This thesis analyzes the English National Trust’s interpretation of the making and reception of Stowe Landscape Garden. Specifically, this is a critique of the Trust’s narrative of nationalism, which is overlaid by the use of romantic interpretive themes. Arguably, Stowe’s first contribution was the combination of expressions of nature through landscape with architectural and sculptural monuments of Englishness. The National Trust, however, has combined interpretations of multiple landscape gardens across a century, thus blurring its actual significance. Stowe has been lumped into a jumbled framework of anachronistic landscape commentary much based in the literature of reception. The use of receptive history as fact to define concepts like ‘Englishness’, ‘Landscape Garden’, and the ‘Picturesque’ only further aid the unsustainable development of the historical landscape. Stowe is recognized as the most extensive extant landscape garden to exemplify contributions by the first four designers in the medium: Vanbrugh, Bridgeman, Kent, and Brown. Lancelot ‘Capability’ Brown’s place-making role in the history of English landscape, much derided by the proponents of the Picturesque, found its first expression at Stowe from 1740 to 1751. Thus, Stowe’s Brownian dominant landscape, of which the bones are still largely intact, should be used as the designated period of interpretation. In this way, the National Trust could fulfill a modern desire for connection to nature, and with greater specificity, diversity and transparency in historical accounts, expand the accessibility of ‘Englishness’ in the form the consummate national landscape garden.

The following is a case study in contemporary cancel culture through three cases of it in the nineteenth century. Lord Byron, Lady Caroline Lamb, and Harriet Beecher Stowe serve as three prominent cases of cancel culture in their time period that are all closely linked to one another. Cancel culture changes the way that we study these figures and their writing in the modern day. This shows that although we believe that cancel culture is a new phenomenon with the rise of social media that is not the case. Cancel culture has been happening through time as a way for the public to enact social justice without getting the court involved. Cancel culture is a lesson in the public court of opinion. / Master of Arts / The following is a case study in contemporary cancel culture through three cases of it in the nineteenth century. Writers, Lord Byron, Lady Caroline Lamb, and Harriet Beecher Stowe serve as three prominent cases of cancel culture in their time period that are all closely linked to one another. Cancel culture changes the way that we study these figures and their writing in the modern day. It highlights how cancel culture is not as black and white as people initially believe while also showing an unbiased explanation of what transpires when a person is canceled. This shows that although we believe that cancel culture is a new phenomenon with the rise of social media that is not the case. Cancel culture has been happening through time as a way for the public to enact social justice without getting the court involved. Cancel culture is a lesson in the public court of opinion.

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Univ., Diss.--Mannheim, 2002. / Literaturverz. S. 295 - 304.

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.

The thesis focuses on the Czech translation of Harriet Beecher Stowe's novel Unce Tom's Cabin, or Life Among the Lowly (1957) by Emanuela Tilschová and Emanuel Tilsch. The translation was aimed at children; therefore the specifics of children's literature and of the translation thereof will be described. The thesis will emphasise the role of the Czechoslovak social and cultural context in the given period, i.e. approximately between the year 1948 and the late 1950s. Special attention will be paid to the production of Státní nakladatelství dětské literatury/ State Children's Literature Publishing House. After the examination of the context, the thesis will look at the translation itself and compare it with four selected books published in the same period, the focus being primarily the language of the translations. Finally, selected passages of the translation will be analysed and compared with the relevant parts of the original. The translation will then be assessed in terms of its acceptability or adequacy (Toury, 1995). Key Words: H. B. Stowe, Uncle Tom, Czech translation, cultural situation, historical norms

An exploration of Harriet Beecher Stowe's The Minister's Wooing as viewed through the lens of performance studies and domesticity. Previous tales of fallen women, both in novels and operatic form, deprived the coquette of the agency to change her societally determined route of personal destruction as previously shown in the studies of Catherine Clément. Stowe's unique tale of a French coquette overturns the typical plot of the fallen woman, as demonstrated in Hannah Webster Foster's The Coquette, by giving the coquette agency to redeem herself through key performative, domestic and, according to Judith Butler, transformative acts. Such treatment of this character made Stowe a forerunner in sexual equality.

Detractors of sentimental literature argue that such novels are unoriginal and concerned primarily with emotions. Feminist scholars redeem the reputation of sentimental literature to an extent. At present, a multitude of approaches present sentimental authors as active agents, engaging with public issues. Building upon the scholarship of prominent feminist historians and literary critics, this thesis provides direct evidence that three female authors embrace the responsibilities of being a social critic. The Wide, Wide World (1850) by Susan Warner, Uncle Tom’s Cabin (1851) by Harriet Beecher Stowe, and The Hidden Hand (1859) by Emma D.E.N. Southworth provide unique commentaries on the separation of the private and public spheres, market revolution, and religion. Decisive differences between the authors’ opinions reveal a high degree of engagement with the public issues.

Thesis (Ph. D.)--University of Oregon, 2004. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 176-181). Also available for download via the World Wide Web; free to University of Oregon users.