Pub Date : 2023-06-01DOI: 10.5038/2157-7129.13.1.1320
“‘Before I am Quite Forgot’: Women’s Critical Literary Biography and the Future” extends the conversation about literary “worth” in the twenty-first century as it still judges and ignores women authors of the past. Specifically, this essay explores the role of women’s literary historical biography as a primary marker of worth and as a means of shaping legacy. I also discuss my (perhaps more non-traditional) experience—both my personal circumstances and particular material conditions—writing the critical biography Charlotte Lennox: An Independent Mind. Without a substantial biography that shows the scope of Lennox’s mind, her significant corpus, and her interventions in literary history and current events through publishing, this talented and popular author would not have had the opportunity to be fully taken seriously. This essay is designed to encourage potential biographers who study remarkable women authors of past centuries around the world. It also asserts the value of the #MeToo movement and social media for more robust legacy making.
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Pub Date : 2023-06-01DOI: 10.5038/2157-7129.13.1.1339
Ziona Kocher
A review of Ula Lukszo Klein’s Sapphic Crossings: Cross-Dressing Women in Eighteenth-Century British Literature, by Ziona Kocher.
书评乌拉·鲁克索·克莱因的《萨菲十字路口:十八世纪英国文学中的变装女性》，作者:齐奥娜·科赫。
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Pub Date : 2023-06-01DOI: 10.5038/2157-7129.13.1.1352
Kerry. Sinanan
This essay discusses teaching The History of Mary Prince at a Hispanic Serving Institution via Ethnic Studies praxis. It develops Nicole Aljoe’s definition of Prince’s narrative as counter-story and testimonio and explores the undisciplining effects of reading Prince’s history as relevant to the lives of Borderlands students. To understand the multiple meanings of “undisciplining’ this essay draws on the theory of Sylvia Wynter and shows how Prince’s testimonio offers an alternative to Western epistemologies via communal resistance and resurgence. Several pedagogic tools are explored for teaching Prince in this way.
{"title":"Mary Prince’s Undisciplining Lessons: Counter-Narrative and Testimonio in The History","authors":"Kerry. Sinanan","doi":"10.5038/2157-7129.13.1.1352","DOIUrl":"https://doi.org/10.5038/2157-7129.13.1.1352","url":null,"abstract":"This essay discusses teaching The History of Mary Prince at a Hispanic Serving Institution via Ethnic Studies praxis. It develops Nicole Aljoe’s definition of Prince’s narrative as counter-story and testimonio and explores the undisciplining effects of reading Prince’s history as relevant to the lives of Borderlands students. To understand the multiple meanings of “undisciplining’ this essay draws on the theory of Sylvia Wynter and shows how Prince’s testimonio offers an alternative to Western epistemologies via communal resistance and resurgence. Several pedagogic tools are explored for teaching Prince in this way.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"134 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77385187","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.5038/2157-7129.13.1.1362
Marilyn Francus
{"title":"Introduction: Shaping the Legacy of 18th-Century Women","authors":"Marilyn Francus","doi":"10.5038/2157-7129.13.1.1362","DOIUrl":"https://doi.org/10.5038/2157-7129.13.1.1362","url":null,"abstract":"","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82005954","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.5038/2157-7129.13.1.1354
Kristina Huang
Due to the highly mediated conditions of its production, The History of Mary Prince presents a challenge to New Critical methods of reading that are frequently taught in undergraduate literature classrooms. Without questioning the British abolitionists’ textual representation of Prince’s experiences, readers unfamiliar with the historical conditions for slave narratives may attribute the publication’s sentimentalism and representations of violence as direct expressions of Prince. This essay mobilizes close reading towards contrary ends: I throw the editor’s (Thomas Pringle’s) paratextual material, particularly the Preface, under scrutiny by close reading its insistence on transparency and symmetry between the first-person narrative and Prince as the narrative's univocal source. Using the Preface as an apparatus for close reading The History, I emphasize the dissonance between, on the one hand, the British abolitionists’ textual representation of freedom and, on the other, Prince’s speech as a practice of freedom. Drawing on the methods developed by Marisa Fuentes and Ann Laura Stoler, I offer historical and geographical contexts that can be layered onto close readings exercises for The History – particularly around repeated tropes of salt and allusions to sugar – that destabilize Thomas Pringle’s, and by extension the London Antislavery Society’s, representation of Prince’s public image. I argue how the paratextual materials of The History can help instructors foreground the contradictions and asymmetries of power embedded in subaltern representations.
