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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98 ページ
... scene of captivity , a scene that , like Miriam's obscured face or the receding terrain of empire , se- ductively attracts as it retreats from the spectatorial gaze . When Atherton departs and while her father is absent on a journey to ...
... scene of captivity , a scene that , like Miriam's obscured face or the receding terrain of empire , se- ductively attracts as it retreats from the spectatorial gaze . When Atherton departs and while her father is absent on a journey to ...
106 ページ
... scene of that massacre . The narrative of Hope Leslie begins after the Pequot War has ended , and Sedgwick's acknowledgment of Cheney's novel sug- gests that she deliberately begins where Cheney leaves off in an effort to add to ...
... scene of that massacre . The narrative of Hope Leslie begins after the Pequot War has ended , and Sedgwick's acknowledgment of Cheney's novel sug- gests that she deliberately begins where Cheney leaves off in an effort to add to ...
132 ページ
... scene remark- ably like Little Eva's : my I found her lying on the bed , with her eyes fixed up to Heaven ; when turning herself and seeing me , she said , " Mr. Marrant , don't you see that pretty town , and those fine people , how ...
... scene remark- ably like Little Eva's : my I found her lying on the bed , with her eyes fixed up to Heaven ; when turning herself and seeing me , she said , " Mr. Marrant , don't you see that pretty town , and those fine people , how ...
目次
Captivity Cultural Contact and Commodification | 10 |
Captivity Sympathy | 41 |
Republican Motherhood and Political Representation | 63 |
著作権 | |
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多く使われている語句
active affective African agency American appears argues associated authority becomes body border Boston British called captivity narratives century chapter characterized Christian circulation claims colonial concealed construction contained critical cultural death difference discourse domestic earlier early effect England English escape event example exchange experience fact female fiction figure finally Harriet identification identity imagined Indian individual insists Jacobs Jacobs's John later literary literature locate loophole marks Marrant Mary Mary Rowlandson master maternal mother moving notes novel offers once passive political position possibility practice precisely produces published Puritan racial readers reading record relation removal representation represents resemblance resistance response result rhetoric romance Rowlandson's scene sense sentimental separate slave slavery space story Stowe's strategies structure suffering suggests sympathetic sympathy tears tion transgressive turn Uncle Tom's Cabin violence virtue woman women York