Auswahl der wissenschaftlichen Literatur zum Thema „Historical novel (Slavery)“
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Zeitschriftenartikel zum Thema "Historical novel (Slavery)"
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Thomas, Sue. „CHRISTIANITY AND THE STATE OF SLAVERY IN JANE EYRE“. Victorian Literature and Culture 35, Nr. 1 (22.01.2007): 57–79. http://dx.doi.org/10.1017/s1060150307051418.
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POSTCOLONIAL READINGS OFJane Eyre have often highlighted the historical occlusion of West Indian slavery in the novel. Carl Plasa, for instance, argues thatPenny Boumelha points out that by her reckoning there are “ten explicit references to slavery in Jane Eyre. They allude to slavery in Ancient Rome and in the seraglio, to the slaveries of paid work as a governess and of dependence as a mistress. None of them refers to the slave trade upon which the fortunes of all in the novel are based” (62). While Jane Eyre's allusion to slavery in the seraglio is indeed the most precise historical allusion in the novel, critics working with general schemes of slave and imperial history have not been able to identify or unpack its topical reference to an anomalous moment in the history of British abolition of slavery. Like all of Jane's references to slavery, however, this allusion gains considerably in importance when read against that history, as I will demonstrate in this essay. I will also elaborate the generic and more broadly historical intertextuality of Jane's Gothic narratives of identification with the slave. By doing so, I disclose further meanings of slavery and empire in Jane Eyre, as well as the ways in which Gothic and heroic modes become a means, for Brontë and her characters alike, of articulating fraught racialized identifications and disavowals. Jane's growth of religious feeling, which Barbara Hardy has influentially suggested is taken “for granted” rather than demonstrated (66), is, I argue, grounded in her consciousness of the tensions between slavery and Christianity as they are played out in domestic and imperial spheres at a particular historical moment. That historical moment may be established through Brontë's allusions to slave rebellions and charters, and to a particular edition of Sir Walter Scott's poem Marmion.
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Stulov, Yuri V. „Contemporary African American Historical Novel“. Literature of the Americas, Nr. 14 (2023): 75–99. http://dx.doi.org/10.22455/2541-7894-2023-14-75-99.
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The paper discusses the works of African American writers of the end of the 1960s — the end of the 2010s that address the historical past of African Americans and explores the traumatic experience of slavery and its consequences. The tragedy of people subjected to slavery as well as their masters who challenged the moral and ethical norms has remained the topical issue of contemporary African American historical novel. Pivotal for the development of the genre of African American historical novel were Jubilee by the outstanding writer and poet Margaret Walker and the non-fiction novel Roots by Alex Haley. African American authors reconsider the past from today’s perspective making use of both the newly discovered documents and the peculiarities of contemporary literary techniques and showing a versatility of genre experiments, paying attention to the ambiguity of American consciousness in relation to the past. Toni Morrison combines the sacred and the profane, reality and magic while Ishmael Reed conjugates thematic topicality and a bright literary experiment connecting history with the problems of contemporary consumer society; Charles Johnson problematizes history in a philosophic tragicomedy. Edward P. Jones reconsiders the history of slavery in a broad context as his novel’s setting is across the whole country on a broad span of time. The younger generation of African American writers represented by C. Baker, A. Randall, C. Whitehead, J. Ward and other authors touches on the issues of African American history in order to understand whether the tragic past has finally been done with. Contemporary African American historical novel relies on documents, new facts, elements of fictional biography, traditions of slave narratives and in its range makes use of peculiarities of family saga, bildungsroman, political novel, popular novel enriching it with various elements of magic realism, parodying existing canons and sharp satire.
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Lee, Julia Sun-Joo. „THE (SLAVE) NARRATIVE OF JANE EYRE“. Victorian Literature and Culture 36, Nr. 2 (September 2008): 317–29. http://dx.doi.org/10.1017/s1060150308080194.
