19th-Century American Literature

A Marxist read of the (fairly) newly discovered "Life and Adventures of a Haunted Convict", the earliest extant African-American prison narrative. Focuses on the early part of the book and Austin Reed's transition from home to apprenticeship to prison, as well as the utility of knowledge under capitalism.

This outline of the theoretical and historical parameters of my recently published Famine Irish and the American Racial State synthesizes the work of Nicos Poulantzas, Michel Foucault, Antonio Gramsci, and David Theo Goldberg, among others. In so doing, it advances a model of the nineteenth-century US state-in-formation that demonstrates how the legal status of the transatlantic Famine Irish took on greater significance than any cultural differences with White Anglo Saxon Protestant America. Key concepts are explored, such as citizenship, nationality, race, ethnicity, the fractional state, the racial state, and the Black and Green Atlantic. Introduced, moreover, is one of the most important yet most overlooked American patriots of the nineteenth century, Irish-born Archbishop John Hughes of New York, whose efforts helped to mold the corporate Catholic Church into a major ideological apparatus of the US state.

Melville’s centennial poem Clarel is the American epic about geography, the land, and SPACE. The poem is 18,000 lines, composed almost entirely in iambic tetrameter, most of it in rhyme. It is about a young theological student named Clarel taking a pilgrimage in the Holy Land. While Clarel debates major philosophical and religious questions with a coterie of eclectic companions, he traverses a sacred landscape and explores sites saturated with the fundamental myths upon which much of Western civilization is based. Comprised in large part of dialogic treatises that gain significance from the holy sites in which
they occur, the plot of the poem may seem flimsy. But Clarel is not about what happens as much as it is about the landscape. Published in a highly limited run, the poem was barely reviewed. Neither Emerson nor Whitman mentioned Clarel. Nor did Stevens. Olson dismissed it as “that rosary of doubt” (Olson 89) where “Christ had contracted [Melville’s] vision” (86). According to him, Clarel, one of the longest poems in American literature, atrophies Melville’s imagination with its astringent religious undertones. Nevertheless, as the poem that traverses the ground of America’s literary imagination, Clarel is the kind of poem these writers seek.

L'affirmation de l'individu s'avère paradoxale chez Emerson car, qu'il cherche à s'affirmer esthétiquement ou éthiquement, l'individu se nie nécessairement. L'affirmation doit donc passer par la médiation d'un autre qui l'appelle à devenir unique et irremplaçable, c'est-à-dire un Individu. Chez Emerson, cet autre s'incarne chez le poète, cet hétéronyme d'Emerson. Or Emerson conçoit le poète comme un "dieu libérateur", un individu divin qui possède les mêmes attributs que Dieu. Cet article entend ainsi montrer comment Emerson construit, à l'épreuve du texte, une arche divine sous laquelle l'individu est appelé à mener son existence et l'affirmer. Cet habiter divin doit ainsi permettre à l'individu de procéder à la réforme d'une méthode métaphysique enlisée dans l'impasse logique de la pensée normative et de surmonter cette difficulté par le mouvement, non plus unilatéral mais bilatéral, de transcendance.

— Behind the Mask is one of Louisa May Alcott (1832-1888) successful short fiction, though did not reached the fame of the other novels like Little women, still it is considered one of the remarkable works of Alcott. In the novella, Alcott delivered a well representation of the social and economical positions of women in 19 th century; and how a lot of women were obliged to earn their living though they are from the genteel class. Alcott depicts women's socio-cultural challenges in the 19 th century English society through her protagonist's struggle for a better social status against numerous social prejudices she encounters. In this paper, I will identify, explore and investigate these social prejudices through the theory of the intersectional feminism point of view that discusses the intersectionality of class and gender that has been shown to have a visible impact on the labor market for females in the 19 th century Europe. Index Terms—Louisa May Alcott, behind the Mask, intersectionality, feminism.

