Thesis (M.A.)--University of Wisconsin--Madison, 1966. / eContent provider-neutral record in process. Description based on print version record. Bibliography: l. 121-124.

Texts such as Harriet Beecher Stowe’s Uncle Tom’s Cabin, Harriet Jacobs’ Incidents in the Life of a Slave Girl, and Nella Larsen’s Quicksand each present a different understanding and perspective of relationships based on their time periods and social statures. The type of relationship Stowe focuses on in her novel is that of friendship. Friends, defined as people with whom have a bond of mutual affection, and friendships, the state of mutual trust and support (Merriam-Webster), anchor the relationships that Eva and Eliza create with members on the plantation. These female protagonists turn to friendship as a way to live each day more normally – that is, to somehow alleviate the brutal cruelty of living through slavery. Despite varying odds, trials, and tribulations, seeking friendships that had preservative and supportive qualities allowed the female protagonists in Stowe’s novel to survive their own lives. The friendships Eva and Eliza formed discredit what many paternalist pro-slavery authors used as evidence to justify the institution of slavery. In the paternalist proslavery mindset, slave-owner and slave friendships revealed the benefits of slavery – that the two groups would be happier together rather than apart. Stowe discredits this mentality by relating to her 19th century reader’s emotions, representative of the sentimental genre in which she writes. However, in writing about slavery from a white woman’s perspective, Stowe isn’t fully exempt from the paternalist genre. As I will examine later, many of her statements about slavery and the friendships she narrates embody implicitly racist stereotypes and caricatures that complicate the abolitionist approach to her novel. In this way, she falls under the category of paternalist abolitionism, rather than paternalist proslavery. Stowe also highlights the fleeting nature of these friendships. Many, if not all, of the friendships Eva and Eliza form are not able to last, which is one way Stowe argues against the institution of slavery. Following Stowe, my discussion of Jacobs will introduce a slave’s perspective to female relationships in slavery. The relationships in Jacobs’ narrative are centered on family, and the power of relying on one’s own blood or close-knit community to survive slavery. Writing also within the sentimental mode, Jacobs focuses on her reader’s emotions in order to propel her anti-slavery argument. The female relationships Jacobs details are grounded in literal and metaphorical motherhood. She highlights these relationships as an emotional and familial, particularly motherly, survival method. Jacobs’ text showcases the importance of family, rather the relationships or friendships formed with strangers– thereby differentiating her argument from Stowe’s. Nella Larsen’s Quicksand draws on the emotional and social difficulties one biracial woman faced in a world affected by the legacy of slavery and World War I. As a biracial woman, Helga develops relationships with men and women she hopes will support her progressive way of thinking and sense of selfhood. Helga’s relationships are more aptly defined as partnerships – given that “partners” may involve sexual, non-sexual, and business-like dynamics between two people. Helga must find authentic, or non-hypocritical, people to assist in her journey for selfhood and kin. But similarly to the relationships in Stowe and Jacobs, the friendships Helga creates often fail her. The question of why they fail in Quicksand connects directly to the question the novel itself is asking: is the search for selfhood more important than the search for kin? The argument all three works make with these failures represents a call to action – not just for the time period in which their novels were written, but also for future American communities. The continuing consequences of racial and gender discrimination exposed by Stowe, Jacobs, and Larsen show us that real social change must come from people – from the relationships we form.

Thesis (Ph.D.)--University of Tulsa, 1995. / Includes bibliographical references (leaves 186-197).

Thesis (Ph.D.)--Syracuse University, 2008. / "Publication number: AAT 3323081."

This thesis project examines the intertextuality between Cameron Awkward-Rich’s poetry collection Sympathetic Little Monster (2016) and earlier African American texts: Harriet Jacobs’ Incidents of a Slave Girl (1860) and Toni Morrison’s Sula (1973). Focusing on intertextuality and the trope of the train, this project analyzes Awkward-Rich’s collection which details how black bodies are still subjected to oppression and anti-black/anti-trans violence. His poems explore how black trans subjects are inhibited from reaching “arrival,” wholeness, and freedom in one’s representation and expression of their identity. White supremacy and constructs of race and gender attempt to dictate the speakers’ movements, possibilities, and mobility. Paying close attention to references to the past and the trope of the train, I examine how Awkward-Rich’s poetry interrogates black trans legibility, subjectivity, and subjugation. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2020. / FAU Electronic Theses and Dissertations Collection

This thesis examines the schisms in the antebellum Baptist and Methodist Churches regarding slavery. It was these internal ruptures in both denominations that helped influence life in the slave community. The slave narratives of Henry Bibb, William Wells Brown, Frederick Douglass and Harriet Jacobs reveal the impact the schisms had on master-slave relations and slave religious instruction. Moreover, the internal rupture in both denominations over the South‟s peculiar institution was instrumental in spawning a pro-slavery Christianity. This pro-slavery Christianity proved crucial in extending and strengthening white hegemony. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2018. / FAU Electronic Theses and Dissertations Collection

