as well as the letters within them, should be considered as literary texts that comprise a discrete literary form; second, we need to devise and apply reading strategies appropriate to that form. I will explore these two ideas using the Maria Chabot-Georgia O'Keeffe volume as a reference point. (2) The story of how Maria Chabot--Georgia O'Keeffe Correspondence became a book illustrates precisely why published letter collections should be regarded as literary texts. This volume, like many edited letter collections, is an artful creation brought into being by the efforts, choices, and decisions of several people and institutions: the letter writers, editors, and publishers, and the texts' legal custodians. The book is thus a collaborative work of art forged through language, image, selection, and arrangement. The editors, however, play a central role in the collaboration. It is they who decide which documents the book will contain, they who determine the placement of those documents, and, finally, they who devise the book's plotting and narrative trajectory. In Maria Chabot--Georgia O'Keeffe Correspondence, editors Barbara Buhler Lynes and Ann Paden include maps; an introductory essay; reproductions of letters and O'Keeffe's 1940s paintings; many previously unpublished photographs; ancillary documentation in the from of chapter introductions, explanations, and footnotes; and an appendix that provides biographical information about the people mentioned in the letters. The editors' narrative commentary and explanatory footnotes frame the letters, link them together, and embed them in larger contexts. The visual sources speak through the language of color, shape, and photographic representatio","PeriodicalId":42944,"journal":{"name":"LEGACY","volume":"25 1","pages":"239 - 250"},"PeriodicalIF":0.3,"publicationDate":"2008-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LEG.0.0033","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66263751","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

A Forgotten Daughter of Bohemia: Gertrude Christian Fosdick's Out of Bohemia and the Artists' Novel of the 1890s 被遗忘的波西米亚的女儿:格特鲁德·克里斯蒂安·福斯迪克的《走出波西米亚》和19世纪90年代的艺术家小说

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-01 DOI: 10.1353/LEG.0.0043

D. Campbell

引用次数: 1

Writing at the Crossroads: Sophia Hawthorne's Civil War Letters to Annie Fields 在十字路口写作:索菲娅·霍桑写给安妮·菲尔兹的内战信件

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-01 DOI: 10.1353/LEG.0.0036

Julie E. Hall

{"title":"Writing at the Crossroads: Sophia Hawthorne's Civil War Letters to Annie Fields","authors":"Julie E. Hall","doi":"10.1353/LEG.0.0036","DOIUrl":"https://doi.org/10.1353/LEG.0.0036","url":null,"abstract":"If the civil war was, as Shelby Foote suggested ..., the \"crossroads of our being,\" how did women imagine that crossroads? (6) Lyde Cullen Sizer, The political Work of Northern Women Writers and the Civil War, 1850-1872. Sophia Peabody Hawthorne met Annie Adams Fields for the first time in London in June of 1859. Fields was the young, beautiful new bride of powerful editor and publisher James T. Fields. The acquitance between the two women was renewed one year later as the Hawthornes and the Fieldses traveled together across the Atlantic to their homeland. According to Rita K. Gollin, Annie later remembered Sophia on this trip as \"a 'second Scheherezade,' a 'romancer in conversation [who] filled the evening hours by weaving magic webs of her fancies'\" (92). Those \"magic webs\" took epistolary form once the two arrived in America, settling into their lives--Sophia in Concord, Annie in Boston--and into an intimate friendship that spanned the decade. (1) The friendship, and the correspondence, dissolved in the late 1860s amid financial disputes between the then-widowed Sophia and Annie's husband, James, concerning royalties from Nathaniel's books. Until that time, though, Fields was for Hawthorne \"that ... sacred sort of nature which provokes my entire confidence.\" (2) She wrote to Annie of matters large and small, of those strinkingly at the center of her life, such as the illness and death of her husband, and of those more exterior to her but perhaps equally as formative, such as her nation's Civil War. For this extraordinary epistolary friendship took place during an equally extraordinary time--the US Civil War period--and this historical backdrop provides a rich context within which to examine Hawthorne's correspondence with Fields, specifically her treatment of gender. Housed in the Boston Public Library, Hawthorne's unpublished letters to Fields have been studied by scholars in the past, most often for what they could reveal about their author's famous husband, the last years of his life, and his wife's editing of his journals after his death. (3) More recently, Gollin surveyed the letters in her 2002 biography of Annie Fields. And, in a 2006 essay, I explored Hawthone's writing of the war in the letters, arguing that she thereby contributes to and participates in what Lyde Cullen Sizer calls \"an alternative history and narrative of the [Civil W]ar\"--a story told by women about women's experience of that great conflict (n). (4) In the present essay, I push this analysis further, focusing not solely on Hawthorne's representation of the war, but also on her writing of gender within wartime, when rebellion and revolution against the state and its sociopolitical constructs were enacted daily. For, as scholars have noted, war in general, and perhaps civil war in particular, tends to destabilize and disorder gender roles and identities. Christa Hammerle notes gender inversions in her fascinating examination of World War I correspondence, while Margar","PeriodicalId":42944,"journal":{"name":"LEGACY","volume":"25 1","pages":"251 - 261"},"PeriodicalIF":0.3,"publicationDate":"2008-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LEG.0.0036","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66263867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Writing in the Real World 在现实世界中写作

