ESQ-A JOURNAL OF THE AMERICAN RENAISSANCE最新文献

{"title":"The Year in Conferences—2022","authors":"Katrina Marie Dzyak, Tenisha McDonald, Nicole Musselman, Hyunjoo Yu, Max Chapnick, Devon Bradley, Chantelle Escobar Leswell, Emma Horst, Joe Hansen, Max Chapnick, Andy Harper","doi":"10.1353/esq.2023.a909775","DOIUrl":"https://doi.org/10.1353/esq.2023.a909775","url":null,"abstract":"The Year in Conferences—2022 Katrina Marie Dzyak (bio), Tenisha McDonald (bio), Nicole Musselman (bio), Hyunjoo Yu (bio), Max Chapnick (bio), Devon Bradley (bio), Chantelle Escobar Leswell (bio), Emma Horst (bio), Joe Hansen (bio), Max Chapnick (bio), and Andy Harper (bio) The “Year in Conferences” (YiC) accelerates the circulation of ideas among scholars by covering the field’s major conferences. Graduate students from across the country collaboratively author an article that appears annually in ESQ’s first issue. Now in its fourteenth year, this report includes ALA and C19. c19, march 31–april 2 2022, coral gables, fl written by: katrina marie dzyak, tenisha mcdonald, nicole musselman, and hyunjoo yu senior advisor: max chapnick C19: The Society of Nineteenth-Century Americanists gathered for its first in-person conference since 2018 in Coral Gables, Florida, and appropriately addressed the (broadly conceptualized) theme of Reconstruction. Plenary speaker Desmond Meade, President of the Florida Rights Restoration Coalition and Chair of Floridians for a Fair Democracy, joined virtually; severe storms and the ongoing Covid-19 pandemic disrupted many conference-goers’ flights. The seventh biennial conference’s material conditions could not escape reminders of ongoing crises in public health, democracy, racial capitalism, and climate catastrophe, and the papers presented addressed similar themes. Many panels connected the literary and the historical and are here arranged around the topics of justice, geography and race, print culture, embodiment [End Page 103] and feeling, reconstructing form, gender and sexuality, and literary radicals. Together, they reveal the embeddedness of literature in these various historical movements and in the collective attempts to reconstruct our world. Program link: https://c19conference.files.wordpress.com/2022/03/c19-program-2022-2.pdf environmental justice Panelists on “Being Together” explored social, class, and material links between disparate individuals and milieus. To begin, Michelle Neely decentered Henry David Thoreau by considering how the Transcendentalist writer links Native history, extermination, and immortal pines in The Maine Woods (1864). While readers today would likely consider restoring the trees to Indigenous communities, Thoreau uses them to rhetorically sanction ongoing non-Native settlement. Colleen Boggs turned to Mark Twain’s The Adventures of Huckleberry Finn (1885) to consider how the novel theorizes the US’s post-Reconstruction financial landscape. Boggs read Huck’s decided poverty as a type of social death. Huck’s decision prompts readers to consider poverty’s appearance and definition in a period of rapid and racial economic shifts. Finally, Dominic Mastroianni traced Ralph Waldo Emerson’s attention to how lifeforms from atoms to humans re-encounter each other after significant time apart. No matter the mode of re-encounter, Emerson’s writings show that all matter eventually recognizes ","PeriodicalId":53169,"journal":{"name":"ESQ-A JOURNAL OF THE AMERICAN RENAISSANCE","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135052898","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Welcome: Editor’s Note","authors":"Karen L. Kilcup","doi":"10.1353/esq.2023.a909777","DOIUrl":"https://doi.org/10.1353/esq.2023.a909777","url":null,"abstract":"A Welcome: Editor’s Note Karen L. Kilcup Sometimes, we get lucky. Most of the work of producing ESQ occurs behind the scenes. I could not have served as the journal’s editor for the last seven and a half years without the guidance and help of our Editorial Goddess, Managing Editor Heloise Abtahi; our YiC Coordinators, currently Rachel L. Brown; and our excellent Editorial Assistants, now Sezin Zorlu. Observant ESQ readers will have noticed the appearance of Sari Edelstein on our editorial page. In late 2021, I contacted Sari to see if she would be interested in joining the journal’s staff, and she graciously agreed to begin following, and then participating in, our editorial processes. Starting as Associate Editor during one of the most challenging times in memory—a global pandemic and shutdown of much “normal” activity—she officially became the Coeditor at the beginning of this year. This position follows her