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InImperialism at Home, Susan Meyer explores Charlotte Brontë's metaphorical use of race and empire in Jane Eyre. In particular, she is struck by Brontë's repeated allusions to bondage and slavery and wonders, “Why would Brontë write a novel permeated with the imagery of slavery, and suggesting the possibility of a slave uprising, in 1846, after the emancipation of the British slaves had already taken place?” (71). Meyer speculates, “Perhaps the eight years since emancipation provided enough historical distance for Brontë to make a serious and public, although implicit, critique of British slavery and British imperialism in the West Indies” (71). Perhaps. More likely, I would argue, is the possibility that Brontë was thinking not of West Indian slavery, but of American slavery.
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Vlassopoulos, Kostas. „Does Slavery Have a History?“ Journal of Global Slavery 1, Nr. 1 (2016): 5–27. http://dx.doi.org/10.1163/2405836x-00101002.
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In the last decade the landscape of slavery studies has changed radically. Novel developments raise major new challenges for the global study of slavery. This article is an attempt to take stock of these significant developments for rethinking the history of slavery from a global viewpoint. I will be arguing that we need to set aside the essentialist understanding of slavery and the ahistorical typology of slave societies and societies with slaves in favor of an understanding of slavery as a temporally—and spatially—changing outcome of the entanglement of various processes. If slavery has no essence, but an open-ended global history, we need a new framework for conceptualizing how such a history can be written. I hope to offer an outline of such a framework, as well as a discussion of the kinds of historical change that such a narrative should include.
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Dhakal, Lekha Nath. „Toni Morrison’s Beloved: A Study on History, Slavery and Love“. Pursuits: A Journal of English Studies 6, Nr. 1 (21.07.2022): 39–43. http://dx.doi.org/10.3126/pursuits.v6i1.46849.
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This article makes an effort to describe Toni Morrison’s novel, Beloved as a fusion of History, slavery and love. It also reveals that history of Afro-Americans, slave narrative; love and fantasy are the main assets of the novel. In the novel, she focuses on the horror of the past so that Afro-Americans and the Americans all those who involved with slavery would come face to face with grim reality of the past and rise above it. The novel articulates and embodies a history of slavery of African-Americans and their experiences, which has been apparently, accurately and carefully recovered but is actually uncooked. Beloved directly confronts racism which combines lyrical beauty with an assault on the readers’ emotions and conscience. It emphasizes the legacy of slavery using forms resulting from traditional Back Folk aesthetic. It deals with the life and history of Black American women immediately after the emancipation of slaves in the North. Beloved also presents a tragedy involving mother’s moment of choice, and a love story exploring what it means to be beloved. Thus the novel holds the key to the narrative’s unity. The subject matter is stressful to read and it is also confrontational and painful. The form combines historical realism with magic, slavery and love.
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Martin Demers, Stephane. „Contemplating the Afterlife of Slavery“. Caribbean Quilt 6, Nr. 2 (04.02.2022): 32–38. http://dx.doi.org/10.33137/cq.v6i2.36939.
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Évelyne Trouillot’s novel The Infamous Rosalie makes it abundantly clear that slavery was deeply ingrained in all aspects of an enslaved person’s life. Enslaved expectant mothers in late-eighteenth-century Saint-Domingue contemplated the afterlife of slavery through acts of gynecological resis- tance such as abortion and infanticide as well as marronage both in the novel and as a historical actuality. These acts of resistance laid the groundwork for the development of a collective liberation mentality among slaves necessary for the emergence of an independent Haiti and the creation of the first Black Repub- lic. Black counter-historical narratives, such as Trouillot’s novel, can provide historians with a vantage point from which to understand how historical actors who are often silenced were some of the greatest agents of change and justice in the modern era. Enslaved women should occupy a space in scholarly literature and historical discourse that honors their actions as active agents in search of collective liberation and independence.
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Levecq, Christine, und Ashraf H. A. Rushdy. „Texts and Contexts: The Historical Novel about Slavery“. Contemporary Literature 42, Nr. 1 (2001): 160. http://dx.doi.org/10.2307/1209089.
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Dubey, Madhu. „Museumizing Slavery: Living History in Colson Whitehead’s The Underground Railroad“. American Literary History 32, Nr. 1 (27.12.2019): 111–39. http://dx.doi.org/10.1093/alh/ajz056.
