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Letteratura scientifica selezionata sul tema "Indigo – South Carolina – Fiction"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 30 luglio 2024

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Articoli di riviste sul tema "Indigo – South Carolina – Fiction"

1

NASH, R. C. "South Carolina indigo, European textiles, and the British Atlantic economy in the eighteenth century". Economic History Review 63, n. 2 (maggio 2010): 362–92. http://dx.doi.org/10.1111/j.1468-0289.2009.00487.x.

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2

Littlefield, Daniel C. "Andrea Feeser. Red, White, and Black Make Blue: Indigo in the Fabric of Colonial South Carolina Life." American Historical Review 119, n. 5 (dicembre 2014): 1683–84. http://dx.doi.org/10.1093/ahr/119.5.1683.

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3

Elder, Robert. "A Review of “Red, White, and Black Make Blue: Indigo in the Fabric of Colonial South Carolina Life”". History: Reviews of New Books 43, n. 2 (6 marzo 2015): 63–64. http://dx.doi.org/10.1080/03612759.2015.989142.

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4

Matiu, Ovidiu. "Olaudah Equiano’s Biography: Fact or/and Fiction". East-West Cultural Passage 22, n. 2 (1 dicembre 2022): 52–59. http://dx.doi.org/10.2478/ewcp-2022-0015.

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Abstract This article analyzes the documentation available in an attempt to settle the controversy over the “true” date and place of birth of Olaudah Equiano, or Gustavo Vassa, the African. Several original documents are analyzed, and the data is compared to the information provided by the author himself in his The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African. Written by Himself, first published in London, in 1789. According to these documents (a baptismal record and a muster book), he was not born in Africa, in Igboland (in today’s Nigeria) as he argued in his autobiography, but in South Carolina, as he declared before those who recorded the information in the official documents. The issue of authenticity is more relevant for historical research than for literary criticism; in the case of the latter, the accuracy of the data does not significantly impact upon the literary value of his work. In conclusion, the dispute is pertinent only in the liminal space where the two contexts (historical research and literary analysis) overlap, and it currently operates with information whose relevance and usefulness depend on the framework against which it is judged.

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5

Kuhn, Mary. "Chesnutt, Turpentine, and the Political Ecology of White Supremacy". PMLA/Publications of the Modern Language Association of America 136, n. 1 (gennaio 2021): 39–54. http://dx.doi.org/10.1632/s0030812920000048.

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AbstractCharles Chesnutt's fiction describes the forests of North Carolina not as the unspoiled wildernesses of the popular imagination but instead as an integral part of the extractive economy of the South. In the postbellum decades, many northerners visited the state's forests for health tourism even as the turpentine and lumber industries were decimating the local pine. By drawing on his readers’ familiarity with turpentine, a pine product that was both a household staple and a global commodity, Chesnutt shows his readers how the pine woods were anything but bucolic. Chesnutt's ecological vision disrupts the centrality of cotton in the environmental imaginary of the plantation and postplantation South. By linking the rise of conservation efforts to the logic of preserving white health, Chesnutt reveals that both deforestation and conservation were driven by the operations of white supremacy.

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6

Moreton, Emma. "Book Review: The Body in Flannery O’Connor’s Fiction by Donald E. Hardy, 2007. Columbia, South Carolina: University of South Carolina Press, pp. ix + 188 ISBN 978 1 57003 698 9 (hbk)". Language and Literature: International Journal of Stylistics 18, n. 4 (27 ottobre 2009): 396–99. http://dx.doi.org/10.1177/09639470090180040801.

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7

Thomas, Brook. "Albion W. Tourgée's Forgotten Dystopia: How the South Conspired with Northern Monopolists to Win the Post-Civil-War Peace". Arizona Quarterly: A Journal of American Literature, Culture, and Theory 80, n. 1 (marzo 2024): 1–27. http://dx.doi.org/10.1353/arq.2024.a921515.

