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Indiana University-Purdue University Indianapolis (IUPUI) / This essay explores a broad range of literary works that treat long-term grief as a natural response to the death of a child. Literary examples show gaps in the medical and social sciences’ considerations of grief, since these disciplines judge bereaved mothers’ grief as excessive or label it bereavement disorder. By contrast, authors who employ the ancient storyline of child death illuminate maternal grieving practices, which are commonly marked with a vigilance that expresses itself in wildness. Many of these authors treat grief as a forced pilgrimage, but question the possibility of returning to a previous state of psychological balance. Instead, the mothers in their stories and poems resist external pressure for closure and silence and favor lasting memory. Harriet Beecher Stowe, in Uncle Tom’s Cabin, and Emily Dickinson, in letters to bereaved mother Susan Gilbert Dickinson and in the poetry included in these letters, represent maternal child loss as compelling a movement into a new state and emphasize the lasting pain and disruption of this loss.

Call number: LD2668 .T4 1938 H63

This study examines the paradoxical and at the same time interesting relationship between Christian religion and the system of slavery in the American historical context. Through the use of Kenneth Burke’s concept and theory of Perception by Incongruity as a theoretical and conceptual framework, this study examines Harriet Beecher Stowe’s Uncle Tom’s Cabin and Frederick Douglass’ The Narrative of the Life of Frederick Douglass: An American Slave. In the view of this study, Perception by Incongruity, as a theoretical and conceptual tool has the literary and the rhetorical resources to unmask the ironies and paradoxes involved in slave holding religion and religion holding slaves. The principal research question of the present study seeks to probe the usability of the Christian faith by slave owners to dominate and pacify the slaves, and the instrumentalisation by the slaves of the Christian faith as a liberatory and emancipatory belief. Perception by Incongruity enriches the present study in so far as it unmasks the incongruity and paradox of masters and slaves sharing the same definition of God and faith and still remaining in their conflictual positions of masters and slaves. Since this study is a study in literature, the methods of literature study and textual analysis are deployed in examining the primary texts, Uncle Tom’s Cabin and The Narrative of the life of Frederick Douglass: An American Slave. A multiplicity of secondary texts; in form of critical and empirical literature; are used throughout this study to support observations, arguments and conclusions that are advanced by the study. Summatively, this study observes and concludes that religion, in this case Christianity occupies a perceptively incongruous position where it is suable by people in conflicting situations. Further, where domination, power and capitalism as an economic system meet, religion belongs in the mind and the eye of the beholders who seeks to use it to justify and defend their particular interests and positions. / English Studies / M.A. (English Studies)