A la mort soudaine de Billy Bones, Jim découvre, dans les affaires du défunt, une carte indiquant l'emplacement d'un trésor sur une île déserte... C'est le début d'une formidable quête, finalement couronnée de succès, malgré toutes les embûches dressées par les pirates survivants.Un roman d'aventures inoubliable.L'édition Classiques & Cie collège. Soigneusement annoté par Dominique Lanni, le texte du roman est associé à un dossier illustré, qui comprend :- un guide de lecture (avec des repères, un parcours de l'oeuvre et un groupement de documents, "Seul sur une île").- une enquête documentaire : "Pirates, corsaires et flibustiers".

There is a common narrative among Whitman scholars that Walt Whitman 'came out' as a gay man in his late 50s with the release of the 1860 edition of Leaves of Grass , more specifically with the inclusion of the "Calamus" poems. While the "Calamus" cluster does consist of many poems about sensual interactions, in this paper I am going to argue that Walt Whitman did not have his homosexual awakening so late in his life.

"In a sweeping reassessment of early American literature, The Gender of Freedom explores the workings of the literary public sphere—from its colonial emergence through the antebellum flourishing of sentimentalism. Placing representations of and by women at the center rather than the margin of the public sphere, this book links modern forms of political identity to the seemingly private images of gender displayed prominently in the developing public sphere. The 'fictions of liberalism' explored in this book are those of marriage and motherhood, sentimental domesticity, and heterosexual desire—narratives that structure the private realm upon which liberalism depends for its meaning and value. In a series of bold theoretical arguments and nuanced readings of literary texts, the author explores the political force of these private narratives with chapters on the Antinomian crisis in Puritan Massachusetts, early national models of gender and marriage in the works of Charles Brockden Brown and Hannah Webster Foster, infanticide narratives and nineteenth-century accounts of motherhood in the work of Harriet Beecher Stowe and Lydia Maria Child, and 're-arranging' marriage in the poetry of Emily Dickinson."

Free Sample Chapter (Introduction): http://www.sup.org/pages.cgi?isbn=0804758476&item=Introduction_pages&page=1

Stanford UP catalogue: http://www.sup.org/book.cgi?id=836

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Contents: The Gender of Freedom

Acknowledgements

Introduction: The Gender of Freedom and Women in Public

1. Gender, Liberal Theory, and the Literary Public Sphere

2. Puritan Bodies and Transatlantic Texts

3. Contracting Marriage in the New Republic

4. Sociality and Sentiment

Coda: Queering Marriage—Emily Dickinson and the Poetics of Title

Notes

Works Cited

Index

In my Masters thesis of 2011 I compare two works of captivity literature that emerged from the detention of Lincolnshire ship's blacksmith John R. Jewitt by the Nuu-Chah-Nulth First Nation of Vancouver Island for two years in the early 19th Century, after a standard fur trading visit devolved into diplomatic disaster and the slaughter of nearly all hands. The first text is the 1807 'Diary,' a brief work consisting of short, dated entries. The second is the 1815 'Narrative,' a more elaborate and largely falsified reworking by Connecticut ghostwriter Richard Alsop. In chapters 1 and 2 I consider each text in its generic context, arguing that Jewitt, in his diary, drew on the triumphalist imperialism of eighteenth-century literature of exploration to rewrite his calamity as enduring achievement; while Alsop, an American by birth and familiar with the long tradition of 'Indian captivity narratives' for which the American public showed a voracious interest, reworked the story to conform to the expectations of 'captivity narrative' readers.  Chapter three focuses in on a series of moments of heightened sentiment in Alsop’s Narrative which place the text’s representational apparatus under strain, thus opening up for critique aspects of the text’s usually naturalised, and thus occluded, discursive work. The incidents under examination are compared against their representation in Jewitt’s Journal, revealing in that text also troubling incommensurabilities in the construction of the European protagonist and the foreign Others among whom he is forced to make his home. In chapter four I consider the ways in which the conflicting desires and motivations of Jewitt and his captor-hosts register as a struggle for status, both in the historical context of Jewitt’s actual captivity, and in the literary representations this historical event engendered.

I submitted this thesis in partial fulfilment of the requirements of an M.A. Research in the Department of English, University of Sydney, 2011.