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Abstract This essay examines Colson Whitehead’s novel in relation to the museumizing of slavery that has gained momentum since the 1990s, focusing in particular on the Living History exhibition practice in which the Underground Railroad has played a vital part. Taking as my point of departure Whitehead’s signature move of building narrative worlds based on the logic of literalizing metaphor, I argue that his literal rendering of the Underground Railroad casts the novel as a grotesque tour of the US racial history. Structured as a train ride that transports readers to different historical sites, the novel at once stages and travesties the Living History practice of materializing the past in all its concrete particularity. I argue that Whitehead’s literalizing move also deviates from earlier literary efforts to stage a visceral, affective confrontation with the history of slavery. Responding to the heightened visibility rather than the absence of slavery from public memory, the novel casts into bold relief the historical frameworks (of American freedom stories and up-from-slavery narratives of racial advancement), pedagogical aims (of racial reconciliation and pluralist inclusion), and aesthetic strategies (of affective identification and cathartic confrontation) at play in current commemorations and exhibitions of slavery.
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Osorio, Betty. „La Marquesa de Yolombó. La independencia vivida en el ámbito de la lengua“. Estudios de Literatura Colombiana, Nr. 23 (16.08.2013): 201–14. http://dx.doi.org/10.17533/udea.elc.16267.
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Resumen: El propósito de este ensayo es explorar la perspectiva lingüística, el denso panorama cultural de La Marquesa de Yolombó, considerada por la crítica como la única novela histórica del narrador antioqueño. Los referentes históricos de esta novela son el proceso de emancipación de los esclavos y la lucha independentista, pero localizadas en el territorio de Antioquia. Descriptores: Colonia; Independencia; Democracia; Lengua; Oralidad; Esclavitud. Abstract: The purpose of this essay is to explore the linguistic perspective, the dense cultural panorama of La Marquesa de Yolombó, considered by the critics as the only historical novel written by Carrasquilla. The historical referents of this novel are the process of abolition of slavery and the period of the independence war both located in the Antioquia region. Key words: Spanish Colonial period; Independence war; Language; Orality; Slavery.
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Apriola, Pipin, Agustine Mamentu und Tirza Kumayas. „CRUELTY OF SLAVERY IN AMERICA AS SEEN IN HARRIET BEECHER STOWE’S UNCLE TOM’S CABIN“. KOMPETENSI 2, Nr. 01 (15.12.2022): 1039–51. http://dx.doi.org/10.53682/kompetensi.v2i01.4733.
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The purpose of this research is to examine the cruelty of slavery in America as shown inHarriet Beecher Stowe's Uncle Tom's Cabin. It is done to show the many sorts ofenslavement cruelty present in the novel, as well as the causes of the brutality in thestory. The writers have decided to undertake this research using qualitative methods.The writers employ a socio-historical method to data analysis. In the discussion isdivided into several indicators, such as cruelty of slavery which is divided into slavetreat as thing or properties and object of physical violence. The other indicator is slavessuffer as the effect cruelty of slavery which divided into racism, discrimination, slaves’life is restricted and rebellion. Based on the results of the discussion, it can be concludedthat slavery has happened to black people who are very cruel in America and evenlegalized. South Americans treat black people as slaves inhumanely and treat them likeanimals.
Dissertationen zum Thema "Historical novel (Slavery)"
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Quinteros, Evelyn. „Obra teatral: Júpiter Discurso ideológico a través de la literatura“. Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-79875.
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This study, Jupiter, a theatre play: an ideological discourse through literature, is based upon the play written by Francisco Gavidia that tells the story of the Salvadoran nation, which after having lived many decades under the Spanish yoke, is organized with the help of the Creole elite, in order to obtain independence. For Francisco Gavidia it is important to raise awareness of the importance of freedom in the Salvadoran population. The objective of this work is to analyze the main characters in order to identify the existence of an ideological message in the drama, Jupiter. To accomplish this purpose, we have used some drama concepts established by García Barrientos 2007; some other concepts based on the narrative theory by Mieke Bal (1995), and the theory of the Historical Novel explained by Fernández (2003); both theories have served as a tool to facilitate and deepen the study of the characters, some structural elements, and ideological discourse that we find in this literary work. Our study has focused on the analysis of the main characters, both fictional and historical, with the main character being a black slave: Jupiter. This figure represents the Salvadoran population that has lived several decades under the Spanish yoke. Then we find the figure of the woman embodied in the character named Blanca. This character plays the role of a passive woman, since she has no voice or power, and she is seen as an object through which the male characters can obtain power and material wealth. Another fictional character is Beltranena who represents the Spanish power in Salvadoran territory during the Colonial era. Finally, there are two historical figures who serve the purpose of leaders in the planning and execution of the rebellion to acquire the freedom for the people. Our hypothesis has been corroborated, since according to our analysis the characters deliver an ideological message, because the author exposes the ideology through the main characters.