{"title":"Along and Against the Grain: Close reading The History of Mary Prince","authors":"Kristina Huang","doi":"10.5038/2157-7129.13.1.1354","DOIUrl":"https://doi.org/10.5038/2157-7129.13.1.1354","url":null,"abstract":"Due to the highly mediated conditions of its production, The History of Mary Prince presents a challenge to New Critical methods of reading that are frequently taught in undergraduate literature classrooms. Without questioning the British abolitionists’ textual representation of Prince’s experiences, readers unfamiliar with the historical conditions for slave narratives may attribute the publication’s sentimentalism and representations of violence as direct expressions of Prince. This essay mobilizes close reading towards contrary ends: I throw the editor’s (Thomas Pringle’s) paratextual material, particularly the Preface, under scrutiny by close reading its insistence on transparency and symmetry between the first-person narrative and Prince as the narrative's univocal source. Using the Preface as an apparatus for close reading The History, I emphasize the dissonance between, on the one hand, the British abolitionists’ textual representation of freedom and, on the other, Prince’s speech as a practice of freedom. Drawing on the methods developed by Marisa Fuentes and Ann Laura Stoler, I offer historical and geographical contexts that can be layered onto close readings exercises for The History – particularly around repeated tropes of salt and allusions to sugar – that destabilize Thomas Pringle’s, and by extension the London Antislavery Society’s, representation of Prince’s public image. I argue how the paratextual materials of The History can help instructors foreground the contradictions and asymmetries of power embedded in subaltern representations.","PeriodicalId":30251,"journal":{"name":"ABO Interactive Journal for Women in the Arts 16401830","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88944897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.5038/2157-7129.13.1.1340
T. Moutray
A review of Siobhán McIlvanney's Figurations of the Feminine, by Tonya J. Moutray
回顾Siobhán麦克瓦尼的《女性形象》，Tonya J. Moutray
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Pub Date : 2023-06-01DOI: 10.5038/2157-7129.13.1.1319
Laura Engel
Sculpture as a medium is inherently connected to legacy making. In producing three- dimensional monuments designed to withstand the test of time, women artists provided evidence of the lasting quality and permanence of their creative acts. This article examines the actress, sculptress and novelist Anne Damer’s sculpture of the famous actress turned Countess Eliza Farren (c. 1788), paying particular attention to the relationship between sculpture as a static art form that captures tactile embodied presence and the ephemerality of performance. Farren’s involvement in Damer’s staging of the private theatricals at Richmond House (Farren directed and Damer starred) suggests that their collaborative relationship engendered aesthetic acts across media – performances that are now lost but remain in traces across a variety of material. Similarly, in the mid nineteenth century the American artist Harriet Hosmer’s spectacular sculptures of female figures were inspired in part by her intimate relationship with the famous actress Charlotte Cushman. Cushman’s dynamic performances of Lady Macbeth parallel Hosmer’s powerful controversial sculpture of Zenobia as a warrior Queen (1859). Looking ahead to the early twentieth century, I propose that Malvina Hoffman’s uncanny portrait busts of the ballet dancer Anna Pavlova (particularly her “Head of Pavlova” made of wax, 1924), similarly recreate a unique dynamic between the female artist and the intangible performances of her female muse. Drawing connections between Damer, Hosmer, and Hoffman, across time and media, allows us to re-imagine the relationship between artistic forms, materials, and aesthetic practices. Women’s artistic and theatrical legacies, I suggest, are not found only in tangible sources, but also by recuperating networks, connections, and collaborations through interdisciplinary practices. In doing so we create new legacies that chart the extraordinary accomplishments of women of the past.