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-01 DOI: 10.1353/LEG.0.0045

Karen L. Kilcup

{"title":"Writing in the Real World","authors":"Karen L. Kilcup","doi":"10.1353/LEG.0.0045","DOIUrl":"https://doi.org/10.1353/LEG.0.0045","url":null,"abstract":"When Hillary Clinton encountered a heckler's sign, \"Iron My Shirt,\" at a January 2008 campaign rally, she could easily have responded with Anne Bradstreet's complaint from 350 years ago: \"I am obnoxious to each carping tongue / Who says my hand a needle better fits\" (25-26). Substitute \"iron\" for \"needle\" and the observation remains essentially unchanged. The question of women's appropriate \"domestication,\" far from being settled, still provokes anxiety, anger, and arguments. Women's place--in the home, in American society, in the world--figures explicitly or implicitly in many important contemporary conversations; for example, whether one supported Hillary Clinton or another candidate, the recent presidential campaign exposed the powerful vestiges of separate spheres ideology. How could a woman, who should have her hand on the toaster, touch the button that could end the world? (1) As we approach the fourth conference of the Society for the Study of American Women Writers, our last meeting seems a world away. In 2006, nearly 450 participants, from almost every state and from several international locations, discussed a wide range of topics. The essays collected in this special issue of Legacy address a number of recurrent concerns among the approximately 350 author- or theme-based presentations: performance, identity, genre, the meaning of home, issues of mentoring, and the concept of \"legacies\"--the relationship between generations of women writers. (2) Most broadly, however, in one way or another all of the essays here tackle the inevitable imbrication of public and private domains. (3) The remarks that follow invert the conventional structuring of introductory essays. First, I will trace some of the continuities among the contributions here represented. I will then widen the circle to meditate on a specific and putatively nonliterary genre, obituary, that occupies a conceptual space between public and private, and, in the case of Susan Gilbert Dickinson's obituary for Emily Dickinson, between prose and poetry. In the final section, I will speak briefly of personal loss, then return to the essays here, pondering how some of the concepts they advance are embodied publicly in the twenty-first century. In the process, I attempt to reflect, more associatively than analytically, on Tanya Ann Kennedy's observation that \"there may be problems with feminists arguing that they are done with a dominant ideology, such as the public/private binary, when it is not done with women\" (2), and her reminder of American women's historical intervention into debates about \"civilization [and] citizenship\" (8). What place does our work--which includes both the texts that we study and those that we write--have in the world? ENVISIONING CITIZENS, AT HOME AND ABROAD In the 2008 presidential campaign primaries, candidates were scrutinized for both their \"presidential\" (\"public\") and their \"human\" (\"private\") qualities. Hillary Clinton appeared close to tears in response","PeriodicalId":42944,"journal":{"name":"LEGACY","volume":"10 1","pages":"193 - 210"},"PeriodicalIF":0.3,"publicationDate":"2008-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LEG.0.0045","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66264165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3

