IF 0.3 3区文学

LEGACY Pub Date : 2009-06-03 DOI: 10.1353/leg.0.0059

J. Eberwein

引用次数: 0

Edith Wharton and the Visual Arts, and: The Architectural Imagination of Edith Wharton: Gender, Class, and Power in the Progressive Era (review) 《伊迪丝·沃顿与视觉艺术》、《伊迪丝·沃顿的建筑想象:进步时代的性别、阶级和权力》(回顾)

IF 0.3 3区文学

LEGACY Pub Date : 2009-06-03 DOI: 10.1353/leg.0.0063

M. D'amore

引用次数: 0

Love and Marriage in Early African America (review) 早期非洲裔美国人的爱情与婚姻(回顾)

IF 0.3 3区文学

LEGACY Pub Date : 2009-06-03 DOI: 10.1353/LEG.0.0056

L. Grasso

引用次数: 0

Mothering: The Story of a Revolt 母爱:一个反抗的故事

IF 0.3 3区文学

LEGACY Pub Date : 2009-06-03 DOI: 10.1353/LEG.0.0066

Nina Sutherland Purdy

引用次数: 1

Women & Children First: Nineteenth-Century Sea Narratives & American Identity (review) 妇女与儿童优先:19世纪海上叙事与美国身份(评论)

IF 0.3 3区文学

LEGACY Pub Date : 2009-06-03 DOI: 10.1353/leg.0.0054

P. Gleason

引用次数: 1

Feminist Interventions in Early American Studies (review) 早期美国研究中的女性主义干预(综述)

IF 0.3 3区文学

LEGACY Pub Date : 2009-06-03 DOI: 10.1353/leg.0.0057

Lorrayne Carroll

引用次数: 0

America's Gothic Fiction: The Legacy of Magnalia Christi Americana (review) 美国的哥特小说:玛格丽亚·克里斯蒂·美国的遗产(书评)

IF 0.3 3区文学

LEGACY Pub Date : 2009-06-03 DOI: 10.1353/LEG.0.0060

Gail K. Smith

引用次数: 0

Embodied Pedagogies: Femininity, Diversity, and Community in Anthologies of Women's Writing, 1836–2009 体现教学法:女性写作选集中的女性气质、多样性和社群，1836-2009

IF 0.3 3区文学

LEGACY Pub Date : 2009-06-01 DOI: 10.1353/leg.2009.a317060

Karen L. Kilcup

{"title":"Embodied Pedagogies: Femininity, Diversity, and Community in Anthologies of Women's Writing, 1836–2009","authors":"Karen L. Kilcup","doi":"10.1353/leg.2009.a317060","DOIUrl":"https://doi.org/10.1353/leg.2009.a317060","url":null,"abstract":"With the production of several new collections of American women's writing, a timely moment has arrived to appraise the more than 150-year history of such projects and, in particular, to inquire how that history may have informed new work. The revolution in technology, particularly the development of the Internet and Google Books, has, from one perspective, fostered ease in anthologizing: More material is more available to more people more cheaply than ever before. (1) However, the plenitude of texts presents formidable challenges of conceptual understanding and selection for readers and instructors. Although physical research may now seem antiquated, we can only begin to imagine the effort required to compile the first anthologies of American women's writing, yet we should look to these groundbreaking efforts to understand current projects and the work remaining for their successors. What were editors' goals? How did they embody \"the pressures [that] immediate political and cultural ideologies ... exerted on the formations and re-formations of the American canon\" (Gould 306)? How did they conceive their readerships, a distinction bearing heavily on the production, reception, and, ultimately, reputation and durability of these publications? My own entry into the anthology business--a deliberate word--was accidental and fortuitous. (2) Working in an \"old\" English university in the early 1990s, and dissatisfied with the limited availability of texts by American women writers, like so many feminist precursors, I created photocopied course packs. Lunching with my colleague Angela Leighton one day, I learned of her work on Victorian Women Poets; Angela suggested that I write a proposal for an American project and send it to Blackwell. I had no idea what I was in for. A work of love--and expensive, both in time and resources--Nineteenth-Century American Women Writers consumed the greater part of four years, including a summer at Yale's libraries in pre-air-conditioned 100-degree heat. Friends and colleagues, especially senior colleagues, reacted to a snail-mailed questionnaire with astonishing generosity and kindness, inspiring in me courage to read thousands of texts by hundreds of authors. I photocopied only a tiny proportion of what I read, but the unused materials alone fill a four-drawer filing cabinet gathering dust in my mother's barn. For the most part, anthology editing in the last several decades has been thankless, both financially and professionally unrewarding, especially for editors of American women's and other \"outsider\" writing, which has required decades of scholarship to comprehend, appreciate, and explain. As Jeffrey R. Di Leo observes, anthologies are still \"second-class citizens of the academic world\" (\"Analyzing\" 10), ostensibly fostering superficial textual understandings and eliminating challenging materials. (3) As I have demonstrated in an earlier essay, selection criteria vary widely, with changing emphases on excellence, re","PeriodicalId":42944,"journal":{"name":"LEGACY","volume":"26 1","pages":"299 - 328"},"PeriodicalIF":0.3,"publicationDate":"2009-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66268455","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: 10

Laying Claim to the Land(scape): Chansonetta Stanley Emmons (1858–1937) 宣称拥有土地(景观):Chansonetta Stanley Emmons (1858-1937)