張婉麗. / "2000年8月" / 論文 (哲學碩士)--香港中文大學, 2000. / 參考文獻 (leaves 208-219) / 附中英文摘要. / "2000 nian 8 yue" / Zhang Wanli. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2000. / Can kao wen xian (leaves 208-219) / Fu Zhong Ying wen zhai yao. / 摘要 --- p.i / 前言 --- p.v / 目錄 / Chapter 第一章 --- 引言 --- p.1 / Chapter 第二章 --- 小說敘事者與操縱理論 --- p.8 / Chapter 2.1 --- 小說的敘事者 --- p.8 / Chapter 2.2 --- 操縱理論 --- p.14 / Chapter 2.3 --- 《黑奴籲天錄》的敘事者與譯文操縱 --- p.24 / Chapter 第三章 --- 《黑奴籲天錄》的翻譯背景 --- p.26 / Chapter 3.1 --- 原文的内容 --- p.26 / Chapter 3.2 --- 原文的文化系統 --- p.28 / Chapter 3.2.1 --- 政治 --- p.28 / Chapter 3.2.2 --- 宗教 --- p.3 2 / Chapter 3.2.3 --- 婦女地位 --- p.33 / Chapter 3.2.4 --- 作者 --- p.35 / Chapter 3.3 --- 對 Uncle Tom´ةs Cabin 的評論 --- p.40 / Chapter 3.4 --- 譯文的文化系統 --- p.48 / Chapter 3.4.1 --- 政治 --- p.49 / Chapter 3.4.2 --- 教會的活動 --- p.52 / Chapter 3.4.3 --- 婦女地位 --- p.53 / Chapter 3.4.4 --- 翻譯的功利主義 --- p.55 / Chapter 3.4.5 --- 譯者 --- p.58 / Chapter 3.4.5.1 --- 林纾 --- p.58 / 家庭 --- p.58 / 政治思想 --- p.60 / 婦女觀 --- p.63 / 文學作品 --- p.65 / Chapter (一） --- 創作及文學觀 --- p.65 / Chapter (二） --- 翻譯及翻譯觀 --- p.68 / Chapter 3.4.5.2 --- 魏易 --- p.73 / Chapter 3.5 --- 對《黑奴籲天錄》的評論 --- p.75 / Chapter 第四章 --- 《黑奴籲天錄》的敘事者（一） ´ؤ´ؤ宗教的表述及婦女形象的表述 --- p.85 / Chapter 4.1 --- 宗教的表述 --- p.86 / Chapter 4.1.1 --- 基督教與小說中的人物 --- p.89 / Tom與湯姆 --- p.90 / Cassy與凱雪 --- p.107 / Quimbo與昆蒲、Sambo與三蒲 --- p.110 / Topsy與托弗收 --- p.112 / 其他 --- p.115 / George與哲而治 --- p.116 / Chapter 4.1.2 --- 基督教與敘事者聲音 --- p.126 / Chapter 4.1.3 --- 宗教的表述´ؤ´ؤ總結 --- p.135 / Chapter 4.2 --- 婦女形象的表述 --- p.137 / Chapter 4.2.1 --- 婦女形象 --- p.138 / 婦女角色 --- p.138 / 女性讀者 --- p.148 / Chapter 4.2.2 --- 廚房的比喻 --- p.156 / Chapter 4.2.3 --- 婦女形象的表述´ؤ´ؤ總結 --- p.164 / Chapter 第五章 --- 《黑奴籲天錄》的敘事者（二） ´ؤ´ؤ敘事距離與奴隸制度的關係 --- p.166 / Chapter 5.1 --- 敘事者與小說人物的距離 --- p.166 / Chapter 5.2 --- 敘事者與讀者的距離 --- p.172 / Chapter 5.3 --- 總結 --- p.184 / Chapter 第六章 --- 結語 --- p.187 / Chapter 6.1 --- 譯者對敘事者的操縱 --- p.187 / Chapter 6.2 --- 「忠實的譯者」 --- p.199 / 參考書目 --- p.208

This dissertation explores the importance of the panorama for American Renaissance writers' participation in ideological formations in the antebellum period. I analyze how Ralph Waldo Emerson, Henry David Thoreau, Nathaniel Hawthorne, William Wells Brown, Henry Box Brown, and Harriet Beecher Stowe use the panorama as a metaphorical site to contest their different positions on epistemological and sociopolitical agendas such as transcendentalism, masculinist expansionism, and radical abolitionism. Emerson uses the panorama as a key metaphor to underpin his transcendental idealism and situate it in contemporary debates on vision, gender, and race. Connecting the panorama with optical theories on light and color, Emerson appropriates them to theorize his transcendental optics and makes a hierarchical distinction between light/transparency/panorama as metaphors for spirit, masculinity, and race-neutral man versus color/opacity/myopic vision for body, femininity, and racial-colored skin. In his paean to the moving panorama, Thoreau expresses his desire for Emersonian correspondence between nature and the spirit through transcendental panoramic vision. However, Thoreau's esteem for nature's materiality causes his panoramic vision to be corporeal and empirical in its deviation from the decorporealized vision in Emerson?s notion of transparent eyeball. Hawthorne repudiates the Transcendentalists' and social reformers' totalizing and absolutist idealism through his critique of the panorama and the emphasis on opacity and ambiguity of the human mind and vision. Hawthorne reveals how the panorama satisfies the desire for visual and physical control over the rapidly expanding world and the fantasy of access to truth. Countering the dominant convention of the Mississippi panorama that objectifies slaves as a spectacle for romantic tourism, Box Brown and Wells Brown open up a new American subgenre of the moving panorama, the anti-slavery panorama. They reconstruct black masculinity by verbally and visually representing real-life stories of some male fugitive slaves and idealizing them as masculine heroes of the anti-slavery movement. In Uncle Tom's Cabin, Stowe criticizes how the favorable representation of slavery and the objectification of slaves in the Mississippi panorama and the picturesque help to construct her northern readers' uncompassionate and hard-hearted attitudes toward the cruel realities of slavery and presents Tom's sympathetic and humanized "eyes" as an alternative vision.