In Herman Melville’s Moby-Dick, the American whaler the Pequod encounters a fierce typhoon in Japanese waters. Melville’s novel contains many sublime descriptions of the ocean’s physical force and other natural phenomena, yet the force of the typhoon is registered less through direct description than through its effects on the structure of the text and its pivotal role in the plot. Melville is seemingly more interested in the typhoon’s symbolic potential than in its concrete actuality. This essay argues that the location of the typhoon sequence in the Pacific Ocean, when the Pequod has been “penetrating further and further into the heart of the Japanese cruising ground”, is crucial to understanding its meaning, as a symbol of both political and natural resistance to the United States’ imperial ambitions. In this respect, it bears comparison with another of the novel’s multivalent symbols—the white whale.

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Following Foucault’s distrust of identity as possibly leading to the objectivation of the subject, Said founded his works on a conception of identity as an “essentially static notion” that served imperialism by reducing colonized peoples to immutable and negative characteristics. In the wake of Culture and Imperialism, a lot has been written upon the role that was played by novels and theatre plays in the constitution and preservation of national identities. Poetry, however, has not received such extended treatment and could bring new elements to our reflection. My aim is to study what in Whitman's works allowed him to play a role in the constitution of the American identity. A foundational figure for the Americans, Whitman produced a volume of poetry, Leaves of Grass, quite far from a mainstream volume representative of the spirit of a people. Contrary to what one may expect, it is rather a ground-breaking work inaugurating a new era both for world poetry and the American society. Whitman's position as a minority writer -in the sense of Deleuze- taking up a major role deserves our attention. Through what can be described as a litany of performative discourse Whitman questioned the American identity just as much as he made it become reality.

This article will discuss novelist Andrew Sinclair's unpublished version of "The Scarlet Letter" (1972). It shows how Sinclair�s version reinterprets the idea of the Fall to demonstrate how the Puritans failed to create a city on a Hill, purified and distinct from the secular society in Britain. Sinclair's version of The Scarlet Letter emphasizes this notion of decline in newly-created witchcraft scenes involving Mistress Hibbins that underline how far the Puritans have deviated from the path of progress, both economic and spiritual. In the second part of this article I discuss how Sinclair creates other sequences of sex and sorcery that recall other British films of the period such as The Devil Rides Out (1968) and The Nightcomers (1971). Such moments took advantage of the more relaxed climate of censorship prevailing at that time (a new category of �X� films had been created in Britain in 1967, designed specifically for over-18 year olds), as well as giving Sinclair the chance to address feminist issues characteristic of late 1960s Britain as Hester and her fellow-Puritan women seek to forge lives on their own. This version of The Scarlet Letter captured the mood of a period when women enjoyed a greater freedom to determine their sexual lives, while polemics such as Germaine Greer�s The Female Eunuch (1970) offered visions of a future in which the family, marriage or even the presence of men no longer seemed significant.

I included this immortal poem by Edgar Allan Poe in a collection of short stories about Love, in every definition of the term. It seems to me to be such a consummate example of story-telling within the poetic format that I could not resist the opportunity to include it as a 'Tale' along with other tales of romance in that anthology. Not a word of this is by me, but I love this poem so much that I simply cannot rersist putting this extract with it up on 'Academia.edu'. I didn't notice whether any other 'scholars' had chosen to post this magnificent work so I am doing so myself. Glad, at least, to see there is a healthy community of Poe-lovers on this site.

In the wellspring of classic nineteenth-century American literature, a spectacular theme unites our greatest authors. They, in various ways, challenge the naïve optimism of the “American Adam” and American liberalism. They are deeply conservative in their skepticism toward human and civilizational progress and perfection.

Graded A- at UC Riverside

I am going to conduct a close analysis of Longfellow’s 1879 poem ‘’As the Tide Rises, The Tide Falls’’ in The New Anthology of American Poetry, Volume 1, 258). Stressed syllables are written in capital letters, unstressed syllables are underlined.
Henry Wadsworth Longfellow was a famous 19th century Harvard scholar, American poet and translator, born in Maine in 1807. His fame was comparable to that of Edgar Allan Poe. In 1841, he described Longfellow as “unquestionably the best poet in America.” His poetry revolves around traveling and the elements, fire, or the marine theme. Longfellow’s 1850 poem The Secret of the Sea brings the memory of a dream and invites the reader to travel: ‘For the secret of the sea,/And the heart of the great ocean/Sends a thrilling pulse through me.’’However, three years before his demise, the ocean now signifies death personified. In his 1879 poem ‘’As the Tide Rises, The Tide Falls’’ this anaphora carries the sound of the rising and falling rhythm of the tide to take the reader to a gloomier landscape in this struggle between darkness and light. The traveller knows the journey is coming to an end.
I shall focus on the visual aspect of the poem and its imagery (I), to then pay attention to the meter, rhythm and its musicality (II), these elements being crucial to reveal the meaning of it and the poetical issue it addresses. (III).