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Ursin, Reanna A. „Slavery as a site of memory interracial intersubjectivity in the historical novels of Sherley Anne Williams, Caryl Phillips and Edward P. Jones /“. 2006. http://etd.nd.edu/ETD-db/theses/available/etd-12142006-195327/.
Der volle Inhalt der QuelleBücher zum Thema "Historical novel (Slavery)"
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Phillips, Caryl. Cambridge: A novel. New York: Knopf, 1992.
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Phillips, Caryl. Cambridge: A novel. New York: Vintage Books, 1993.
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Kingman, Peg. Original sins: A novel of slavery and freedom. New York: W. W. Norton & Co., 2010.
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Jackson, Carlton. Freedom's way: From slavery to liberty : a novel. Morely, Mo: Acclaim Press, 2005.
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Phillips, Caryl. Higher ground: A novel in three parts. New York, N.Y., U.S.A: Viking, 1989.
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Higher ground: A novel in three parts. New York, N.Y., U.S.A: Penguin Books, 1990.
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Neighbour, Mary E. Speak right on: Dred Scot a novel. New Milford, Conn: Toby Press, 2006.
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Wrinkle, Margaret. Wash: A novel. New York: Atlantic Monthly Press, 2013.
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Johnson, Sadeqa. Yellow Wife: A Novel. New York: Simon & Schuster, 2021.
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Olds, Bruce. Raising holy hell: A novel. New York: H. Holt, 1995.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Historical novel (Slavery)"
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Haschemi Yekani, Elahe. „Conclusion: Queer Modes of Empathy as an Ethics of the Archive“. In Familial Feeling, 273–91. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58641-6_6.
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AbstractAddressing the boom of memorial events and special exhibitions as well as the establishment of the International Slavery Museum in Liverpool celebrating the bicentennial of the abolition of the slave trade in 2007, the conclusion of Familial Feeling returns to the question of ethics in dealing with the archive of slavery. Reflecting on methodology in literary studies by contrasting surface reading with approaches that foreground negative affects, Haschemi Yekani, via a recourse to Eve Kosofsky Sedgwick’s “reparative” reading, proposes a queering of empathy that should not rest on a celebratory understanding of the past, as trauma overcome, but serve as a foundation of ongoing tension in contemporary narratives of familial feeling and national belonging. For this purpose, Haschemi Yekani examines the 2007 installation Swallow Hard: The Lancaster Dinner Service by artist Lubaina Himid. The author proposes that by engaging with the messy entanglements of marginalised and hegemonic voices in the establishment of Britishness as familial feeling, one can arrive at more complex reading strategies of the literary sources from the historical archive of the early Black Atlantic and the British novel as well as a less congratulatory contemporary memorial culture that seeks British “Greatness” in the past.
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Kilgore, John Mac. „The Revival of Revolt“. In Mania for Freedom. University of North Carolina Press, 2016. http://dx.doi.org/10.5149/northcarolina/9781469629728.003.0005.
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This chapter discusses the historical role that African and Afro-Protestant revival and conjure religion played in fomenting slave rebellions in the Americas. Pointing to the influence that slave insurrections had on antebellum antislavery novels in the wake of the sectional crisis, the author establishes the historical and theoretical grounds for what he calls the novel of enthusiasm. He does this in two ways. First, the chapter explores the cross-fertilization between black cultures of enthusiasm and emergent Romantic sensibilities in nineteenth-century aesthetics, especially the novel. Second, the chapter analyzes two interconnected prose works as novels of enthusiasm (Harriet Beecher Stowe’s Dred and Martin Delany’s Blake), both of which link cultures of slave insurrection to cultures of enthusiasm and uniquely place US black resistance in a transatlantic context among insurgent maroons. Furthermore, the author contends that Stowe and Delany turn novel writing itself into an enthusiastic contact zone (of call and response) with the reader, soliciting us to speed up the political crisis of slavery through direct intervention.