The Motherless Child in Pauline Hopkins's Of One Blood 波琳·霍普金斯的《同源》中没有母亲的孩子

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-01 DOI: 10.1353/LEG.0.0047

J. Bergman

{"title":"The Motherless Child in Pauline Hopkins's Of One Blood","authors":"J. Bergman","doi":"10.1353/LEG.0.0047","DOIUrl":"https://doi.org/10.1353/LEG.0.0047","url":null,"abstract":"[T]he desire of the mother is the origin of everything (283). Jacques Lacan, \"Antigone Between Two Deaths,\" 1960. Sometimes I feel like a motherless child, Sometimes I feel like a motherless child, Sometimes I feel like a motherless child, A long ways from home; A long ways from home. (581) --African American spiritual As quoted in Eric J. Sundquist, To Wake the Nations: Race in the Making of American Literature In Pauline Hopkins's final novel, Of One Bloody her protagonist, Reuel Briggs, is a mixed-race man passing for white. When confronted with the racial identity he has inherited from his slave mother, Reuel responds emotionally: \"[Apparently struggling for words ... [he] ... fell on his knees in a passion of sobs agonizing to witness. 'You know then ... that I am Mira's son?'\" (593). By acknowledging his racial heritage and family history, Briggs reclaims his biological and national mother. This scene highlights a central theme in Hopkins's work: the restoration of the mother as a means of personal and national redemption. Hopkins anticipates Stuart Hall's delineation of a text's ability to impose \"an imaginary coherence on the experience of dispersal and fragmentation, which is the history of all enforced diasporas.\" As Hall explains,\"[B]y representing or 'figuring' Africa as the mother of these different civilizations,\" texts seek to \"restore an imaginary fullness or plentitude, to set against the broken rubric of our past\" (224-25). In Of One Blood, Hopkins imagines just such a restorative as she casts the African American community as motherless and counters the \"broken rubric\" of the African American past and present with a story of proud racial heritage and national entitlement made possible by the restoration of the national mother. We can understand Hopkins's focus on the community's relationship to the mother more fully through the lens of psychoanalytic theory. Treating the post-Reconstruction African American community--the community to which Pauline Hopkins belonged and for whom she primarily wrote--as the subject in Sigmund Freud's Oedipal model clarifies the position occupied by that group. In Hopkins's work, the rejected or absent mother figures as the cause of African Americans' alienation in the post-Reconstruction United States, but also, as we shall see, as a potential source of power. In what follows, I outline the trop of motherlessness as Hopkins appropriated and extended it, exploring its resonance via psychoanalytic models. I then read Of One Blood using these models, examining the motherlessness that signified national alienation and powerlessness and identifying how the mother is able to restore national identity and unity. THE MOTHERLESS CHILD Numerous scholars have detailed the nineteenth-century domestic ideology that placed mothers in an exalted position in both home ad society. (1) The popular domestic novel typically placed the mother at the center of its protagonist's development, often paradoxically highlig","PeriodicalId":42944,"journal":{"name":"LEGACY","volume":"25 1","pages":"286 - 298"},"PeriodicalIF":0.3,"publicationDate":"2008-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LEG.0.0047","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66263780","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Zitkala-S̈a, The Song of Hiawatha, and the Carlisle Indian School Band: A Captivity Tale 《海瓦塔之歌》和《卡莱尔印第安学校乐队:一个被囚禁的故事》

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-01 DOI: 10.1353/LEG.0.0049

Ruth Spack

{"title":"Zitkala-S̈a, The Song of Hiawatha, and the Carlisle Indian School Band: A Captivity Tale","authors":"Ruth Spack","doi":"10.1353/LEG.0.0049","DOIUrl":"https://doi.org/10.1353/LEG.0.0049","url":null,"abstract":"In early 1900, Richard Henry Pratt, superintendent of the Carlisle Indian Industrial School in Pennsylvania, invited Zitkala-Sa to travel as a violin soloist with the Carlisle Indian School Band on their tour of the northeastern United States. He also asked her to recite a scene from Henry Wadsworth Longfellow's narrative poem, The Song of Hiawatha. It is not surprising that Pratt would select Zitkala-Sa to play the violin, for her classical training at the New England Conservatory of Music (1899-1901) fir well with the band's repertoire, which included selections from II Trovatore and Lohengrin (\"What the Papers Say\"). Furthermore, Pratt would have been well aware that the Hiawatha recitation would appeal to his target audience: European Americans who, across the country, were eagerly attending cultural performances by Native Americans, under the mistaken assumption that indigenous people would seen disappear from the American landscape (Trachtenberg xxiii). But the timing of Pratt's invitation was peculiar. Zitkala-Sa had just defined the assimilationist ideology of Carlisle, where she had taught music from mid-1897 to the end of 1898, by publishing controversial pieces in the Atlantic Monthly, sketches that venerated indigenous ways of life on the one hand and criticized European American approaches to educating Native American children on the other. (1) And Pratt had responded by publishing an anonymously written review of her work in a Carlisle newspaper, The Red Man, which accused her of providing a \"misleading\" portrayal of Indian schools (\"School Days of an Indian Girl\"8). If Pratt felt that Zitkala-Sa represented a threat to his educational mission, why did he give her such a prominent position on the tour? My curiosity about Zitkala-Sa's participation in the Carlisle tour led to my discovery of a letter Pratt wrote to a colleague on 30 March 1900, in which he explained his reason for inviting Zitkala-Sa. He wanted to gain control over her and put a stop to her criticism: \"I believe in capturing her and keeping her on our side\" (Pratt Papers; emphasis added). Reading Pratt's letter, I came to understand Zitkala-Sa's performance with the Carlisle Indian School Band as a captivity tale waiting to be told. THE SCENE OF CAPTIVITY: BOSTON, MASSACHUSETTS, 1900 It was from Boston that Pratt lured Zitkala-Sa, yet her impressive resume in that city would suggest that she was an unlikely candidate for capture. At the time of Pratt's invitation, Zitkala-Sa was almost twenty-four years old, deeply involved in the Boston artistic community, and much admired for her talent and beauty. Among her friends and mentors were Boston's most prominent musicians, photographers, and writers--an admirable accomplishment for any woman living independently in that era and an extraordinary achievement for someone of Native American background. When she arrived in Boston to study music at the beginning of 1899, Zitkala-Sa entered what Deborah A. Devine calls \"arguabl","PeriodicalId":42944,"journal":{"name":"LEGACY","volume":"25 1","pages":"211 - 224"},"PeriodicalIF":0.3,"publicationDate":"2008-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LEG.0.0049","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66263834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 5