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Abstract: Albion W. Tourgée wrote best-selling novels based on his days fighting the Klan and trying to reconstruct North Carolina. Recently his fiction and his role as Homer Plessy's lead attorney have received renewed attention. But the work to which he devoted most energy remains forgotten. Speaking directly to today's world of ongoing racial injustice and income inequality, "89 (1888) is told by the Grand Master of the Order of the Southern Cross. He and a northern monopolist based on J.D. Rockefeller conspire to bring about peaceful secession of the South and suppression of northern workers. After summarizing the book's elaborate dystopian plot, the essay details how Tourgée forged the often-forgotten historical events on which it is based into a novel that, better than any work of the time, warned the nation of the threat posed by what W.E.B. Du Bois called the "bargain between Big Business and the South."

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8

RHODES, KATE. "Jan Furman, Toni Morrison's Fiction (Columbia: University of South Carolina Press, 1996, $19.95). Pp. 136. ISBN 1 57003 067 7." Journal of American Studies 32, n. 1 (aprile 1998): 125–200. http://dx.doi.org/10.1017/s0021875898375829.

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9

Round, Siân. "Southern Stories for Northern Readers: Julia Peterkin’s Short Stories in The Reviewer and the Disruption of Dialect". Journal of Modern Periodical Studies 14, n. 1 (luglio 2023): 47–69. http://dx.doi.org/10.5325/jmodeperistud.14.1.0047.

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ABSTRACT This article examines the short stories of South Carolina author Julia Peterkin published in Richmond literary magazine The Reviewer between 1921 and 1925. Placing these peculiar stories of postbellum plantation life into their publication context, this article concerns itself with how the stories unsettle the ambitions for the Southern magazine set out by H. L. Mencken and The Reviewer’s editor, Emily Tapscott Clark. Following the publication of Mencken’s controversial article “The Sahara of the Bozart,” the focus of the Southern literary magazine was to present a progressive yet identifiable image of Southernness. Peterkin’s Reviewer stories are violently grotesque and, through the recurrence of disability and mutilation, disrupt the methods of reading dialect bound up in local color fiction, both fulfilling and defying the model for Southern writing. This article focuses on how the stories alter the relationship between the Northern reader and the Southern story, while examining the complex dynamics of Peterkin as a white writer using the lives of African American plantation workers as her subject.

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10

Robinson, M. Michelle. "White Gothic and Black Detection in Edgar Allan Poe and Barbara Neely". Poe Studies 56, n. 1 (2023): 63–82. http://dx.doi.org/10.1353/poe.2023.a909582.

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ABSTRACT: This essay argues that Barbara Neely reconfigures tropes and dramatic elements that appeared in Edgar Allan Poe's gothic and detective tales to formulate a Black, feminist, working-class detective fiction. In Blanche on the Lam (1992) and Blanche Passes Go (2000), Neely relocates the moral decay and material degeneration of aristocratic estates that Poe depicts in works like "The Fall of the House of Usher" and "The Black Cat" to the town of Farleigh, North Carolina. There, she reframes the gothic landscape as one designed to safeguard the power of White elites, disavow histories of Black enslavement and servitude, and imperil her protagonist, a Black domestic worker and amateur detective named Blanche White. Neely also reconceives the powers of detection Poe depicts in his Dupin mysteries from the social and economic vantage point of her working-class Black protagonist, for whom detecting is a form of agency and a means of defense against the violence that domestic workers face. In availing herself of Poe's literary materials, Neely reveals patterns of criminality that are sustained by White wealth in the US South, while underscoring the role of detection as an instrument of working-class resistance.

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Più fonti

Libri sul tema "Indigo – South Carolina – Fiction"

1

Shange, Ntozake. Sassafrass, Cypress & Indigo. New York: Picador USA, 1996.

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2

Shange, Ntozake. Sassafrass, Cypress & Indigo. London: Mandarin, 1989.

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3

Nash, R. C. The South Carolina indigo industry and the Atlantic economy, 1740-1775. Manchester: Department of History, University of Manchester, 1991.