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Krumholz, Linda. „The Ghosts of Slavery Historical Recovery In Toni Morrison’s Beloved“. In Toni Morrison's Beloved, 107–25. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195107968.003.0007.
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Abstract Toni Morrison’s Beloved reconceptualizes American history. Most apparent in the novel is the historical perspective: Morrison constructs history through the acts and consciousness of African-American slaves rather than through the perspective of the dominant white social classes. But historical methodology takes another vital shift in Beloved; history-making becomes a healing process for the characters, the reader, and the author.
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Sill, Geoffrey. „Defoe, Prose Fiction, and the Novel“. In The Oxford Handbook of Daniel Defoe, 49–68. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780198827177.013.4.
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Abstract Defoe has long been regarded as the father of the realistic English novel, but that label obscures the variety of prose fictional genres in which he worked. Recent scholarship sees his fictions as hybrids of genres such as biography (both historical and imaginative), history (both private or ‘secret’ as well as public), and moral or propagandistic tracts (advancing political, religious, or social purposes). The three volumes that comprise the life, adventures, and reflections of Robinson Crusoe exemplify this hybridity, each drawing on multiple genres to reveal different aspects of Crusoe’s personality. Memoirs of a Cavalier, Journal of the Plague Year, and New Voyage Round the World use imaginary narratives of public events to examine historical and political subjects. Defoe’s most ‘novelistic’ works, Captain Singleton, Moll Flanders, and Colonel Jack, commence as works of entertainment but explore topics including piracy, crime, and slavery. Finally, The Fortunate Mistress flouts the conventions of ‘the novel’ and creates something entirely new.
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Munro, Martin. „Sounds Of Slavery“. In Listening to the Caribbean, 73–120. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781802070224.003.0003.
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The second chapter begins with the observation that early European travelers to the Caribbean tended to be poor listeners, in ways that confirm Veit Erlmann’s statement that hearing is “culturally variable and subject to the prevailing ideologies and power relations of a given place at a given time” (“But What of the Ethnographic Ear?” 3). Harnessing the power of the visual, white European travelers developed their ability to catalog and classify the world, which they considered to be primarily visual in nature, and could thereby be controlled and exploited. In this regard, the chapter uses the work of Nicholas Mirzoeff is an important point of reference, in that it identifies the ways in which the plantation was something of a matrix for the modern deployment of visuality and visual techniques as means of ordering societies. The rest of the chapter in effect carries out sound-focused readings of texts, and draws on historical archives and critical studies to compare and contrast the soundscapes of enslavement and freedom in the Caribbean with special emphasis on Guadeloupe, Haiti, and Jamaica. Close readings of primary and secondary sources—principally by Labat, Moreau de Saint-Méry, Descourtilz, Henry Bleby, and an anonymous Scottish-Caribbean novel—listen in to the auditory dimensions of enslaved experience, and show how certain sounds—of music, ritual (chiefly religious worship), and work—survived the Middle Passage, while others—mainly of African languages—largely perished or were creolized in the new place. How did sounds help or hinder slaves in adapting to their new environments? What roles did sounds play in building community and connection during moments of conspiracy and rebellion?
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Sollors, Werner. „The Wright Era“. In The Oxford History of the Novel in English, 227–47. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192844729.003.0019.
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Abstract This chapter investigates the ways in which African American literature after the Second World War can be read as a form of “protest fiction” profoundly influenced by the work of Richard Wright. Understanding the study of African American literature as a child of the Enlightenment and of Quaker-inspired agitation against the slave trade and slavery, the chapter argues that what was once called “Negro literature” was from the start understood to be global and to have deep historical roots, because its discussions included writing and artistic expression of all times, in many languages, and from many known places around the globe. The postwar African American novel continues a tradition of creativity that served as a vindication against racial prejudice. The chapter demonstrates that Wright bequeathed to later African American writers a double legacy of modernism and social urgency.