Delinquent Housekeeping: Transforming the Regulations of Keeping House 违章持家:改造房屋管理制度

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-01 DOI: 10.1353/LEG.0.0028

Christina Wilson

{"title":"Delinquent Housekeeping: Transforming the Regulations of Keeping House","authors":"Christina Wilson","doi":"10.1353/LEG.0.0028","DOIUrl":"https://doi.org/10.1353/LEG.0.0028","url":null,"abstract":"Sarah Orne Jewett's Deephaven and Marilynne Robinson's Housekeeping portray the quiet lives of rural women involved in the daily matters of keeping house. The trope of the ship punctuates these scenes of domesticity, and through this image Jewett and Robinson question, subvert, and revise conventional ideas about how women relate to space. For them, the ship functions in much the way Foucault describes in his essay \"Different Spaces\": It \"is a piece of floating space, a placeless place\" (184-85). Foucault's ship is unique because it traverses the boundaries between fluidity and stability, interior and exterior, place and placelessness. Jewett's and Robinson's use of the ship can be read in a similar way, as a creation of habitability--how subjects make space their own. Michel de Certeau, in The Practice of Everyday Life, uses reading and writing as a model for habitability, claiming that readers mutate the author's text in order to make it \"habitable\" (xxi). I take this idea a step further to argue that writers use their texts to mutate space and, in so doing, make space habitable. Habitability emerges in texts when space fulfills the subject's psychological, emotional, and social needs. It goes beyond traditional ideas of home that rely heavily on feelings of personal comfort, security, and stability and incorporates the inherent flux and conflict in the way that subjects relate to space. Tracing the figure of the ship allows Deephaven and Housekeeping to be read as a dialogue about the potential for habitability within domestic space. Each of these novels underscores how the ship functions as a site of (re)imagining the role of domesticity in women's lives. Jewett links flexible spatial practices with fluid gender roles and lays the groundwork to redefine domesticity. Robinson uses a similar idea to sabotage the very definitions and regulations of the domestic, creating an ungrounded domesticity, a domesticity that is not situated in one particular location or site. (1) These novels converge around the representation of spatial metamorphoses. Above all, they suggest that habit ability is not tied to a particular kind of space or location but rather to a relationship between the subject and space- Because each approaches domesticity from a distinct historical and cultural context, together they challenge the very foundations of domesticity and its relation to habitability. (2) Jewett's first novel is situated firmly in the genre of literary regionalism, but instead of celebrating a personal, affective connection to a particular locale, Jewett just as often critiques this sense of place. Deephaven details Kate Lancaster and Helen Denis's summer visit to the Maine village of Deephaven, where they keep the house of Kate's grandaunt, Mrs. Brandon. The primary spatial crisis is the tension between a rooted sense of place and an ungrounded sense of place. Jewett argues that a more flexible approach to occupying space produces a more sustainable habita","PeriodicalId":42944,"journal":{"name":"LEGACY","volume":"25 1","pages":"299 - 310"},"PeriodicalIF":0.3,"publicationDate":"2008-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LEG.0.0028","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66264067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 5