Through the Negative: The Photographic Image and the Written Word in Nineteenth-Century American Literature (Literary Criticism and Cultural Theory) For Sale

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Through the Negative: The Photographic Image and the Written Word in Nineteenth-Century American Literature (Literary Criticism and Cultural Theory) | | Reviews

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Through the Negative: The Photographic Image and the Written Word in Nineteenth-Century American Literature (Literary Criticism and Cultural Theory) Reviews

Product Overview

The Civil War was the first 'image war', as photographs of the battlefields became the dominant means for capturing an epochal historical moment. At the same time, writers used the Civil War to present both their notions of nation and their ideas about the new intersections between photography and literary form. Through The Negative offers an account of the collisions between print and visual culture in the work of Hawthorne, Melville, Twain and Crane as they responded to and incorporated the work of such photographers as George Barnard, Alexander Gardner and Jacob Riis. Through the Negative examines how key nineteenth-century American writers attempted to combat, understand, and incorporate the advent of photography in their fiction. In so doing, Megan Williams demonstrates how analyzing the impact of photography on the diverse narrative histories of the nineteenth century yields fresh insights about contemporary art and writing, as the photographic image continues to shape national consciousness.




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Through the Negative: The Photographic Image and the Written Word in Nineteenth-Century American Literature (Literary Criticism and Cultural Theory) For Sale

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Through the Negative: The Photographic Image and the Written Word in Nineteenth-Century American Literature (Literary Criticism and Cultural Theory) | | Reviews

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Through the Negative: The Photographic Image and the Written Word in Nineteenth-Century American Literature (Literary Criticism and Cultural Theory) Reviews

Product Overview

The Civil War was the first 'image war', as photographs of the battlefields became the dominant means for capturing an epochal historical moment. At the same time, writers used the Civil War to present both their notions of nation and their ideas about the new intersections between photography and literary form. Through The Negative offers an account of the collisions between print and visual culture in the work of Hawthorne, Melville, Twain and Crane as they responded to and incorporated the work of such photographers as George Barnard, Alexander Gardner and Jacob Riis. Through the Negative examines how key nineteenth-century American writers attempted to combat, understand, and incorporate the advent of photography in their fiction. In so doing, Megan Williams demonstrates how analyzing the impact of photography on the diverse narrative histories of the nineteenth century yields fresh insights about contemporary art and writing, as the photographic image continues to shape national consciousness.




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Cultural Orphans in America For Sale

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Cultural Orphans in America | | Reviews

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Cultural Orphans in America Reviews

Product Overview

Images of orphanhood have pervaded American fiction since the colonial period. Common in British literature, the orphan figure in American texts serves a unique cultural purpose, representing marginalized racial, ethnic, and religious groups that have been scapegoated by the dominant culture. Among these groups are the Native Americans, the African Americans, immigrants, and Catholics. In keeping with their ideological function, images of orphanhood occur within the context of family metaphors in which children represent those who belong to the family, or the dominant culture, and orphans represent those who are excluded from it. In short, the family as an institution provides the symbolic stage on which the drama of American identity formation is played out.

Applying aspects of psychoanalytic theory that pertain to identity formation, specifically RenéGirard's theory of the scapegoat, Cultural Orphans in America examines the orphan trope in early American texts and the antebellum nineteenth-century American novel as a reaction to the social upheaval and internal tensions generated by three major episodes in American history: the Great Migration, the American Revolution, and the rise of the republic. In Puritan religious texts and Anne Bradstreet's poetry, orphan imagery expresses the doubt and uncertainty that shrouded the mission to the New World. During the Revolutionary and post-Revolutionary periods, the separation of the colony from England inspired an identification with orphanhood in Thomas Paine's writings, and novels by Charles Brockden Brown and James Fenimore Cooper encode in orphan imagery the distinction be-tween Native Americans and the new Americans who have usurped their position as children of the land. In women's sentimental fiction of the 1850s, images of orphanhood mirror class and ethnic conflict, and Uncle Tom's Cabin, like Frederick Douglass's autobiographies, employs orphan imagery to suggest the slave's orphanhood from the human as well as the national family.

