Jane Austens <i>Mansfield Park</i> has earned a reputation as a difficult text for its politically-charged negotiations of ethics and unsatisfactory heroine. Since Edward Said presented the novel as an example of British literature that contributed to an expanding imperialist venture (95), scholarly attention has shifted to focus on the extent to which the novel critically engages with macrocosmic power structures and hegemonic discourse. That is, how does Mansfield Parks description of power dynamics at home reflect slave-related issues in the foreign atmosphere? Austens interest in and familial connections to slave-related issues, contemporary cultural awareness of abolitionist sentiment, and textual allusions to the slave trade all contribute to the novels counterpoint between domestic and foreign spaces: the Bertram family is economically dependent on a slave plantation in Antigua. A microcosm of plantation life, Mansfield Park represents the dilemmas of marginalized women who are presented with choices to rebel against or submit to patriarchal authority. In order to preserve her own physical, emotional, and psychological safety, Fanny Price bids for patriarchal favour. While others are punished severely for their rebellion, Fanny is rewarded for her submissive choices and enjoys an elevated social status. However, she inspires no reformation and remains an unsatisfactory heroine. Like the grateful Negro of contemporary plantation tales, Fanny functions to stabilize the status quo through her gratitude and loyalty, reinforcing societys tightly-controlled boundaries of acceptable behaviour. Mansfield Parks revelatory strength is that it exposes the mechanisms by which power is produced and maintained in domestic and imperial spaces.

Jane Austens <i>Mansfield Park</i> has earned a reputation as a difficult text for its politically-charged negotiations of ethics and unsatisfactory heroine. Since Edward Said presented the novel as an example of British literature that contributed to an expanding imperialist venture (95), scholarly attention has shifted to focus on the extent to which the novel critically engages with macrocosmic power structures and hegemonic discourse. That is, how does Mansfield Parks description of power dynamics at home reflect slave-related issues in the foreign atmosphere? Austens interest in and familial connections to slave-related issues, contemporary cultural awareness of abolitionist sentiment, and textual allusions to the slave trade all contribute to the novels counterpoint between domestic and foreign spaces: the Bertram family is economically dependent on a slave plantation in Antigua. A microcosm of plantation life, Mansfield Park represents the dilemmas of marginalized women who are presented with choices to rebel against or submit to patriarchal authority. In order to preserve her own physical, emotional, and psychological safety, Fanny Price bids for patriarchal favour. While others are punished severely for their rebellion, Fanny is rewarded for her submissive choices and enjoys an elevated social status. However, she inspires no reformation and remains an unsatisfactory heroine. Like the grateful Negro of contemporary plantation tales, Fanny functions to stabilize the status quo through her gratitude and loyalty, reinforcing societys tightly-controlled boundaries of acceptable behaviour. Mansfield Parks revelatory strength is that it exposes the mechanisms by which power is produced and maintained in domestic and imperial spaces.

This thesis demonstrates how two early nineteenth century British novels, William Earle’s Obi, or The History of Three-Fingered Jack (1800) and the anonymously-written The Woman of Colour; A Tale (1808), feature prominent women of colour that move beyond the silenced, enslaved, minor representations of black and mixed race women made popular in previously published texts throughout the seventeenth and eighteenth centuries. The progression of Amri and Olivia’s positions through the use of literary strategies, such as Homi K. Bhabha’s mimicry, Paul Gilroy’s double consciousness, and gender-reversals reveal the inherent ambivalence of the women’s positions in each narrative and the importance of these representations against the hegemonic female position. Although I argue that neither author succeeds in overturning traditional limitations of representing women of colour in literature of the period, investigating these texts is crucial to understanding the autonomous, influential women of colour in later nineteenth century literary works.