Captivity & Sentiment: Cultural Exchange in American Literature, 1682-1861University Press of New England, 1997 - 211 ページ In a radically new interpretation and synthesis of highly popular 18th- and 19th-century genres, Michelle Burnham examines the literature of captivity, and, using Homi Bhabha's concept of interstitiality as a base, provides a valuable redescription of the ambivalent origins of the US national narrative. Stories of colonial captives, sentimental heroines, or fugitive slaves embody a binary division between captive and captor that is based on cultural, national, or racial difference, but they also transcend these pre-existing antagonistic dichotomies by creating a new social space, and herein lies their emotional power. Beginning from a simple question on why captivity, particularly that of women, so often inspires a sentimental response, Burnham examines how these narratives elicit both sympathy and pleasure. The texts carry such great emotional impact precisely because they traverse those very cultural, national, and racial boundaries that they seem so indelibly to inscribe. Captivity literature, like its heroines, constantly negotiates zones of contact, and crossing those borders reveals new cultural paradigms to the captive and, ultimately, the reader. |
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... represented by the figure of the mother and the virgin . The mother's status is analogous to private prop- erty , unavailable for exchange ; whereas the virgin who awaits exchange on the marriage market represents , like the captive ...
... represented by the figure of the mother and the virgin . The mother's status is analogous to private prop- erty , unavailable for exchange ; whereas the virgin who awaits exchange on the marriage market represents , like the captive ...
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... represents a father grieving for " my Jenny roll'd in blood I see / Whom I ca- ress'd and dandled on my knee ! " ( Dodd 38 ) but makes no reference to a mother . That absent mother is , in fact , a significant feature in postrevolu ...
... represents a father grieving for " my Jenny roll'd in blood I see / Whom I ca- ress'd and dandled on my knee ! " ( Dodd 38 ) but makes no reference to a mother . That absent mother is , in fact , a significant feature in postrevolu ...
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... representing Britain and America . The colonies were frequently portrayed as an Indian woman , and one 1782 print represents her with a knife thrust into her bloody and " mangled breast , " prevented by British imperial violence from ...
... representing Britain and America . The colonies were frequently portrayed as an Indian woman , and one 1782 print represents her with a knife thrust into her bloody and " mangled breast , " prevented by British imperial violence from ...
目次
Captivity Cultural Contact and Commodification | 10 |
Captivity Sympathy | 41 |
Republican Motherhood and Political Representation | 63 |
著作権 | |
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African agency Algonquin ambivalent American Literature Amerindian Anglo-American appears argues Atherton audience Bleecker's body border Boston British captive's captivity narratives captors Cassy characterized Charlotte Temple Cheney's Christian circulation claims concealed critical critique cultural exchange domestic Dustan's effect England English escape event Everell example experience female captivity feminist frontier romances gaze gender genre Hammon's Harriet Jacobs heroine Hope Leslie identification identity imagined imperialist Indian captivity insists Jacobs's Jane McCrea John Marrant King Philip's War liminal literary loophole Magawisca Marrant Mary Rowlandson maternal Miriam mother motherhood Pamela passive Pequot Pequot War political precisely Puritan racial readers relation representation republican republican motherhood resemblance resistance revolutionary rhetoric Rowlandson's captivity Rowlandson's narrative Rowson scene Sedgwick sentimental discourse sentimental novels slave narrative slavery story Stowe Stowe's strategies suggests sympathetic sympathy tears tion tive transcultural transgressive typology Uncle Tom's Cabin violence virtue Weetamoo woman women York