"Blending historical and cultural criticism and drawing on fresh primary material from London and Paris, Transatlantic Stowe includes essays exploring Stowe's relationship with European writers and the influence of her European travels on her work, especially the controversial travel narrative Sunny Memories of Foreign Lands and her "Italian novel" Agnes of Sorrento."--Jacket
Bringing together sensation writing and transatlantic studies, this collection makes a convincing case for the symbiotic relationship between literary works on both sides of the Atlantic. Transatlantic Sensations begins with the 'prehistories' of the genre, looking at the dialogue and debate generated by the publication of sentimental and gothic fiction by William Godwin, Susanna Rowson, and Charles Brockden Brown.Thus establishing a context for the treatment of works by Louisa May Alcott, Mary Elizabeth Braddon, Dion Boucicault, Wilkie Collins, Charles Dickens, George Lippard, Charles Reade, Harriet Beecher Stowe and George Thompson, the volumetakes up a wide range of sensational topics including sexuality, slavery, criminal punishment, literary piracy, mesmerism, and the metaphors of foreign literary invasion and diseased reading. Concluding essays offer a reassessment of the realist and domestic fiction of George Eliot, Charlotte Yonge, and Thomas Hardy in the context of transatlantic sensationalism, emphasizing the evolution of the genre throughout the century and mapping a new transatlantic lineage for this immensely popular literary form. The book's final essay examines an international kidnapping case that was a journalistic sensation at the turn of the twentieth century.
The tragic mulatta was a stock figure in nineteenth-century American literature, an attractive mixed-race woman who became a casualty of the color line. The tragic muse was an equally familiar figure in Victorian British culture, an exotic and alluring Jewish actress whose profession placed her alongside the “fallen woman.” In Transatlantic Spectacles of Race, Kimberly Manganelli argues that the tragic mulatta and tragic muse, who have heretofore been read separately, must be understood as two sides of the same phenomenon. In both cases, the eroticized and racialized female body is put on public display, as a highly enticing commodity in the nineteenth-century marketplace. Tracing these figures through American, British, and French literature and culture, Manganelli constructs a host of surprising literary genealogies, from Zelica to Daniel Deronda, from Uncle Tom’s Cabin to Lady Audley’s Secret. Bringing together an impressive array of cultural texts that includes novels, melodramas, travel narratives, diaries, and illustrations, Transatlantic Spectacles of Race reveals the value of transcending literary, national, and racial boundaries.
Transatlantic Footholds: Turn-of-the-Century American Women Writers and British Reviewers analyses British reviews of American women fiction writers, essayists and poets between the periods of literary domesticity and modernism. The book demonstrates that a variety of American women writers were intelligently read in Britain during this era. British reviewers read American women as literary artists, as women and as Americans. While their notion of who counted as "women" was too limited by race and class, they eagerly read these writers for insight about how women around the world were entering debates on women’s place, the class struggle, religion, Indian policy, childrearing, and high society. In the process, by reading American women in varied ways, reviewers became hybrid and dissenting readers. The taste among British reviewers for American women’s books helped change the predominant direction that high culture flowed across the Atlantic from east-to-west to west-to-east. Britons working in London or far afield were deeply invested in the idea of "America." "America," their responses prove, is a transnational construct.
This unique interdisciplinary essay collection offers a fresh perspective on the active involvement of American women authors in the nineteenth-century transatlantic world. Internationally diverse contributors explore topics ranging from women's social and political mobility to their authorship and activism. While a number of essays focus on such well-known writers as Margaret Fuller, Catharine Maria Sedgwick, Harriet Beecher Stowe, George Eliot, Louisa May Alcott, and Charlotte Perkins Gilman, other, perhaps lesser-known authors are also included, such as E. D. E. N. Southworth, Elizabeth Stuart Phelps, Elizabeth Peabody, Jeannette Hart, and Laura Richards. These essays show the spectrum of interests and activities in which nineteenth-century women were involved as they moved, geographically and metaphorically, toward gaining their independence and the right to control their lives. Traveling far and wide - to Italy, France, Great Britain, and the Bahamas - these writers came into contact with realities far different from their own. On topics ranging from homeopathy and literary endeavors to politics and revolution, they conversed with others, reaching and inspiring transnational audiences with their words and deeds, and creating a space for self-expression in the rapidly changing transatlantic world.
Harriet Beecher Stowe's powerful antislavery novel ""Uncle Tom's Cabin"", published in 1851, caused an immediate sensation and sparked heated debate. This addition to the ""Bloom's Guides"" series examines the structure and characters of the novel and provides critical analysis. Essays discuss the novel as an agent of social change, fairness in the novel, the novel as an abolitionist tract, and more. An annotated bibliography and a listing of other works by the author complement the text.
Challenging previous studies that claim anxiety and antagonism between transatlantic Victorian authors, Jennifer Cognard-Black uncovers a model of reciprocal influence among three of the most popular women writers of the era. Combining analyses of personal correspondence and print culture with close readings of key narratives, this study presents an original history of transatlantic authorship that examines how these writers invented a collaborative aesthetics both within and against the dominant discourse of professionalism.
Ever since feminist scholarship began to reintroduce Harriet Beecher Stowe's writings to the American literary canon in the 1970s, critical interest in her work has steadily increased. Beyond Uncle Tom's Cabin: The Writings of Harriet Beecher Stowe, edited by Sylvia Mayer and Monika Mueller, shows that during her long writing and publishing career, Stowe was a highly prolific writer who targeted diverse audiences, dealt with drastically changing economic, commercial, and cultural contexts, and wrote in a diversity of genres.