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Pub Date : 2023-06-01DOI: 10.5038/2157-7129.13.1.1316
Kristina Straub
How do we trace the historical processes that grant some writers visibility and, hence, legacy, while shoving others into the historical closet? This essay offers the case study of Elizabeth Boyd (1727-1745), a novelist, poet, and playwright who has received some attention from scholars interested in women’s contributions to the legacy of William Shakespeare in the second quarter of the eighteenth century. In particular, her unperformed play, Don Sancho: Or, the Students Whim, a Ballad Opera of Two Acts, with Minerva’s Triumph, a Masque (1739) dramatizes a woman writer’s reflections on the politics of legacy at this formative moment in the history of authorship and the British theater. While the play was not performed, key scenes were later plagiarized in popular afterpieces by theater managers and playwrights Henry Giffard and David Garrick. Boyd, along with her inclusive vision of theatrical legacy as the domain of men and women of different classes, disappears in the male playwrights’ fantasies of exclusively masculine, British literary greatness. The story of Boyd’s erasure speaks to the gendered and classed exclusions and elisions in the social and economic processes by which legacy is formed, in this case, in the gendered power relations of eighteenth-century theater and its management.
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Pub Date : 2023-06-01DOI: 10.5038/2157-7129.13.1.1334
Kim Simpson
In a review of Women’s Writing, 1660-1830: Feminisms and Futures, Paula Backscheider draws attention to “the miracle that is Chawton House, whose conferences nurtured these essays” in the collection. This essay will examine the legacy of this unique institution and explore the futures for the organization both as heritage site and as home to a substantial collection of women’s writing of the long eighteenth century. The community encouraged and nurtured by Chawton House since it opened to the public in 2003, as is so often the case with all things related to Jane Austen, complicates divisions between the academic and the popular, bringing together people of different backgrounds from all over the world. For diverse audiences, Chawton House—the Visiting Fellowship program, the reading group, the reading rooms, the collections, and, increasingly, the gardens and parkland—have provided the time, space, and material to explore, share, and delight in women’s contributions. This essay will celebrate work already done to maintain and shape the legacy of Jane Austen, her contemporaries, and her predecessors—the legacy of the eighteenth- and nineteenth-century literary world. It considers some of the challenges faced by heritage organizations like Chawton House in recovering and representing the work of early British women writers and shaping their legacy, exploring the ways in which issues of canonicity, value and reputation play out in both academic research and public engagement. It outlines some of the strategies used by Chawton House over the last two decades to meet these challenges, including public programming that introduces women writers little-known outside academic circles, but that also asks audiences to consider the conditions that rendered them obscure in the first place. It goes on to consider the ways in which the current moment – both the culture wars and the pandemic—has revitalized these questions of legacy by demanding new perspectives and providing new audiences for heritage organizations.
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Pub Date : 2023-06-01DOI: 10.5038/2157-7129.13.1.1350
This chapter utilizes Hartman’s methodology of retrieval to create a map1 in StoryMap JS2 (“the map” or “this map”) that analyzes multiple geographic spaces in The History of Mary Prince: A West Indian Slave Narrative and Saidiya Hartman’s Lose Your Mother: A Journey Along the Atlantic Slave Route. The map is an archive or a witness to some of the geographical spaces Mary Prince lived (and was sold) as an enslaved woman seeking freedom and the places in which Saidiya Hartman has conducted research or visited in Ghana as a “free” woman. Layering the past over present creates a subversive cartography, one that subverts and unsettles the monolithic geographical narrative of the transatlantic slave trade. Twenty-two locations are mapped that merge past, present, and future as one narrative and not a compartmentalized narrative contained by borders or timelines because “At stake is not recognizing antiblackness as a total climate” (Sharpe 21). This map will elicit questions of responsibility on how to unsettle colonial narratives about Black and African American women. This map interrogates geographical spaces of the formerly enslaved as already and always in existence beyond hegemonic structures that contribute to a capitalist economy.
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