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• W56406911 abstract "Although it is now recognized that class conflict reaches into all spheres--not only politics and labor, but also family and private life--until recently scholars of nineteenth-century America have tended reinforce sentimental fiction of separate spheres, understanding middle- or upper-class not as site of potential conflict, but as a refuge from city, place to escape from (Kleinberg 142-43), a refuge from fluctuations of men and markets, and a bulwark against social strife (Lang 15). When domestic spaces have been analyzed as loci of social class, they have sometimes been understood in terms of the feminization of consumption, through which equivalences [are constructed] between material and subjective 'refinement'--between commodity and psychological forms (Merish 2). However, as Moira Donald has argued, the extent which work was separated from environment during industrialisation process has been overestimated (103-04). In fact, middle- and upper-class homes of nineteenth century were dependent upon both paid labor of domestic workers and unpaid labor of millions of unwaged workers, wives, daughters, aunts, and nieces who also laboured daily in home (104). Thus, complex understanding of class conflict in nineteenth-century America must take into account domestic space and women's bodies as sites of both labor and conspicuous consumption. There are few nineteenth-century American writers more aware of domestic class conflict than Louisa May Alcott, who explored women's work and consumerism in many genres, from sentimental novels such as Little Women farcical How I Went Out Service. Nonetheless, it might be tempting dismiss Alcott's gothic thriller Behind Mask, or A Woman's Power, as mere escapist fantasy, published serially in The Flag of Our Union in 1866 under penname A. M. Barnard (Stern xxxi) as way earn money for Alcott and help United States readers forget about race and class tensions building at close of Civil War. (1) However, as many critics have pointed out, although Behind Mask is set among British aristocracy and focuses on disguise and unmasking of con-woman femme fatale, this unlikely story exposes American class-related anxieties about sentimental domestic theatricality, and women's labor and sexuality. Behind Mask tells story of Jean Muir, thirty-year-old divorced actress who takes job as governess for aristocratic Coventry family. This is an acting job like any other for Muir, and she decides play this one in meek ... pathetic style (195), pretending be bashful nineteen-year-old girl. Muir plays sentimental so well that she wins hearts of both of family's sons and then goes on marry old titled uncle, Sir John. Alcott portrays Muir luring family into her performance through intrigue and seduction, and by marrying into family Muir finally draws all of Coventrys into conspiracy hide secrets of her past in order protect their family name. Previous criticism of Behind Mask has tended emphasize Alcott's feminism, focusing either on her critique of women's economic dependence or her demonstration of performativity (and hence inauthenticity) of women's sentimental roles. Madeleine Stern and Judith Fetterley, for example, have argued that Behind Mask grew out of Alcott's own desperate economic circumstances and that Jean Muir's story demonstrates how hard it was for women earn living. Teresa A. Goddu takes this economic reading one step further, arguing that Alcott's sentimental and gothic fiction participate[d] in shared market economy (119) and served reveal the economic witch behind sentimental woman (123). Critics such as Mary Elliott, Melanie Dawson, Alan Louis Ackerman, Jr., and Isabell Klaiber have emphasized Jean Muir's theatrical performance of true womanhood, exploring ways in which theatricality undermines sentimental notions of feminine authenticity. …" @default.
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• W56406911 date "2008-12-01" @default.
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• W56406911 title "Domestic Conspiracy: Class Conflict and Performance in Louisa May Alcott's Behind a Mask" @default.
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