years of support for the journal, which includes serving on ESQ’s Advisory Board and reviewing submissions. My longstanding admiration of Sari’s scholarship propelled my invitation. Readers will remember her early ESQ essay on Redburn in 2013; her important contribution to our 2016 Provocations feature, “Reading Age Beyond Childhood,” which appeared in the first issue I edited (62.1); as well as her engaging 2021 dialogue with Danielle Coriale, “The Society to Encourage Studies at Home (in a Pandemic).” From her illuminating study of genre conventions in Between the Novel and the News: The Emergence of American Women’s Writing (2014) to her field-defining Adulthood and Other Fictions: American Literature and the Unmaking of Age (2018)—and many publications before, between, and after—Sari has emerged as a prominent, must-read voice in American literary and cultural criticism. Sari is not only a superlative scholar, she is also a discerning, thoughtful, imaginative, and collaborative colleague. We are very fortunate, and I am deeply grateful, to have her on our team. online access ESQ is available online through Project MUSE. For subscriptions, visit http://muse.jhu.edu/about/subscriptions/index.html. [End Page i] Copyright © 2023 Board of Regents of Washington State University","PeriodicalId":53169,"journal":{"name":"ESQ-A JOURNAL OF THE AMERICAN RENAISSANCE","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135052338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Painted for Posterity”: Guerilla Violence and Irregular Warfare in Rebecca Harding Davis’ Civil War Writing","authors":"Vanessa Steinroetter","doi":"10.1353/esq.2023.a909774","DOIUrl":"https://doi.org/10.1353/esq.2023.a909774","url":null,"abstract":"“Painted for Posterity”: Guerilla Violence and Irregular Warfare in Rebecca Harding Davis’ Civil War Writing Vanessa Steinroetter (bio) In 1904, Rebecca Harding Davis published Bits of Gossip, which she intended not as a traditional autobiography but rather as a cultural memoir portraying her life as well as the people and events that influenced and shaped it. Davis was then seventy-three years old and could look back on a full life and an accomplished career as a journalist and writer. As she notes in her preface to Bits of Gossip, she set out to leave behind “not the story of [her] own life, but of the time in which [s]he lived,—as [s]he saw it,—its creed, its purpose, its queer habits, and the work which it did or left undone in the world. . . . Taken singly, these accounts might be weak and trivial, but together, they would make history live and breathe.”1 The memoir she compiled consists of eight chapters spanning different periods of her life from childhood through adulthood and is filled with memorable scenes and vivid language making this part of history “live and breathe”—and none more so than “Chapter V. The Civil War.” It is in this chapter of her memoir that Davis found the most evocative language to put into words how the Civil War, especially as she experienced it in the border region of western Virginia, shaped her own life as well as those of many others, civilians and soldiers alike. Written [End Page 73] almost forty years after the end of the war, Chapter V offers Davis’ starkest and most explicit depiction of the traumatic violence and destruction visited on the Virginia borderlands by guerrilla attacks and irregular warfare. Since the start of the war, Davis had been drawn to documenting the brutality and chaos that such aggression brought to bear on the land and its people. It was clear that the viciousness of guerrilla fighters and other armed groups had deeply impressed Davis as the worst aspect of the war in the borderlands. In a letter to her friend and editor James T. Fields from October 31, 1861, she had written, “God grant the war may never be to you in Boston what it is to us here.”2 In the years that followed, she became only more outspoken in her depiction and condemnation of irregular warfare. She included references to this violence and its traumatic effects in many of her stories set during the Civil War, including “Ellen,” “John Lamar,” “David Gaunt,” and “Captain Jean” (the latter set in the Missouri/Kansas border region). Even after the war had ended, she returned to these themes again in her essay “The Mean Face of War” (1899), prompted by the reality of the Spanish-American War to remind readers of the viciousness, lawlessness, and moral lapses that transformed average Americans into “murderers” and “thieves” during the Civil War, even those serving in official armies.3 In this essay, I examine Davis’ literary portrayals of the death