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Susanna Rowson--novelist, actress, playwright, poet, school founder, and early national celebrity--bears little resemblance to the title character in her most famous creation,Charlotte Temple. Yet this best-selling novel has long been perceived as the prime exemplar of female passivity and subjugation in the early Republic. Marion Rust disrupts this view by placing the novel in the context of Rowson's life and other writings. Rust shows how an early form of American sentimentalism mediated the constantly shifting balance between autonomy and submission that is key to understanding both Rowson's work and the lives of early American women.Rust proposes that Rowson found a wide female audience in the young Republic because she articulated meaningful female agency without sacrificing accountability to authority, a particularly useful skill in a nation that idealized womanhood while denying women the most basic rights. Rowson, herself an expert at personal reinvention, invited her readers, theatrical audiences, and students to value carefully crafted female self-presentation as an instrument for the attainment of greater influence.Prodigal Daughtersdemonstrates some of the ways in which literature and lived experience overlapped, especially for women trying to find room for themselves in an increasingly hostile public arena.

This essay seeks to expand the geographical and formal scope of the concept of fictionality by examining the self-conscious presentation of fictional beings' non-referentiality in early American visual culture. Its principal case study is a portrait of Susanna Rowson's popular heroine Charlotte Temple by the New York engraver Cornelius Tiebout, which appeared in an 1809 edition of Rowson's novel. Unpacking this image's dense web of allusions to the painterly tradition of the portrait miniature, and its distinct articulation of the viewer's intimacy with a physically absent subject, the essay argues that Tiebout used these perceptual dynamics to foreground and interrogate the ontological vacancy of Rowson's character. Adopting an intermedial approach to the theorization of fictionality, the essay begins by assessing the long-standing critical neglect of portraits of fictional characters among art historians, before suggesting that Tiebout's image of Charlotte offers a way to connect the operations of visual and literary fictionality through the concept of \"recognition\"—which, in denoting both the process through which a picture's subject is understood and the reconciliation of separated individuals in anagnoristic plotlines, draws our attention to questions about the nature of personal identity. Extending the investigation of this epistemological intersection between picture-making and narrative-building, the essay goes on to consider word/image relations in Tiebout's Charlotte Temple as they pertain to the logic of \"reverse ekphrasis,\" the instantiation of desire and grief in portrait miniatures, and the wider culture of frontispiece engraving in early America.

The authors of this article take a well-known structural framework for students' thinking about the Reformation and give it a twist. Their Tudor religious roller coaster is informed by local visits in their setting in Guernsey - an area where the local picture was not quite the same as the national one. Their Year 8s were able to place their local narrative into its wider national and international frameworks. Carey and Rowson also examine the tricky issue of how to structure a particular chunk of learning so that students have access to what they need to know, and are not overwhelmed; so students have access to overview and depth, and can see the relationships between them; and also so students use local visits not just as disconnected extras but as integral parts of their curriculum.

From the first recorded production in the future United States in 1749 until our present day, William Shakespeare’s The Tragedy of Richard III has been a vehicle to reflect changing contemporary socio-political anxieties about tyranny. Throughout the centuries, adaptions of Shakespeare’s text, most prominently in 1699 by English actor-manager Colley Cibber, thrust an allegory of tyranny versus liberty onto the characters of Richard and Richmond. This project begins by defining tyranny and analyzing how this definition is at work in Shakespeare’s and Cibber’s versions of Richard III. From there, the focus shifts to century by century where I examine: the tyranny of English Imperialism, the tyranny of white supremacy, the tyranny of World War II fascists, and the emerging tyranny-like behaviors of avid supporters of Donald Trump. This project highlights several US productions relating to each of these tyrannies and analyzes them in their moment of history to show a contextual picture of that production. From these microhistories, we can draw conclusions about the future of Richard III as it relates to views of tyranny in the United States.

Chapter Two introduces readers to a South Philadelphia site with a provocative performance history: where Mummers now practice their routines, British Major John André once hosted a decadent costume party in 1778 that relied on performative racial constructions. While \"Parade Time\" does not make use of an analysis of the Mummers Parade through this theoretical lens, it does explore a nineteenth-century militia parade that took place on what would be the Mummers Parade route and the elision of race and class through the figure of Colonel Pluck, a lower-class white militia man whose image was gradually denigrated and blackened in the media. In the conclusion, DuComb brings his own experience in a new Mummers social club to bear on the future and past of the parade.

Attention to Charlotte's age reveals that Rowson's novel mounts a critique of the controversial Act for the Better Preventing of Clandestine Marriage passed in 1753 that regulated the marital consent of minors in England and in the state of New York when Charlotte Temple was set in the 1770s and when it was published in 1791.4 The act stipulated new requirements for a marriage to be legal: a public ceremony preceded by public notification and paternal consent if either party was under twenty-one.5 Marriageable girls who were sixteen years old and older could still legally consent to elopement, sex, and marriage, but secret marriages were no longer binding, and fathers could void the marriages of minor daughters. Charlotte's contradictory legal status at age sixteen signals how her sexual agency emerges in the context of competing patriarchal interests: the father's desire to control the disposal of his daughters in marriage vies with the suitor's desire to choose his mate and the libertine's desire for illicit sex. Scholars of the late eighteenth-century American seduction narrative have noted the genre's almost exclusive focus on girls on the brink of marriage, \"on young women standing virtually on the doorstep of definitive marriage choices\" in Davidson's words.6 But the same scholars have generally followed Davidson's lead in emphasizing the relevance of the girl's legal status after marriage rather than her legal status before. \"Because of eighteenth-century laws of coverture,\" Davidson argues, \"a woman had to be particularly careful in her choice of mate, for, after marriage, she became, for all practical purposes, totally dependent upon her husband. Charlotte Temple's age consciousness, including timing Charlotte's elopement to coincide with her sixteenth birthday and referring to her mother's planning of a birthday party for her, has gone unremarked by scholars despite a growing focus on age as a central organizing rubric of literary analysis.

Legacy Features is privileged to have the opportunity to collaborate with Just Teach One in the following cluster of essays, demonstrating our recognition of the importance of Faherty and White's contribution to recovery scholarship and the ongoing need for creative solutions to the problem of recovery in the twenty- first century. (Additional essays about teaching Sincerity can be found on the Just Teach One website.) These essays offer sustained and thought- provoking analysis of Rowson's Sincerity that will, we hope, prompt more teachers to consider how they, too, could teach \"just one\" new book in their classes. Legacy Features demonstrates our commitment to innovative recovery work by showcasing Just Teach One's inspirational effort to make it possible for teachers and scholars to continue to expand the place of women's writing within literary studies.

In this essay, I argue that early American author Susanna Rowson, in her novels Charlotte Temple (1794) and Mentoria (1794) and her work as a teacher, imagines how women can operate within and beyond the contradictory paradigm of republican motherhood, a model for female civic engagement that extolled women’s cultural influence while relegating them to the domestic sphere. She disassembles republican motherhood into its conservative and progressive parts, represented by two distinct and interdependent characters: the apolitical, domestic, and biological mother, embodied by women like Lucy Temple; and the political, public, textual mentor, represented by the narrator in Charlotte Temple, the title character in Mentoria, and Rowson herself. The strength of the maternal bond, according to Rowson, prevents mothers from being the teachers that republicanism requires; thus, the nation needs childless women to adopt the role of mentorship, which consists of instructing and disciplining young women.