IF 0.3 3区文学

LEGACY Pub Date : 2009-06-01 DOI: 10.1353/leg.2009.a317063

Shawn M. Smith

{"title":"Laying Claim to the Land(scape): Chansonetta Stanley Emmons (1858–1937)","authors":"Shawn M. Smith","doi":"10.1353/leg.2009.a317063","DOIUrl":"https://doi.org/10.1353/leg.2009.a317063","url":null,"abstract":"In 1979, when the Franklin Library republished Sarah Orne Jewett's The Country of the Pointed. Firs and Other Stories in its collection of the 100 Greatest Masterpieces of American Literature, it illustrated the leather-bound limited edition with images made by a relatively unknown photographer, Chansonetta Stanley Emmons. Like Jewett, Emmons was a daughter of Maine, and like her slightly elder compatriot she found creative inspiration in the simple life of Maine's rural inhabitants. (1) Emmons began her photographic practice in 1897, just one year after Jewett first published The Country of the Pointed Firs, and she was fascinated by many of the same antiquated customs and extraordinary people that captured Jewett's imagination. Her images seem a natural choice to illustrate the special edition of Jewett's most celebrated work. In this essay, however, I will suggest that Emmons's photographs are more than just illustrations and that they warrant the kind of close reading typical of literary scholarship. Just as literary texts do, photographs create scenes, even as they document them. A careful reading of the discourses they engage, as well as of their formal elements, reveals the intricate ways photographs propose cultural visions. A photograph represents a series of choices--of subject, framing, emphasis, inclusion, and exclusion--informed by cultural priorities and individual proclivities. By manifesting and reproducing those choices, photographs make some views literally more visible than others. In other words, images, like novels, short stories, and poems, engage in and help to shape cultural ideas, beliefs, and assumptions. Bringing the tools of literary scholarship to bear on Emmons's photographs, attending to their formal and thematic investments, this essay shows how Emmons, like Jewett, composed a specific vision of rural life in Maine, a personal vision imbued with broad cultural and political implications. Chansonetta Stanley Emmons was not alone as a woman photographer at the turn of the century. (2) As Laura Wexler has noted, \"Throughout the 1890s, the periodical press carried many articles that praised photography as a vocation for women\" (210), including the invitation of Frances Benjamin Johnston, who urged readers of the Ladies' Home Journal to discover just \"what a woman [could] do with a camera\" (6). Photography was relatively inexpensive, and training in the practice was still rather casual. People learned photography largely through pamphlets, professional journals, brief apprenticeships, and trial and error. In other words, photography as an art form or a trade was available to many people of modest means and limited time. Emmons began working as a photographer at the relatively late age of thirty-nine, after studying painting and then teaching drawing and sketching, first in schools in rural Maine and later in Boston. In 1909, Emmons produced her own book, a collection of photographs titled The Old Table Chair. She also p","PeriodicalId":42944,"journal":{"name":"LEGACY","volume":"58 1","pages":"346 - 369"},"PeriodicalIF":0.3,"publicationDate":"2009-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66268505","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: 0

On Legacy Profiles 关于遗留配置文件

IF 0.3 3区文学

LEGACY Pub Date : 2009-06-01 DOI: 10.1353/leg.2009.a317064

Jennifer S. Tuttle

{"title":"On Legacy Profiles","authors":"Jennifer S. Tuttle","doi":"10.1353/leg.2009.a317064","DOIUrl":"https://doi.org/10.1353/leg.2009.a317064","url":null,"abstract":"Profiles are central to Legacy's identity and mission. Although they are much shorter than regular scholarly essays and do not appear in every issue, they remain one of the journal's most unique and important features. The original intent of the Profiles was to bring to readers' attention \"forgotten texts, authors, and ways of writing\" (Cutter I: 3), to \"raise and preserve readers' awareness of and interest in writers who might otherwise have lapsed into oblivion\" (Warren I: 4). In doing so, the Profiles have pushed readers continually to interrogate their categories and frameworks, thereby giving shape to the field. As more than one person notes in the Roundtable conversations published in this issue, the Profiles have provided scholars with a testing ground for new material, which often has led to major critical and biographical studies. They are also one of the most obvious ways that Legacy has served as a venue for the crucial work of recovery so central to creating and sustaining the study of American women writers. \"Profiles,\" writes Pattie Cowell, \"provide direct links to bodies of texts too often omitted from discussions of literary histories and canons\" (I: 4). At their best, the Profiles have \"made it clear that no single paradigm or narrative could account for the writing American women have penned, and that to try to impose one not only flattened what is actually there but deflected attention from the diverse, often conflicting alliances, commitments, and identities of those women and their work\" (Zagarell I:1). They are one of Legacy's special features that sets it apart from other journals: \"Its pages include the archive,\" publishing bio-bibliographical information, images of, and selections from the work of writers of interest to scholars in the field (Cowell I: 4). Since the journal's inception, however--and in part as a result of the journal's success--the study of US women writers has expanded exponentially. As we continue the work of interrogating categories and frameworks, then, we must also consider how the Profiles feature might evolve to better serve our needs and to answer the new kinds of questions we are asking. Carla Mulford points out that \"[m]any early American women writers' contributions remain understudied because they don't really fit into the prototypical model of the Profiles that Legacy offers,\" which was \"designed for certain kinds of women writers and certain kinds of archives. ... [P]re-nineteenth-century women, many of whom eschewed print media and 'publicity,' differ to a great extent from the expectations of what should be offered in a Profile\" (II: 6). …","PeriodicalId":42944,"journal":{"name":"LEGACY","volume":"26 1","pages":"370 - 371"},"PeriodicalIF":0.3,"publicationDate":"2009-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66268536","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: 0

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