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Public sentiments : structures of feeling in nineteenth-century American literature
Hendler, Glenn, 1962-Chapel Hill : University of North Carolina Press, [2001]In this work, Glenn Hendler explores what he calls the "logic of sympathy" in novels by Walt Whitman, Louisa May Alcott, T.S. Arthur, Martin Delany, Horatio Alger, Fanny Fern, Nathaniel Parker Willis, Henry James, Mark Twain, and William Dean HowellsIn this book, Glenn Hendler explores what he calls the ""logic of sympathy"" in novels by Walt Whitman, Louisa May Alcott, T. S. Arthur, Martin Delany, Horatio Alger, Fanny Fern, Nathaniel Parker Willis, Henry James, Mark Twain, and William Dean Howells. For these nineteenth-century writers, he argues, sympathetic identification was not strictly an individual, feminizing, and private feeling but the quintessentially public sentiment--a transformative emotion with the power to shape social institutions and political movements.Uniting current scholarship on gender in nineteenth-century American culture with historical and theoretical debates on the definition of the public sphere in the period, Hendler shows how novels taught diverse readers to ""feel right, "" to experience their identities as male or female, black or white, middle or working class, through a sentimental, emotionally based structure of feeling. He links novels with such wide-ranging cultural and political discourses as the temperance movement, feminism, and black nationalism. Public Sentiments demonstrates that, whether published for commercial reasons or for higher moral and aesthetic purposes, the nineteenth-century American novel was conceived of as a public instrument designed to play in a sentimental key.
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Acting beautifully : Henry James and the ethical aesthetic
Jottkandt, Sigi, 1965-Albany : State University of New York Press, ©2005."What is the matter with the women in Henry James? In The Portrait of a Lady, The Wings of the Dove, and his short story "The Altar of the Dead, " one woman returns to a monster of a husband, another dies rather than confront the truth of her lover's engagement, while yet another stakes her all on having a candle lit for a dead lover, only to promptly reject it. Exploring these strange choices, Sigi Jottkandt argues that the singularity of these acts lies in their ethical nature, and that the ethical principle involved cannot be divorced from the question of aesthetics. She combines close readings of James with suggestive tours through Kantian aesthetics and set theory to uncover the aesthetic underpinning of the Lacanian ethical act, which has been largely overlooked in the current drive to discover a Cartesian origin for the subject as the subject of science."--Jacket
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