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The Part and the Whole in Early American Literature, Print Culture, and Art
The essays in this pathbreaking collection consider the significance of varied early American fragmentary genres and practices-from diaries and poetry, to almanacs and commonplace books, to sermons and lists, to Indigenous ruins and other material shards and fragments-often overlooked by critics in a scholarly privileging of the \"whole.\" Contributors from literary studies, book history, and visual culture discuss a host of canonical and non-canonical figures, from Edward Taylor and Washington Irving to Mary Rowlandson and Sarah Kemble Knight, offering insight into the many intellectual, ideological, and material variations of \"form\" that populated the early American cultural landscape. As these essays reveal, the casting of the fragmentary as aesthetically eccentric or incomplete was a way of reckoning with concerns about the related fragmentation of nation, society, and self. For a contemporary audience, they offer new ways to think about the inevitable gaps and absences in our cultural and historical archive.
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Vivekananda, Sarah Farmer, and global spiritual transformations in the fin de siècle
As Swami Vivekananda travelled West at the end of the nineteenth century to propagate what has become known as ‘Hindu Universalism’, the American Sarah Farmer travelled to Palestine to embrace the new Baha’i faith. This article will ask why both wished to create ‘universal’ religions, and why they found inspiration at Green Acre, Maine in 1894 in the wake of the Chicago World Parliament of Religions in 1893. Visitors to Green Acre discussed ‘divine femininity’, engaged with men such as Vivekananda and Abdu’l-Baha, and began to criticize colonial hierarchies in the search for spiritual reconciliation, all concerns which touched on questions of ‘Eastern’ religion. However, spirituality was not a mere epiphenomenon of larger historical developments. Rather, the ‘transformation’ discussed here drew on an essentialized notion of ‘Eastern wisdom’ that contrasted spirituality with materialism, tolerance with intolerance, transcendence with instrumentalism. Yet, such polarized characterizations misjudged the ways in which Baha’i and Hindu Universalism destabilized the very categories of East and West, while retaining a vision of ‘Eastern wisdom’ untouched by Western corruptions.
Journal Article
Reconstructing and Gendering the Distribution Networks of Godey’s Lady’s Book in the Nineteenth Century
Historian of American magazines Frank Luther Mott estimates that the average lifespan of many periodicals in the Early Republic was only two years. [...]subscribers might have been reluctant to pay before seeing an actual product. A comprehensive history of their work has yet to be written.37 Eastern periodical publishers tapped into a longer history of independent peddlers when they employed these traveling agents. Since the colonial era, it was not unusual to see itinerant men plying their wares in rural areas. First aided by periodical agents, newspaper editors, postmasters, and traveling agents who facilitated orders and moved money, the Lady's Book gained a wide following that extended beyond the mid-Atlantic. [...]Baskervill twice paid an extra dollar for subscription fees that were overdue, indicating that she only made her payments when he made his rounds. 42.
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Rant, Cant and Tone: The Voice of the Eighteenth-Century Actor and Sarah Siddons
Ranting, canting and toning should not be dismissed as aberrations of acting in Restoration tragedy that gradually disappeared as the new century progressed; rather, they should be understood in relation to the \"rhetorical conventions\" of tragic acting that persisted over the long eighteenth century. Before nearly anything else, it was an actor's voice that demonstrated his or her skill as a performer, and audiences were alert to when actors used their voices well or badly. While inheriting the mid-century renovations of acting wrought by Garrick and Macklin, Sarah Siddons, who began her professional career in the last quarter of the century, employed rhetorical conventions in her tragic performances that seemed to owe more to the age of Betterton than to Garrick. It would seem that Siddons's performances were more \"artificial\" than Garrick's but only if we ignore the interplay of rhetorical and authenticating conventions; to her audiences, Siddons was an eminent successor to Pritchard in the role of Lady Macbeth. Here, with Siddons, the logic of infinite regression falters.
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The Theatrical Scrapbook
Librarian's nightmare or researcher's dream? Theatre historians frequently use and librarians happily acquire the rare theatrical scrapbook related to a single famous individual, but many undervalue and overlook ordinary theatrical albums, and with good cause: the ordinary theatrical scrapbook's provenance is often unclear, its compilers are usually unknown, and its contents are typically heterogeneous, commonplace, and decaying. The cracked bindings and flaking newsprint characteristic of such scrapbooks frustrate conservation, while their clippings, programs, and images pose serious cataloging challenges, shorn as they often are of identifying information. Finally, at least some of the material in these albums (such as newspaper clippings) is often duplicated elsewhere, making their contents easily seem redundant.