This paper fills a particular need, which is to say, a comprehensive biographical sketch of 19th-century author Mathew Franklin Whittier, which does not require reading the extremely length evidence-focused e-books on this subject. The need to provide proof for each assertion about MFW's life is set aside, with the understanding that the evidence for each and every assertion can, if the reader is so-inclined, be looked up in the larger works.

This study seeks to use corpus stylistic methods for the analysis of Jack London’s 1903 novel The Call of the Wild using some of the foremost literary criticism on the writer in order to structure this examination. Earle Labor (1994), London’s biographer and arguably the author’s most prevalent living scholar, maintains that he is the subject of ‘persistent neglect by the academic critics’ (xiii). This under-examination has partially inspired this investigation with the hope that using a more contemporary method of analysis might give a more accessible critical reading of ‘the most flamboyant literary representative of the Strenuous Age in America’ (Labor, 1994:xiii).

It is nighttime somewhere in the Indian Ocean. The crew of the Pequod have just completed their first successful whale-hunt, the decisive blow delivered by second mate Stubb. They have begun the process of stripping the blubber from the whale, which will be boiled down for valuable whale oil—the rest of the carcass will be broken down piece by piece, and every part useful for the whaling voyage will be saved. The process is laborious: every hand on deck is recruited to the task of hanging the rigging that will support the whale’s massive bulk, then for cutting into the carcass and hoisting the sheets of blubber onto the deck with pulleys and rope. Using a warlike instrument called a boarding-sword, one of the harpooneers slices the sheet in half, dividing it into a top and bottom layer which are then lowered with ropes into the Pequod’s blubber processing room and further prepared for boiling.

Ishmael, the narrator of the story, takes part in the work. And, as befits his inquisitive nature, the peeling of this outer layer from the body of the whale prompts him to wonder: “[W]hat and where is the skin of the whale?”  The blubber, it seems, is a kind of surface: its removal uncovers a bloody, muscular substrate markedly different from that which enshrouds it. In one sense, the blubber is the surface covering the depth of the whale—but Ishmael also notes that the blubber is covered by another thin, translucent layer which can be peeled away from the blubber underneath. Ishmael wonders: Is this the real surface—a kind of surface of the surface—or is the blubber? But the problem runs even deeper. “Unerringly impelling this dead, impregnable, uninjurable wall” of the whale’s massive head, Ishmael professes, “there swims behind it all a mass of tremendous life, only to be adequately estimated as piled wood is—by the cord; and all obedient to one volition, as the smallest insect.”  The real essence of the whale lies somewhere inside it, “behind” the visible features of its body. “Dissect him how I may,” Ishmael concedes, “I but go skin deep; I know him not, and never will.”  What, then, is the real surface of the whale? What is the real depth?

In this essay, I read Moby-Dick as an allegorical description of the process of Ishmael’s healing from melancholy. Ishmael’s inane reveries at the beginning of the story evolve into a productive and self-creative narrative power. His initial melancholy reverie is represented in the novel as the narcissistic tendency of the subject to withdraw into oneself and sink into its own interiority, as well as the tendency to believe in a sentimental universal brotherhood. Ishmael manages to get free of his sterile daydreaming and regain contact with reality through a close experience of mortality and the confrontation with the power and complexity of writing.

Most of us have heard of the novel Uncle Tom’s Cabin and have learned, as part of our high school history lessons, the critical role of the book in galvanizing public opinion against slavery in the 1850s. But despite the book’s prominent role in the watershed moment in African American history, African Americans have rejected it as untrue to their experience since it was first published.