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• W257611056 abstract "Commonly considered to be first work of Southwestern humor, Augustus Baldwin Longstreet's Georgia Scenes (1835) has long been exiled to margins of antebellum Southern literature, which, in turn, occupies a marginal position of its own. In his 1993 Yeoman versus Cavalier, Richie Devon Watson banishes Southwestern humor to a subliterary generic cordon sanitaire isolated from more central plantation tradition (57-58). Besides being misleading on its own terms, Watson's assertion that in their own southwest humorists were simply not considered legitimate writers (57) has tended, as a general critical view, to legitimate dismissal of Longstreet and his fellow Southwestern humorists as literary dabblers whose ideological work is crudely simplistic and easily apprehended.(1) Much of this neglect can be traced to highly reductive critical lens through which Georgia Scenes (and, indeed, Southwestern humor as a genre) has been viewed: Kenneth Lynn's theory of cordon sanitaire, a paradigm that pits gentleman narrators against bumbling and sometimes sinister yokels in a relentlessly repetitive and monological justification of class privilege. But a reconsideration of Longstreet's symbolic organization of collective experience, paying particular attention to a network of tropes - of economy, nature, representation, and language games - implicates Longstreet in a complex negotiation of class roles. Exploring response of Longstreet's primary narrator, Lyman Hall, to dialogic imperative of lower class and tracing development of what I will call his socionarrative style (by which I mean a social style reflected in narrative stylistics), I shall demonstrate how Longstreet legitimates social relationships presumed to exist in ideal (and even utopian) Georgia community. Since his stated explanation of his narrative project focused exclusively on issues of preservation and realism, Longstreet himself would probably have been skeptical of such a project. He wrote of Georgia Scenes that the aim of was to supply a chasm in history which has always been overlooked - manners, customs, amusements, wit, dialect, as they appear in all grades of society to an ear and eye witness of (qtd. in Fitzgerald 164). In his preface to Georgia Scenes, he claimed to have used some little art only to recommend [the sketches] to readers of my own times in hope that their initial popularity would increase the chance of their surviving author until a day when would give them an interest (1).(2) Critics such as Kimball King have justly praised Longstreet for his work as a social historian (137-40), and James E. Kibler has argued for Georgia Scenes as a seminal work in development of American (viii-xiii). Nevertheless, few critics have questioned general position argued by Robert L. Phillips, Jr., who claims that Longstreet's realism is at least complicated by narrative values implicit, and sometimes quite explicit, in tales themselves (28-53, 137-50). The concept of a realistic narrative - in sense of narrative being somehow objective or value-neutral - has, of course, been discredited at least since Wayne Booth's Rhetoric of Fiction, and even had it not, such a concept has little relevance for Georgia Scenes, a work in which social valuation is perhaps fundamental textual activity. On a formal level, however, Georgia Scenes fulfills Roman Jakobson's criterion that metonymy provide symbolic substructure of realist narrative. Longstreet's description of his sketches as fanciful combinations of real incidents and points to a deep structure in which contiguity is privileged over similarity as dominant organizing principle of his narrative, which, following Jakobson's formulation, metonymically digresses from plot to atmosphere and from characters to setting in space and time (255). More significantly, this formal metonymic structure is replicated on level of social interaction. …" @default.
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• W257611056 date "1996-03-22" @default.
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• W257611056 title "Negotiating Community in Augustus Baldwin Longstreet's Georgia Scenes" @default.
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