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Alternate Origin Stories and Unexpected Archives: The Question of the Indigenous Literary
Since the 1980s, the scholarly recovery of these foundational Native women writers in English has pivoted on their dexterous literary engagement with select narrative forms- short story, memoir, novel- and their aligned political engagement with the settler state and tribal- nations. [...]despite key moves in recent years to broaden categories of the literary, the secondary status of texts such as petitions, speeches, and newspaper articles has hampered a fuller consideration of these writers as well as other Native women activists and intellectuals. Kinship, the History of Sexuality, and Native Sovereignty, and Kiara M. Vigil's Indigenous Intellectuals: Sovereignty, Citizenship, and the American Imagination, 1880- 1930 (reviewed by Penelope M. Kelsey in this issue), resituate this canon of early Native women writers, as well as First Nations author and performer E. Pauline Johnson, in transnational and what Chadwick Allen calls \"trans- indigenous\" networks of literary, legal, and political activism. [...]in centering her study on Indigenous people's \"legal status as 'domestic subjects' of the U.S. and Canadian settler state and the contest over national domesticity that centered on the Indian home and family\" (7), Piatote amplifies an intergenerational model of Native women's literary history linking settler colonization, gender violence, and Indigenous trauma. From Sarah Winnemucca's searing 1883 autobiography, Life among the Piutes, to Louise Erdrich's 2012 National Book Award- winning novel, The Round House, Native women writers have assailed settler assaults on sovereignty over their bodies, families, and lands. In related terms, Rifkin's pathbreaking work at the intersections of Queer and Native studies,...
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The Secret Life of Archives: Sally Siddons, Sir Thomas Lawrence, and The Material of Memory
This essay is in two parts, in the first I attempt to map out strategies for considering archival materials through the lens of performance, and in the second I enact or perform some of those strategies through a close reading of a letter from Sally Siddons, daughter of the famous actress Sarah Siddons, to the renown portrait painter and rakish bad boy, Sir Thomas Lawrence. I present a methodology that considers archival researchers as tourists who approach archival objects and images as material for curating a virtual exhibition. I argue that this strategy allows us to recognize and attempt to envision the interdisciplinary relationship amongst archival materials in order to imagine them in spatial, theatrical, and visual proximity to one another. In this way as researchers we are performing a kind of re-enactment, an animation, of the secret life of archives, which attempts to account the embodied traces of the past by providing an accessible thought provoking map for audiences.
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Stagings in Scarlet: Exploring History, Historiography, and Historicity with Late-Victorian Murder Melodrama
The killings I conspired to instigate were theatrically enacted fictions presented to the public on three consecutive evenings (30 October-1 November) as part of a cabaret of performances sponsored by the Centre for Drama, Theatre, and Performance Studies (hereafter Drama Centre) at the University of Toronto.1 Billed as the \"Hallowe'en Vaudevilles,\" the program distributed to audience members described the mixed bill as an opportunity for PhD students writing dissertations on nineteenth-century theatrical topics \"to explore their own academic research in performance practice.\" A number of North American publications, including the special issue you are now reading, have explored new directions in university research and pedagogy that fully invest in the generation and transmission of knowledge through kinesthetic performance by combining academic and historical rigor with a genuine engagement with performance practice. While \"stage managers\" might have performed some directorial functions, often at the behest of star performers and actor-managers, most actors relied upon their intimate familiarity with the dramatic types they were accustomed to playing as the starting place for creating a performance. Since only two workshops and the four-week process of rehearsal that we had to work with would hardly enable our actors to internalize the process of playing, say, a juvenile male lead or heavy villain, I set myself up as an aesthetic coach and visual consultant, while at the same time working hard not to lapse into either the vocabulary or practices of contemporary theatre directing. In what must be regarded as an oversight, neither I nor any of the other project originators involved in the show thought to attempt to formally survey the audience, although after three consecutive sellouts in a venue arranged with cabaret seating for around a hundred people there were ample opportunities for informal discussions and post-show meetings in which members of the company were free to voice their own reactions and those shared with them by friends and family members.
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From the Editor
Jennifer Buckley's article, \"'Symbols in Silence': Edward Gordon Craig and the Engraving of Wordless Drama,\" questions what we have assumed to know about Edward Gordon Craig's vision for \"wordless drama\" and his use of wood engraving. Because Craig never demonstrated his ideas onstage, his intention with his writings and engravings has been unclear. According to Buckley, Craig's ambivalent comments on his designs need to be contextualized within the broader context of avant-garde \"retheatricalization.\" [...]not least, I would like to welcome Susan Manning to the editorial board.
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