Diana Loercher Pazicky has taught multi-ethnic literature at Rider University and is currently a member of the Integration of Knowledge Department at Bucks County Community College. She was formerly a staff correspondent for the Christian Science Monitor.




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Through the Negative: The Photographic Image and the Written Word in Nineteenth-Century American Literature (Literary Criticism and Cultural Theory) For Sale

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Through the Negative: The Photographic Image and the Written Word in Nineteenth-Century American Literature (Literary Criticism and Cultural Theory) | | Reviews

>>>Order Now at Amazon<<<

Through the Negative: The Photographic Image and the Written Word in Nineteenth-Century American Literature (Literary Criticism and Cultural Theory) Reviews

Product Overview

The Civil War was the first 'image war', as photographs of the battlefields became the dominant means for capturing an epochal historical moment. At the same time, writers used the Civil War to present both their notions of nation and their ideas about the new intersections between photography and literary form. Through The Negative offers an account of the collisions between print and visual culture in the work of Hawthorne, Melville, Twain and Crane as they responded to and incorporated the work of such photographers as George Barnard, Alexander Gardner and Jacob Riis. Through the Negative examines how key nineteenth-century American writers attempted to combat, understand, and incorporate the advent of photography in their fiction. In so doing, Megan Williams demonstrates how analyzing the impact of photography on the diverse narrative histories of the nineteenth century yields fresh insights about contemporary art and writing, as the photographic image continues to shape national consciousness.




My Page is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com

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Through the Negative: The Photographic Image and the Written Word in Nineteenth-Century American Literature (Literary Criticism and Cultural Theory) For Sale

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Through the Negative: The Photographic Image and the Written Word in Nineteenth-Century American Literature (Literary Criticism and Cultural Theory) | | Reviews

>>>Order Now at Amazon<<<

Through the Negative: The Photographic Image and the Written Word in Nineteenth-Century American Literature (Literary Criticism and Cultural Theory) Reviews

Product Overview

The Civil War was the first 'image war', as photographs of the battlefields became the dominant means for capturing an epochal historical moment. At the same time, writers used the Civil War to present both their notions of nation and their ideas about the new intersections between photography and literary form. Through The Negative offers an account of the collisions between print and visual culture in the work of Hawthorne, Melville, Twain and Crane as they responded to and incorporated the work of such photographers as George Barnard, Alexander Gardner and Jacob Riis. Through the Negative examines how key nineteenth-century American writers attempted to combat, understand, and incorporate the advent of photography in their fiction. In so doing, Megan Williams demonstrates how analyzing the impact of photography on the diverse narrative histories of the nineteenth century yields fresh insights about contemporary art and writing, as the photographic image continues to shape national consciousness.




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National Imaginaries, American Identities: The Cultural Work of American Iconography. For Sale

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National Imaginaries, American Identities: The Cultural Work of American Iconography. | | Reviews

Product Overview

From the American Revolution to the present, the United States has enjoyed a rich and persuasive visual culture. These images have constructed, sustained, and disseminated social values and identities, but this unwieldy, sometimes untidy form of cultural expression has received less systematic attention than other modes of depicting American life. Recently, scholars in the humanities have developed a new critical approach to reading images and the cultural work they perform. This practice, American cultural iconography, is generating sophisticated analyses of how images organize our public life. The contributions to this volume exhibit the extraordinary scope and interpretive power of this interdisciplinary study while illuminating the dark corners of the nation's psyche.

Drawing on such varied texts and visual media as daguerreotypes, political cartoons, tourist posters, and religious artifacts, these essays explore how pictures and words combine to teach us who we are and who we are not. They examine mimesis in elegant portraits of black Freemasons, industrial-age representations of national parks, and postwar photographs of atomic destruction. They consider how visual culture has described and disclosed the politics of racialized sexuality, whether subconsciously affirming it in the shadows of film noir or deliberately contesting it through the interethnic incest of John Sayles's Lone Star. Students of literature, film, and history will find that these essays extend the frontier of American studies.

The contributors are Maurice Wallace, Dennis Berthold, Alan Trachtenberg, Shirley Samuels, Jenny Franchot, Cecelia Tichi, Eric Lott, Bryan C. Taylor, and José E. Limón.

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