FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W4379623740> ?p ?o ?g. }

• W4379623740 endingPage "771" @default.
• W4379623740 startingPage "770" @default.
• W4379623740 abstract "77? Reviews practice, even granted a transatlantic lag, than McGill's narrow analysis of legal discourse reveals. Moreover, exclusive focus upon printing distorts the overall pic? ture of the literary field, in so far as it severs everyday scribal production practices away from print. The introduction of this into McGill's argument, however, would undermine her Habermasian conflation of printing with the putative public sphere (after Michael Warner) and thus her juridico-politico (read: Republican) correction of Gilmore's economic determinism. Yet, perhaps 'the literary' was itself a key cul? tural category circumscribed by traditional social needs of which Republicanism and Jacksonianism were only a part. Political culture per se was hardly the main barrier holding authorship back from full-throttle market influence. McGill works out the implications of her vision of literary property at the incongruous intersection of economics and politics in detailed case studies of Charles Dickens, Edgar Allan Poe, and Nathaniel Hawthorne. While her treatment of each author's relation to reprinting opens new perspectives on literary professionalization in the US, her departures into textual interpretation do not always follow through on the rich promise of her bio-bibliographical insights. For example, she attributes the fragmented, problematical narrative structure of Dickens's 1842 American Notes, for General Circulation, to his mirroring of American decentralization, which, to this reader's mind, accords him more artistic acumen than he probably deserves in this case. Certainly, too, some of Poe's ambiguous attitude towards the market reflects the unstable nature of authorship within it, but it goes too far, as McGill does, to extend that condition into Poe's penchant for 'intimate, empty address' (p. 158)?the ambivalence of 'strategic generality' (p. 157) because he could not divine the fate of his reprints. And can the 'narrative impasses' of Hawthorne's 1851 House ofthe Seven Gables (p. 220) really be solely derived from that author's liminal status between the prior system of reprinting and the author-centred national market of the 1850s? If only all authorial fumbling could be so facilely explained. With McGill's interpretative over-reach in view, one cannot help but wonder at the very notion of 'a culture of reprinting', as ifthe practice is so all-encompassing to be determinative within the broader cultural field. One can only think of, improbably , a current 'culture of xeroxing', as an equally misfitted small practice to describe very large trends. In short, McGill's causal arrows here tend to point the wrong way: reprinting, farfrom spawning its own culture, emerged from chaotic conditions surrounding early nineteenth-century American capitalist development, itself often uneven and contradictory. The unsurprising result: a chaotic market summoned an equally chaotic literature, of which rampant reprinting was but one symptom. University of Pittsburgh Ronald J.Zboray Saints, Sinners, Saviors: Strong Black Women in African American Literature. By Trudier Harris. Basingstoke and New York: Palgrave. 2002. vi + 218 pp. ?13.99. ISBN 0-312-29303-8. Trudier Harris is the author of five previous books on African American literature. Her sixth makes a case for the centrality of strength as a dominant stereotype in the literary portrayal of black women. Provocative in content and tone, Saints, Sinners, Saviors provides an in-depth view of several African American literary works of the twentieth century, identifying physical and moral strength as a problematic feature, a symptom of 'disease' (p. 10) bordering on evil, which often has detrimental effects. Harris criticizes this one-dimensional pattern of portraying female characters, as it does not allow for character complexity, foreclosing other possibilities of character depiction, and thereby potentially hindering future directions for the representation of black women. MLR, 99.3, 2004 771 In her firstchapter, Harris outlines the historical development of images of the black, female body, arguing that the stereotype of the physically large, strong, and asexual black woman is the creation of both Euro Americans and African Americans. Black writers have embraced this image, thus being 'complicit in their perpetuation of the dominant images' (p. 7). In the following chapters, Harris provides detailed examples of literary portrayals of strong black women. She touches on a great variety of black American writers, but focuses particularly on works by Lorraine..." @default.
• W4379623740 created "2023-06-08" @default.
• W4379623740 creator A5027217282 @default.
• W4379623740 date "2004-07-01" @default.
• W4379623740 modified "2023-09-27" @default.
• W4379623740 title "Saints, Sinners, Saviors: Strong Black Women in African American Literature by Trudier Harris (review)" @default.
• W4379623740 doi "https://doi.org/10.1353/mlr.2004.a826837" @default.
• W4379623740 hasPublicationYear "2004" @default.
• W4379623740 type Work @default.
• W4379623740 citedByCount "0" @default.
• W4379623740 crossrefType "journal-article" @default.
• W4379623740 hasAuthorship W4379623740A5027217282 @default.
• W4379623740 hasConcept C107038049 @default.
• W4379623740 hasConcept C124952713 @default.
• W4379623740 hasConcept C138885662 @default.
• W4379623740 hasConcept C142362112 @default.
• W4379623740 hasConcept C144024400 @default.
• W4379623740 hasConcept C17744445 @default.
• W4379623740 hasConcept C185592680 @default.
• W4379623740 hasConcept C199033989 @default.
• W4379623740 hasConcept C199539241 @default.
• W4379623740 hasConcept C2779610281 @default.
• W4379623740 hasConcept C41895202 @default.
• W4379623740 hasConcept C527412718 @default.
• W4379623740 hasConcept C55493867 @default.
• W4379623740 hasConcept C94625758 @default.
• W4379623740 hasConcept C95457728 @default.
• W4379623740 hasConcept C98184364 @default.
• W4379623740 hasConceptScore W4379623740C107038049 @default.
• W4379623740 hasConceptScore W4379623740C124952713 @default.
• W4379623740 hasConceptScore W4379623740C138885662 @default.
• W4379623740 hasConceptScore W4379623740C142362112 @default.
• W4379623740 hasConceptScore W4379623740C144024400 @default.
• W4379623740 hasConceptScore W4379623740C17744445 @default.
• W4379623740 hasConceptScore W4379623740C185592680 @default.
• W4379623740 hasConceptScore W4379623740C199033989 @default.
• W4379623740 hasConceptScore W4379623740C199539241 @default.
• W4379623740 hasConceptScore W4379623740C2779610281 @default.
• W4379623740 hasConceptScore W4379623740C41895202 @default.
• W4379623740 hasConceptScore W4379623740C527412718 @default.
• W4379623740 hasConceptScore W4379623740C55493867 @default.
• W4379623740 hasConceptScore W4379623740C94625758 @default.
• W4379623740 hasConceptScore W4379623740C95457728 @default.
• W4379623740 hasConceptScore W4379623740C98184364 @default.
• W4379623740 hasIssue "3" @default.
• W4379623740 hasLocation W43796237401 @default.
• W4379623740 hasOpenAccess W4379623740 @default.
• W4379623740 hasPrimaryLocation W43796237401 @default.
• W4379623740 hasRelatedWork W1837987277 @default.
• W4379623740 hasRelatedWork W2138218016 @default.
• W4379623740 hasRelatedWork W2266469096 @default.
• W4379623740 hasRelatedWork W2558247387 @default.
• W4379623740 hasRelatedWork W2620958808 @default.
• W4379623740 hasRelatedWork W2748952813 @default.
• W4379623740 hasRelatedWork W2753281767 @default.
• W4379623740 hasRelatedWork W2933608806 @default.
• W4379623740 hasRelatedWork W3111331181 @default.
• W4379623740 hasRelatedWork W3127060112 @default.
• W4379623740 hasVolume "99" @default.
• W4379623740 isParatext "false" @default.
• W4379623740 isRetracted "false" @default.
• W4379623740 workType "article" @default.