简介
Summary:
Publisher Summary 1
Abrams argues that in mid-nineteenth-century American writing, new concepts of space and landscape emerge.
Publisher Summary 2
Robert Abrams argues that new concepts of space and landscape emerged in mid-nineteenth-century American writing, marking a linguistic and interpretative limit to American expansion. Abrams supports the radical elements of antebellum writing, where writers from Hawthorne to Rebecca Harding Davis disputed the naturalizing discourses of mid-nineteenth century society. Whereas previous critics find in antebellum writing a desire to convert chaos into an affirmative, liberal agenda, Abrams contends that authors of the 1840s and 50s deconstructed more than they constructed.
目录
Illustrations
Acknowledgments
Introduction
Hawthorne, Thoreau and Melville and the Diffusion of Estrangement
Critiquing colonial American geography: Hawthorne's landscape of bewilderment
Thoreau and the interminable journey of vision 'nearer and nearer here'
Herman Melville's home cosmography: voyaging into the inscrutable interior of the American republic
Historicizing the American Vanishing Point: Indian Removal, Slavery and Class
The cultural politics of American literary ambiguity
Margaret Fuller's Summer on the Lakes and 'Chief Seattle's Speech': the obliquities of the geographic in-between
The power of negative space in Douglass's autobiographies and in Davis's 'Life in Iron Mills'
Conclusion
Acknowledgments
Introduction
Hawthorne, Thoreau and Melville and the Diffusion of Estrangement
Critiquing colonial American geography: Hawthorne's landscape of bewilderment
Thoreau and the interminable journey of vision 'nearer and nearer here'
Herman Melville's home cosmography: voyaging into the inscrutable interior of the American republic
Historicizing the American Vanishing Point: Indian Removal, Slavery and Class
The cultural politics of American literary ambiguity
Margaret Fuller's Summer on the Lakes and 'Chief Seattle's Speech': the obliquities of the geographic in-between
The power of negative space in Douglass's autobiographies and in Davis's 'Life in Iron Mills'
Conclusion
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