O objetivo deste trabalho, num primeiro momento, foi extrair das 65 cartas que João Guimarães Rosa remeteu à sua tradutora para o inglês, Harriet de Onís, durante a tradução de Sagarana, as linhas gerais que configuram sua poética. Um breve panorama da gênese e da recepção deste livro, seguidos pelos comentários às mencionadas cartas, abriu nossa pesquisa. Depois disso realizamos uma análise do conto Conversa de bois, oitava narrativa de Sagarana, enriquecida pelas declarações do escritor na referida correspondência em torno do seu processo de criação. Para complementar a análise e esclarecer certas questões relativas à técnica compositiva do autor não tratadas especificamente em sua poética, recorremos a alguns conceitos-chave de pensadores de diferentes tradições que, embora desenvolvidos em épocas distintas, encontram seu lugar nesse estudo do universo heteróclito criado por JGR. Uma atenção especial foi dada ao Formalismo Russo (Roman Jakobson (1896-1982), Viktor Chklóvski (1896- 1984), Iuri Tyniánov (1894-1943) e Ossip Brik (1888-1945)) cujos preceitos muitos deles em consonância com a poética rosiana foram uma referência válida para a metodologia de nossa análise. / The first, aim of this work was to draw the general lines that establish João Guimarães Rosas poetics from the 65 letters the author sent to his translator Harriet de Onís, during her English translation of Sagarana whose brief genetic and receptive panorama, together with Rosas epistolary remarks, open our research. After that, we performed an analysis of the short story Conversa de bois, Sagaranas eighth narrative, taking into consideration the mentioned writers informations about his creative process. To enlighten the analysis and clarify certain questions related to the author´s compositional technique, we made use of some key-concepts of thinkers from different traditions, which, in spite of belonging to different periods, found their place in this work about the heteroclite universe created by JGR. A special attention was given to Russian Formalism (Roman Jakobson (1896-1982), Viktor Chklóvski (1896-1984), Iuri Tyniánov (1894-1943) e Ossip Brik (1888-1945)) whose precepts many of them in consonance with Rosas poetics were a valid reference for the methodology of our analysis.

Thesis (doctoral)--Universität Mannheim, 2002. / Includes bibliographical references (p. 295-304).

O objetivo deste trabalho, num primeiro momento, foi extrair das 65 cartas que João Guimarães Rosa remeteu à sua tradutora para o inglês, Harriet de Onís, durante a tradução de Sagarana, as linhas gerais que configuram sua poética. Um breve panorama da gênese e da recepção deste livro, seguidos pelos comentários às mencionadas cartas, abriu nossa pesquisa. Depois disso realizamos uma análise do conto Conversa de bois, oitava narrativa de Sagarana, enriquecida pelas declarações do escritor na referida correspondência em torno do seu processo de criação. Para complementar a análise e esclarecer certas questões relativas à técnica compositiva do autor não tratadas especificamente em sua poética, recorremos a alguns conceitos-chave de pensadores de diferentes tradições que, embora desenvolvidos em épocas distintas, encontram seu lugar nesse estudo do universo heteróclito criado por JGR. Uma atenção especial foi dada ao Formalismo Russo (Roman Jakobson (1896-1982), Viktor Chklóvski (1896- 1984), Iuri Tyniánov (1894-1943) e Ossip Brik (1888-1945)) cujos preceitos muitos deles em consonância com a poética rosiana foram uma referência válida para a metodologia de nossa análise. / The first, aim of this work was to draw the general lines that establish João Guimarães Rosas poetics from the 65 letters the author sent to his translator Harriet de Onís, during her English translation of Sagarana whose brief genetic and receptive panorama, together with Rosas epistolary remarks, open our research. After that, we performed an analysis of the short story Conversa de bois, Sagaranas eighth narrative, taking into consideration the mentioned writers informations about his creative process. To enlighten the analysis and clarify certain questions related to the author´s compositional technique, we made use of some key-concepts of thinkers from different traditions, which, in spite of belonging to different periods, found their place in this work about the heteroclite universe created by JGR. A special attention was given to Russian Formalism (Roman Jakobson (1896-1982), Viktor Chklóvski (1896-1984), Iuri Tyniánov (1894-1943) e Ossip Brik (1888-1945)) whose precepts many of them in consonance with Rosas poetics were a valid reference for the methodology of our analysis.

Prophet Muhammad stated, “A white has no superiority over black nor a black has any superiority over white except by piety and good action.” Because of the continual idea of race as a social construct, this study examines the memoirs of Douglass, Jacobs and Malcolm X, as it relates to the narrative of self and identity. They have written their personal autobiographies utilizing diction as a tool that develops their art of storytelling about their distinct life journeys. These protagonists utilize their autobiographical experiences to construct a generational transference of race and identity from when Douglass was born in 1818, to Jacob’s escape to freedom in 1838 to the assassination of Malcolm X in 1965. Historically, the texts are written from where slavery was still an institution until it was abolished in 1865, proceeding through to the Civil Rights movement. Frederick Douglass, Harriet Jacobs and Malcolm X will experience racial trauma throughout their personal narratives that were life-altering events that severely influenced them as they matured from adolescence to adulthood. The writer has determined that, “Racial trauma can be chracterized as being physically and or psychologically damaged because of one’s race or skin color that permanently has long lasting negative effects on an individual’s thoughts, behavior or emotions,” i.e., African American victims of police brutality are racially traumatized because they suffer with behavioral problems and stress, after their encounters. This case study is based on the definition of race as a social construct for Douglass, Jacobs and Malcolm X’s narratives that learn to self-identify beyond the restrictions of racial discrimination which eventually manifests into white oppression in a world that does not readily embrace them. Their autobiographies provide self-reflection and a broad comprehension about how and why they were entrenched by race. Douglass, Jacobs and Malcolm X were stereotyped, socially segregated, and internalized awareness of despair because of their race. Conclusions drawn from Frederick Douglass-Narrative of the Life of Frederick Douglass: American Slave, Harriet Jacobs-Incidences of a Slave Girl, and Malcolm X’s- Autobiography of Malcolm X will exemplify the subject of African American narrators countering racism and maneuvering in society.