IF 0.3 3区文学

LEGACY Pub Date : 2008-06-13 DOI: 10.1353/LEG.0.0000

Bettina Manzo

引用次数: 1

Orientalism and Sympathy in Maria Susanna Cummins’s El Fureidîs 玛丽亚·苏珊娜·康明斯《未来》中的东方主义与同情

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-13 DOI: 10.1353/LEG.0.0011

Steven L. Hamelman

{"title":"Orientalism and Sympathy in Maria Susanna Cummins’s El Fureidîs","authors":"Steven L. Hamelman","doi":"10.1353/LEG.0.0011","DOIUrl":"https://doi.org/10.1353/LEG.0.0011","url":null,"abstract":"The Lamplighter has long monopolized scholarship on Maria Susanna Cummins and her treatment of sympathy, despite the rich sympathetic texture of her other three novels: Mabel Vaughan has more than seventy references to sympathy; Haunted Hearts is saturated with allusions to \"heart\"; and El Fureidis teems with signs of sympathy. Craig Taylor has defined sympathy as \"a primitive response to another's suffering which is partially constitutive of our understanding of what it is to suffer as a human being\" (113); Lauren Wispe characterizes it as \"the increased sensibility of another person's suffering as something to be alleviated\" (68). These definitions of sympathy derive from A Treatise of Human Nature, wherein David Hume notes that because of human \"resemblance,\" the feelings of others \"produce [in us] an emotion similar to the original one\" (86), and from the opening chapter of The Theory of Moral Sentiments, where Adam Smith writes, \"As we have no immediate experience of what other men feel, we can form no idea of the manner in which they are affected, but by conceiving what we ourselves should feel in the like situation\" (9). El Fureidis (\"The Paradise\") is unique among Cummins's works, not only because its setting, Lebanon, is a far cry from Boston, New York City, northeastern New Jersey, and the Illinois prairie (settings of her other works), but also because in El Fureidis conventional meanings of sympathy are continually undercut by an Orientalist point of view. Indeed, El Fureidis is unique among other major antebellum fictions, discussed below, in which the interplay between sympathy and Orientalism is prominent. Cummins so often bends and twists accepted definitions of sympathy in an Oriental milieu that the text's sentimental assurances are negated by its very infatuation with Eastern culture. El Fureidis depicts a contradiction between two discrepant sensibilities--compassion for human beings, no matter what their race, nationality, or religion, and Orientalist assumptions about Lebanese culture. Contained within every sign of sympathy in El Fureidis is a sign of antipathy based in Orientalism, no less disparaging for being genteel and, for the most part, subtle. Carried along on the tide of what Anna Brickhouse has termed the \"transamerican renaissance\" (8), Cummins's novel is \"riddled with the contradictions and rhetorical impasses attending a nation whose geographic borders were expanding even as its imagined racial borders were narrowing and calcifying\" (6-7). Brickhouse's concentration on this transnational dynamic as played out between the United States and Cuba, Haiti, and Mexico in the first half of the nineteenth century sheds light on the literary border crossing undertaken by Cummins in more distant regions and with different connotations for Americans. In El Fureidis, the \"racial ideologies\" and \"cultural fantasies\" that Brickhouse sees proliferating and feeding \"anxieties about the wider Americas\" are expressed in Cummins'","PeriodicalId":42944,"journal":{"name":"LEGACY","volume":"25 1","pages":"62 - 82"},"PeriodicalIF":0.3,"publicationDate":"2008-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LEG.0.0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66263401","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

Captivity, Freedom, and the New World Convent: The Spiritual Autobiography of Marie de l’Incarnation Guyart 囚禁、自由和新世界修道院:玛丽·德·化身居亚特的精神自传