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Faragher, Megan. „Fire or Blood? Aestheticising Resistance in Naomi Mitchison’s The Blood of the Martyrs“. In Naomi Mitchison, 108–21. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474494748.003.0008.
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In 1935, Naomi Mitchison visited sharecroppers in Arkansas, describing the conditions as ‘worse than any rural housing I have ever seen in Europe.’ Four years later, she published The Blood of the Martyrs (1939), a novel centred on Roman practices of slavery and the persecution of early Christians. Foregrounding the value of forgiveness and pacificism, the novel offers a distinct contrast to her earlier interwar novels. Unlike historical slavery allegories like The Corn King and Spring Queen (1930) and The Delicate Fire (1933), Mitchison’s fiction later in the decade locates resistance to slavery outside the violent revolutions that so frequently feature in those early works. This chapter argues that Mitchison’s travels, particularly her work supporting the Southern Tenant Farmers’ Union in the United States, were crucial to the development of her theory of resistance to authoritarian manifestations of power. The Blood of the Martyrs sidelines violent resistance in favour of a community that fosters love, pacifism, and forgiveness as responses to abhorrent persecution. Mitchison’s emphasis on the spirit of collective action, including its ability to transcend death, reveals a new approach to the politics of resistance in her fiction.
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Plasa, Carl. „Adding to the Picture: New Perspectives on David Dabydeen’s ‘Turner’“. In Literature, Art and Slavery, 11–44. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9780748683543.003.0002.
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This chapter examines David Dabydeen’s ‘Turner’ (1994), an ekphrastic response to J. M. W. Turner’s Slavers Throwing Overboard the Dead and Dying—Typhon Coming On (1840), more commonly known as The Slave Ship. The chapter begins with an outline of the historical incident memorialised in the painting that inspires Dabydeen’s text—the atrocity aboard the Zong in 1781. The chapter proceeds to situate the text in dialogue with John Ruskin’s ‘Of Water, as Painted by Turner’ in Modern Painters I (1843) but, in a departure from other critics, places the emphasis not on the set-piece ekphrastic rendition of The Slave Ship with which ‘Of Water’ closes but earlier parts of that chapter’s art-critical reflection, analysing how they obliquely inform Dabydeen’s poetic vision. While these elements of Ruskin’s account of Turner have been sidelined in critical readings of ‘Turner,’ two other intertexts have been much more significantly neglected: Macbeth (1606) and Toni Morrison’s Beloved (1987). ‘Turner’’s engagement with Morrison’s novel is particularly noteworthy because it enables the poem to sidestep the Anglo-Caribbean lines of influence which most critics see in it, moving it into a new relationship with the African American literary tradition instead.
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Zimmerman, Tegan. „Africa's Daughters“. In Matria Redux, 33–42. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496846341.003.0002.
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Originating in and from the Afra-Caribbean enslaved woman, this genre’s maternal imaginary and matrilineage counters literary and historical discursive absence. This introductory section tracks the literary origins of an alternative maternal genealogy of the historical novel before turning to the two novels chosen as case studies: Dionne Brand’s At the Full and Change of the Moon (1999) and Andrea Levy’s The Long Song (2010). The neo-slavery novel suggests that social change in the present cannot be implemented if the maternal past remains unknown and/or told from the (M)aster’s perspective. Reclaiming the rebellious African mother reorients the daughter’s genealogy and challenges hegemonic patriarchal, colonial family arrangements such as those proposed by traditional psychoanalysis. Matria thus manifests as a desire to restore the broken link between enslaved mothers and daughters and to realize a maternal Caribbean matria that integrates the African past.
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Blevins, Steven. „Living Rough“. In Living Cargo. University of Minnesota Press, 2016. http://dx.doi.org/10.5749/minnesota/9780816697144.003.0003.
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The second chapter offers an extended reading of A Harlot’s Progress that illustrates the novel’s spectacular orchestration of far-flung art-historical citations taken from the social satires of William Hogarth. By depicting the search of an eighteenth-century abolitionist for an authentic, first-person account of the violence of slavery, the novel underscores the condition of human life at the intersection of law and commerce, and the problematic relationship between the reading public and the instances of cruelty on which they are easily transfixed.