and destruction caused by guerrillas and irregular warfare in the border r","PeriodicalId":53169,"journal":{"name":"ESQ-A JOURNAL OF THE AMERICAN RENAISSANCE","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135052903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Woman in the Nineteenth Century and the Politics of Reprinting, 1845–1980","authors":"Eagan Dean","doi":"10.1353/esq.2023.a909773","DOIUrl":"https://doi.org/10.1353/esq.2023.a909773","url":null,"abstract":"Woman in the Nineteenth Century and the Politics of Reprinting, 1845–1980 Eagan Dean (bio) In 1850, writer Margaret Fuller drowned just off the New York coast, alongside her partner Giovanni Angelo Ossoli and their toddler son Angelino. She was only forty years old. Contemporary literati mourned Fuller elaborately, dedicating memorial volumes and commemorative statues in the years after her death and offering a putative memoir constructed by several of her male peers more as a proxy for their own careers than a memorial to hers.1 The mourning particularly focused on her missing manuscript work about the doomed Italian revolution (drowned in the same ocean) and her intense and still blossoming career’s sudden abbreviation. Arthur Fuller, her brother, responded to this outpouring in 1855 by republishing Margaret Fuller’s most influential work, Woman in the Nineteenth Century (1845) in a collection with selections from her periodical work, especially her New York Tribune writing.2 Arthur Fuller published further anthologies in later years, covering most of Margaret Fuller’s oeuvre. As interest in Margaret Fuller waned in the following decades, surviving American Renaissance writers and their successors began to dismiss her and her thought. By 1885, Nathaniel Hawthorne’s son Julian Hawthorne would [End Page 39] quip, “Margaret Fuller has at last taken her place with the numberless other dismal frauds who fill the limbo of human pretension and failure,” partly because he published his father’s private criticisms about Fuller’s relationship with Giovanni Ossoli.3 Thomas Mitchell argues that Julian “inflicted decanonizing damage” which affected Fuller’s intellectual legacy for the next century.4 Donna Dickenson and later scholars have carefully considered the “Margaret myth” which the posthumous, unauthorized, and heavily fabricated Memoirs constructed after her death.5 Following Bell Gale Chevigny and Joel Myerson’s turn to biographical evidence about Fuller’s life in the 1970s, many noted scholars contended with the contrasting accounts left by Fuller’s contemporaries to construct narratives about her life and intellectual impact.6 Jeffrey Steele best contextualizes Fuller’s “many faces”: reviewing three recent Fuller biographies in 2010, Steele compares their divergences to those of her three first biographers, “Emerson, William Henry Channing, and James Freeman Clarke [who] each depicted the woman who had been ‘his’ Margaret Fuller,” arguing that Fuller’s inherently “multi-faceted” personality creates such productive deviations.7 In 1976, Chevigny analyzed Fuller’s posthumous censorship, and in 1988, Elizabeth Lennox Keyser cataloged contemporary biographers’ recuperative and interventionist choices. Other scholars attend more to Fuller’s impact than to her person: Fuller is a cornerstone of Toward a Female Genealogy of Transcendentalism (2014), in which Phyllis Cole, Jana L. Argersinger, and their contributors resituate Fuller as an intellectual fo","PeriodicalId":53169,"journal":{"name":"ESQ-A JOURNAL OF THE AMERICAN RENAISSANCE","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135053226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“To Mold in Clay and Carve in Stone”: Sculptural and Political Form in Margaret Fuller’s Italian Dispatches","authors":"Mollie Barnes","doi":"10.1353/esq.2023.a909772","DOIUrl":"https://doi.org/10.1353/esq.2023.a909772","url":null,"abstract":"“To Mold in Clay and Carve in Stone”: Sculptural and Political Form in Margaret Fuller’s Italian Dispatches Mollie Barnes (bio) The first time I saw a bust of Hiram Powers’ Greek Slave at the Boston Public Library, I was shocked. As the mentee of an Elizabeth Barrett Browning scholar, I wondered if the statue’s meaning alters when we see the bust alone rather than the full-body version.1 Is the statue so iconic that even the abbreviated form evokes the details that make a slave a slave? Must those details be carved in stone, and visible, for the bust to mean the same thing as the notorious, full sculpture? I still wonder about the political difference between the statue and the bust when I read Margaret Fuller’s formal critiques of Powers’ other busts, especially one of John C. Calhoun, in the dispatches she published in the New-York Daily Tribune. To understand Fuller’s writing about Powers’ busts—and their reception histories and stories of transatlantic afterlives—we should first investigate how, if at all, Fuller’s antislavery sentiment affects her formal appraisals of the group she collects and curates across her late dispatches. Does she consider these formal achievements apart from the subjects that they represent? To put it baldly: how do we square her hesitation toward and criticism of the Greek Slave with her praise for the Calhoun, whatever her formal reasons [End Page 1] may be, given her increasingly fervent antislavery writing, and given her belief in the civic potential of busts and statues to educate the public throughout her 1849–50 writing? In the middle of a dispatch posted on 20 March 1849 and published 16 May 1849, Margaret Fuller turns sharply from Rome to the US and from the promise of a republic in Italy to a claim about sculpture, the artistic mode that she calls “the natural talent of an American.” “The facts of our history,” Fuller attests, “ideal and social, will be grand and of new import; it is perfectly natural to the American to mold in clay and carve in stone. The permanence of material and solid relief in the forms correspond to the positiveness of his nature better than the mere ephemeral and even tricky methods of the painter—to his need of motion and action, better than the chambered scribbling of the poet.”2 “He will thus record his best experiences,” she concludes, “and these records will adorn the noble structures that must naturally arise for the public uses of our society.” I take this passage as the inspiration and provocation for this essay that studies Fuller’s meditation on forms, especially sculpture, as a recursive preoccupation of her late journalism. As recent critical perspectives on Fuller’s Tribune articles, especially those by Sonia Di Loreto and Brigitte Bailey, emphasize, the sometimes fragmented, self-interrupting quality of her prose reflects important journalistic circumstances and artistic choices.3 Fuller’s language from spring 1849 dramatizes the very subjects that captured her geopoli","PeriodicalId":53169,"journal":{"name":"ESQ-A JOURNAL OF THE AMERICAN RENAISSANCE","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135052340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Contributors","authors":"","doi":"10.1353/esq.2023.a909776","DOIUrl":"https://doi.org/10.1353/esq.2023.a909776","url":null,"abstract":"","PeriodicalId":53169,"journal":{"name":"ESQ-A JOURNAL OF THE AMERICAN RENAISSANCE","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135052640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Thoreau's Saxon Letters","authors":"Annie Abrams","doi":"10.1353/esq.2022.0014","DOIUrl":"https://doi.org/10.1353/esq.2022.0014","url":null,"abstract":"","PeriodicalId":53169,"journal":{"name":"ESQ-A JOURNAL OF THE AMERICAN RENAISSANCE","volume":"68 1","pages":"463 - 486"},"PeriodicalIF":0.0,"publicationDate":"2022-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41666713","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"If Actresses Ever Are Themselves\": Living Pictures, Dying Women, and British Class Pretensions in Alcott's Behind a Mask","authors":"Michael d'Alessandro","doi":"10.1353/esq.2022.0013","DOIUrl":"https://doi.org/10.1353/esq.2022.0013","url":null,"abstract":"","PeriodicalId":53169,"journal":{"name":"ESQ-A JOURNAL OF THE AMERICAN RENAISSANCE","volume":"68 1","pages":"423 - 461"},"PeriodicalIF":0.0,"publicationDate":"2022-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48629426","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Thoreauvian Disappointment: Losing the Plot in The Maine Woods","authors":"Rachael Dewitt","doi":"10.1353/esq.2022.0015","DOIUrl":"https://doi.org/10.1353/esq.2022.0015","url":null,"abstract":"","PeriodicalId":53169,"journal":{"name":"ESQ-A JOURNAL OF THE AMERICAN RENAISSANCE","volume":"68 1","pages":"487 - 522"},"PeriodicalIF":0.0,"publicationDate":"2022-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49295131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"We uncertain step\": Emily Dickinson, Disability, and Embodied Learning","authors":"Jess Libow","doi":"10.1353/esq.2022.0009","DOIUrl":"https://doi.org/10.1353/esq.2022.0009","url":null,"abstract":"","PeriodicalId":53169,"journal":{"name":"ESQ-A JOURNAL OF THE AMERICAN RENAISSANCE","volume":"68 1","pages":"305 - 331"},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42721735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}