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-13 DOI: 10.1353/LEG.0.0001

Caroline M. Woidat

{"title":"Captivity, Freedom, and the New World Convent: The Spiritual Autobiography of Marie de l’Incarnation Guyart","authors":"Caroline M. Woidat","doi":"10.1353/LEG.0.0001","DOIUrl":"https://doi.org/10.1353/LEG.0.0001","url":null,"abstract":"[W]hat we accomplish in this new Church is seen by God and not by men our enclosure covers all, and it is difficult to speak of what one does not see. Marie de 'l Incarnation Guyart, Letter to her son, 9 Aug. 1668 (Word from New France 337) Working within convent walls in seventeenth-century Quebec, Marie de l'Incarnation Guyart recognized her invisibility and generated a vast body of literature that reveals the extent of her spiritual and physical trials as a religious woman and early colonist. Her narratives of travel, frontier life, and encounters with native peoples paradoxically emerge from her seclusion as a cloistered nun, locating the convent at the center--not the periphery--of colonial settlement and American experience. Guyart's detailed accounts of the religious calling that led her to the New World and of her experiences as an immigrant span a time period of nearly fifty years, from 1625 to 1671. In addition to writing two autobiographies and letters estimated to have numbered from eight to twenty thousand, Guyart composed instructional catechisms and dictionaries in French and Indian languages. During her lifetime, Guyart's letters were circulated in France and cited in The Jesuit Relations, the published annual reports of Jesuit missionaries in Canada. Her writing, like that of other seventeenth-century religious women, was subject to the scrutiny and editing of male clergy who published her work not as literature, but as writing of practical, spiritual, and historical value. (1) In this respect, Guyart resembles Mary Rowlandson, whose authorship depended upon the usefulness of her captivity narrative's Calvinist moralizing and justification for Indian war. While Rowlandson's single work, The Sovereignty and Goodness of God, occupies a prominent place in American literary history, Guyart's voluminous and wide-ranging body of writing has long been treated as a valuable source of Catholic, French, and Canadian history, a reason her work now appears in twentieth-century critical editions, including translations into English. (2) Until recently, the importance of Marie de l' Incarnation's work to American literary history has been veiled by the religious vows that separate her from a strongly Protestant tradition. In his introduction to a 1989 edition of selected writings by Guyart, John Farina writes, \"One searches in vain for signs of how the American experience,' whether it be the presence of the frontier or some other combination of factors, shaped her spirituality in any profound way. That, doubtless, was a function of the fact that she lived not in a lively British colony but in a cloister in Quebec\" (1). Farina's assessment has been challenged by feminist scholars who approach Guyart's work as both American and literature, countering the tendency to idealize Guyart as a mystic and missionary apart from colonial America and its literary production. (3) Carla Zecher reads Guyart's correspondence \"as belonging to an emergent New Wo","PeriodicalId":42944,"journal":{"name":"LEGACY","volume":"25 1","pages":"1 - 22"},"PeriodicalIF":0.3,"publicationDate":"2008-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LEG.0.0001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66263571","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: 4

The Public Life of Privacy in Nineteenth-Century American Literature (review) 19世纪美国文学中的公共隐私生活(综述)

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-13 DOI: 10.1353/leg.0.0006

Corinne Kopcik

引用次数: 0

Introduction to “Adam Floyd” 《亚当·弗洛伊德》简介

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-13 DOI: 10.1353/LEG.0.0007

L. Westman

引用次数: 0

Renovating The American Woman’s Home: American Domesticity in Extreme Makeover: Home Edition 美国妇女的家庭装修:美国家庭生活在极端改造:家庭版

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-13 DOI: 10.1353/LEG.0.0017

Kris Jacobson

{"title":"Renovating The American Woman’s Home: American Domesticity in Extreme Makeover: Home Edition","authors":"Kris Jacobson","doi":"10.1353/LEG.0.0017","DOIUrl":"https://doi.org/10.1353/LEG.0.0017","url":null,"abstract":"While the popular ABC reality television program Extreme Makeover: Home Edition may initially strike us as thoroughly modern in its execution and technology, its rhetoric and ideology actually hold much in common with nineteenth-century domestic texts. For example, Extreme Makeover is unabashedly sentimental, focusing on destitute but virtuous protagonists in search of stable, safe homes. The familiar scenes of a search for home and acts of Christian charity echo those found in novels such as The Wide, Wide World and Little Women. Throughout the program, tears flow freely among the family members, the design crew, the volunteers, and the show's viewers. One viewer admits, \"I cry every week\" (qtd. in Oldenburg E1). Extreme Makeover is reminiscent of not only nineteenth-century didactic sentimental fictions, but also the domestic manuals of the era. The revamped, twenty-first-century version of model domesticity enacted on Extreme Makeover shares many of the ideals and practices expressed in Catharine E. Beecher and Harriet Beecher Stowe's popular 1869 treatise, The American Woman's Home; or, Principles of Domestic Science, arguably the domestic manual of the nineteenth century. (1) In this essay, I read The American Woman's Home and Extreme Makeover as manuals of ideal American domesticity. Both texts function as \"technologies\" of the American Dream, or as material, moral, and political guides. Technology, as defined in the glossary of terms in The American Woman's Home, is \"[a] description of the arts, considered generally in their theory and practice as connected with moral, political, and physical science\" (488). The Oxford English Dictionary reminds us that \"technology\" denotes the \"[practical arts collectively\" (def. lb) and \"[a] discourse or treatise on an art or arts; the scientific study of the practical or industrial arts\" (def.1a). The American Woman's Home is itself an explicit technology, or a treatise on the domestic arts. I place Extreme Makeover in the same category, although Extreme Makeover is more covertly didactic. Various scholars, including Henry A. Giroux and Lawrence Grossberg, recognize that pedagogy occurs across a variety of terrains, popular culture being one of them. (2) The public pedagogical features of television include conveying information and constructing individual and national identities. As a hybrid television show that combines aspects of do-it-yourself and reality programming, Extreme Makeover teaches its audience what the American Dream and dream home should look like. Both The American Woman's Home and Extreme Makeover rely on material technology--appliances, design features--to achieve their ideal homes. When selected, the deserving family of Extreme Makeover goes on vacation for a week while a team of designers and volunteers works against the clock to give the family a newly landscaped, remodeled, and fully furnished home. In most episodes, the team demolishes the residents' old house and builds a compl","PeriodicalId":42944,"journal":{"name":"LEGACY","volume":"25 1","pages":"105 - 127"},"PeriodicalIF":0.3,"publicationDate":"2008-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LEG.0.0017","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66263647","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: 13