This study examines the paradoxical and at the same time interesting relationship between Christian religion and the system of slavery in the American historical context. Through the use of Kenneth Burke’s concept and theory of Perception by Incongruity as a theoretical and conceptual framework, this study examines Harriet Beecher Stowe’s Uncle Tom’s Cabin and Frederick Douglass’ The Narrative of the Life of Frederick Douglass: An American Slave. In the view of this study, Perception by Incongruity, as a theoretical and conceptual tool has the literary and the rhetorical resources to unmask the ironies and paradoxes involved in slave holding religion and religion holding slaves. The principal research question of the present study seeks to probe the usability of the Christian faith by slave owners to dominate and pacify the slaves, and the instrumentalisation by the slaves of the Christian faith as a liberatory and emancipatory belief. Perception by Incongruity enriches the present study in so far as it unmasks the incongruity and paradox of masters and slaves sharing the same definition of God and faith and still remaining in their conflictual positions of masters and slaves. Since this study is a study in literature, the methods of literature study and textual analysis are deployed in examining the primary texts, Uncle Tom’s Cabin and The Narrative of the life of Frederick Douglass: An American Slave. A multiplicity of secondary texts; in form of critical and empirical literature; are used throughout this study to support observations, arguments and conclusions that are advanced by the study. Summatively, this study observes and concludes that religion, in this case Christianity occupies a perceptively incongruous position where it is suable by people in conflicting situations. Further, where domination, power and capitalism as an economic system meet, religion belongs in the mind and the eye of the beholders who seeks to use it to justify and defend their particular interests and positions. / English Studies / M.A. (English Studies)

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Toni Morrison, in Playing in the Dark, observes the pervasive silence that surrounds race in nineteenth-century canonical literature. Observing the ways in which the “Africanist” African-American presence pervades this literature, Morrison has called for an investigation of the ways in which whiteness operates in American canonical literature. This thesis takes up that challenge. In the first section, from Chapters One through Three, I explore how whiteness operates through the representation of the African-American figure in the works of three eminent nineteenth-century American writers, Harriet Beecher Stowe, Walt Whitman, and Mark Twain. The texts studied in this regard are: Uncle Tom’s Cabin, Leaves of Grass, and Adventures of Huckleberry Finn. This section is not concerned with whether these texts constitute racist literature but with the ways in which the study of race, particularly whiteness, reveals the contradictions and insecurities that attend (white American) identity. As such, Morrison’s own fiction, written in response to white historical representations of African-Americans also deserves attention. The second section of this thesis focuses on Morrison’s attempt to produce an authentically “black” literature. Here I look at two of Morrison’s least studied but arguably most contentious novels particularly because of what they reveal of Morrison’s complex position on race. In Chapter Four I focus on Tar Baby and argue that this novel reveals Morrison’s somewhat essentialist position on blackness and racial, cultural, and gendered identity, particularly as this pertains to responsibilities she places on the black woman as culture-bearer. In Chapter Five I argue that Paradise, while taking a particularly challenging position on blackness, reveals Morrison’s evolving position on race, particularly her concern with the destructive nature of internalized racism. This thesis concludes that while racial identities have very real material consequences, whiteness and blackness are ideological and social constructs which, because of their constructedness, are fallible and perpetually under revision.

Advisor: Mary E. Wood. xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004. / The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.