Leaving the Good Mother: Frances E. W. Harper, Lydia Maria Child, and the Literary Politics of Reconstruction 离开好母亲:弗朗西丝·e·w·哈珀、莉迪亚·玛丽亚·查尔德与重建时期的文学政治

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-13 DOI: 10.1353/LEG.0.0014

A. Rutkowski

{"title":"Leaving the Good Mother: Frances E. W. Harper, Lydia Maria Child, and the Literary Politics of Reconstruction","authors":"A. Rutkowski","doi":"10.1353/LEG.0.0014","DOIUrl":"https://doi.org/10.1353/LEG.0.0014","url":null,"abstract":"African American activist and poet Frances E. W. Harper gained attention in the 1850s with her passionate antislavery poetry; the end of the war saw Harper publishing anew. But for a poet who carefully shaped responses to her work by unambiguously referencing current events, some of Harper's postwar publications seemed inscrutable. In 1869, Harper published Moses: A Story of the Nile, a book containing two items: \"Moses,\" a forty-one-page eponymous poem that elaborately revises Exodus, and a four-page prose allegory, \"The Mission of the Flowers,\" in which a rose tree magically transforms a garden's other flowers into roses. By 1870, the book was in its third edition, and, according to William Still, Harper often read from \"Moses\" when she spoke in public, to warmly positive reviews (779). Contemporary editions of Harper's work offer no context for understanding this seemingly strange pair of texts. \"Moses\" has been reprinted in two anthologies, the Complete Poems of Frances E. W. Harper and A Brighter Coming Day: A Frances Ellen Watkins Harper Reader, in both cases separated from \"The Mission of the Flowers.\" In the former, the two pieces are separated by genre, and in the Complete Poems, \"Mission\" is simply and silently excised. Critical readings have been equally puzzling. When \"Moses\" is granted any attention, (1) most critics focus on identifying Moses--as Abraham Lincoln, John Brown, Harriet Tubman, or even as Harper herself. (2) What these divergent interpretations have in common is that they read the poem as backward-looking. Harper's other writings intervene vigorously in the here and now. Why, then, four years after legal emancipation, would Harper choose to adapt the story of Moses leading the Hebrews out of slavery? Consider that while the name \"Moses\" often serves as shorthand for \"great leader,\" not all allusions to Moses make use of the fact that he was adopted and that he became a great leader only after leaving his adoptive home. In other words, the original biblical story inverts the standard rags-to-riches narrative. Brevard S. Childs writes of Moses from Exodus, \"He is not an unknown child who becomes king. ... Moses is first 'exalted' and later returns to a position of humility by identifying with his people\" (The Book of Exodus 12). Moses chooses to leave Pharaoh's household to lead the Hebrews because he is Hebrew. Harper's poem foregrounds this leave-taking: It takes up nearly half the text. So while Harper is certainly making use of the longstanding analogy between ancient Hebrews and American blacks, this choice suggests that Harper's subject is Reconstruction, the historical moment in which she is writing. For newly freed slaves, a crucial question was whether their quest for civil, political, and social equality would receive white assistance. Many whites were not simply unhelpful--they stood defiantly in the way. Eric Foner details the \"wave of violence that raged almost unchecked in large parts of the postwar South. .","PeriodicalId":42944,"journal":{"name":"LEGACY","volume":"25 1","pages":"104 - 83"},"PeriodicalIF":0.3,"publicationDate":"2008-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LEG.0.0014","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66263518","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: 17

“Married or Single?”: Catharine Maria Sedgwick on Old Maids, Wives, and Marriage “结婚还是单身?”——凯瑟琳·玛丽亚·塞奇威克《老女仆、妻子和婚姻》

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-13 DOI: 10.1353/LEG.0.0005

Maglina Lubovich

{"title":"“Married or Single?”: Catharine Maria Sedgwick on Old Maids, Wives, and Marriage","authors":"Maglina Lubovich","doi":"10.1353/LEG.0.0005","DOIUrl":"https://doi.org/10.1353/LEG.0.0005","url":null,"abstract":"[M]arried life is the destiny Heaven has allotted to us, and therefore best fitted to awaken all our powers, to exercise all our virtues, and call forth all our sympathies. (19) Catharine Maria Sedgwick, \"Old Maids\" (1834) As slaves must be trained for freedom, so women must be educated for usefulness, independence, and contentment in single life ... as a mode of life in which one may serve God and humanity, and thus educate the soul, the great purpose of this short life. So considered, single life would not long be regarded as either \"helpless, joyless, or ridiculous,\" and that dreaded stigma, \"old maid,\" would soon cease to be a stigma, and in the lapse of ages possibly become obsolete. (2:214) Catharine Maria Sedgwick, Married or Single? (1857) One question seems to reside at the heart of Catharine Maria Sedgwick's life and literature, as it does for the world of antebellum America of which she is part--married or single? Since Sedgwick's (re)discovery, however, critics have read her relationship to marriage and her own spinsterhood as ambivalent at best. The consensus is that Sedgwick ultimately places her true sentiment with marriage, holding it up as a state that is more \"natural\" than and preferable to its opposite. (1) Mary Kelley's essay \"A Woman Alone\" begins with the following claim: \"The life of Catharine Maria Sedgwick was betwixt and between\" (209). Kelley further explains, Sedgwick is representative of the ambiguity to be found in the sentimentalists' fiction. Her anchorless existence reflects its ideals and aspirations as well as its doubts and fears. ... Even when in her fiction Sedgwick sought to legitimate the status of the unmarried woman, it is clear that her true sentiments lay in the home. In saying that the greatest fulfillment for woman was to be found as a wife and mother, she was automatically ascribing an inferior status to the unmarried woman, despite her protests. (224-25) Later, in her study of nineteenth-century \"literary domestics,\" Kelley further developed these ideas, going so far as to claim that Sedgwick's own position as a single woman left her feeling \"unnatural,\" alone, and in a state of domestic \"crisis\" (Private Woman, Public Stage 239). (2) She writes, \"[L]ife was a crisis of domesticity, the woman's crisis of being\" (239). Susan Koppelman, introducing Sedgwick's short story \"Old Maids,\" perpetuates this reading when she explains that \"the bulk of [Sedgwick's] fiction serves to reinforce the belief that a woman's greatest satisfaction and fulfilment comes from marriage and motherhood\" (\"Catharine Maria Sedgwick\" 10).Some twenty years later, Deborah Gussman concurred. Although she thinks less in binary terms than earlier critics, the result is much the same. Gussman argues that in Sedgwick's Married or Single? \"the novel's ambivalent endorsement of single life (and its efforts to present fairly the challenges of marriage) is consistent with the views Sedgwick offered in her journal\" (261). She then quotes","PeriodicalId":42944,"journal":{"name":"LEGACY","volume":"25 1","pages":"23 - 40"},"PeriodicalIF":0.3,"publicationDate":"2008-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LEG.0.0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66263244","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: 7

Introducing the Life and Work of Beatrix Farrand, Landscape Gardener and Writer (1872–1959) 风景园艺师、作家比阿特丽克斯·法兰德(1872-1959)的生活与工作简介

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-13 DOI: 10.1353/LEG.0.0020

Carmen Pearson

引用次数: 1

Slavery on Trial: Law, Abolitionism, and Print Culture (review) 审判中的奴隶制:法律、废奴主义和印刷文化(书评)

IF 0.3 3区文学

LEGACY Pub Date : 2008-06-13 DOI: 10.1353/LEG.0.0009

Elizabeth Stockton

引用次数: 0

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