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4

Society, Winyah Indigo. The Winyah Indigo Society of Georgetown, South Carolina, 1755-1998: Esto Perpetua. [Georgetown, S.C.]: The Society, 1998.

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5

Aylesworth, Thomas G., e Thomas G. Aylesworth. Lower Atlantic: North Carolina, South Carolina. New York: Chelsea House Publishers, 1996.

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6

Aylesworth, Thomas G. Lower Atlantic: North Carolina, South Carolina. New York: Chelsea House Publishers, 1988.

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7

Copyright Paperback Collection (Library of Congress), a cura di. South Carolina, low country liar. Toronto: Harlequin Books, 1988.

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8

Janet, Dailey. South Carolina, low country liar. Toronto: Harlequin Books, 1988.

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9

Rhyne, Nancy. The South Carolina lizard man. Gretna, La: Pelican Pub. Co., 1992.

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10

Monroe, Mary Alice. Last light over Carolina. New York: Pocket Books, 2009.

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Capitoli di libri sul tema "Indigo – South Carolina – Fiction"

1

"Indigo Culture, 1750–1775". In The History of Beaufort County, South Carolina, 161–74. University of South Carolina Press, 2020. http://dx.doi.org/10.2307/j.ctv12fw85t.15.

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2

Bjerre, Thomas Ærvold. "The Rough South of Ron Rash". In Rough South, Rural South. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496802330.003.0010.

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This chapter discusses the fiction of Ron Rash, who sets almost all of his work—poems, short stories, and novels—in the Carolinas and focuses on the people who live or have lived there. Rash was born in Chester, South Carolina, in 1953, and grew up in Boiling Springs, North Carolina. While not a direct heir to the “Southern Redneck and White Trash” tradition, Rash fills his work with characters firmly embedded in the Rough South—mostly lower-class whites from Appalachian North and South Carolina. Rash's work illustrates his concern with working-class characters and their struggles, with poor whites and their violent conflicts. His interest in the working class reflects his own family background. Rash published his first collection of poetry, Eureka Mill, in 1998. He also wrote novels that depict violence, such as One Foot in Eden, The World Made Straight, and Serena.

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3

Witt, Doris. "“My kitchen was the world” vertamae smart gorsvenors geechee diapora". In Black Hunger Food and the Politics of US Identity, 183–210. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195110623.003.0007.

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Abstract In her critically acclaimed 1991 film Daughters of the Dust, Julie Dash explores the lives of Gullah peoples on the Sea Islands off the coast of South Carolina and Georgia. Brought from Africa to the United States as slaves, they cultivated indigo and later cotton while creating “a distinct, original African-American cultural form” because of their relative isolation from outside influences (Creel 69).

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4

Bennett, Barbara. "Jill McCorkle: The Rough South from One Remove". In Rough South, Rural South. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496802330.003.0017.

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This chapter discusses Jill McCorkle's fiction, which reflects the whole South, rather than just its middle class. McCorkle did not grow up amid poverty, and in fact calls her upbringing in 1960s Lumberton, North Carolina, “very much middle-class”—even upper class by the standards of her elementary school classmates. Her 1990 novel, Ferris Beach, features a character named Kitty Burns, a transition figure between the old South, with its clear divisions of class, and the new, where what a person does is more important than where that person came from. Another character, Merle Hucks, at first seems to fit the “poor white trash” stereotype, and whose family encompasses all the Rough South stereotypes. Merle, however, transcends the Rough South stereotype and distinguishes himself from his family and friends. McCorkle also published a novel called Life After Life in 2013.

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5

"4. The Real and the Marvelous in Charleston, South Carolina: Ntozake Shange's Sassafrass, Cypress & Indigo". In The Dialectics of Our America, 87–104. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822381709-006.

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6

Schulz, Constance B. "Eliza Lucas Pinckney(1722-1793)". In Portraits of American Women, 65–82. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195120486.003.0003.

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Abstract Born in the West Indies in 1722 and educated in England, Eliza Lucas was a privileged child of an upper-class planter who moved his family to Wappoo plantation in South Carolina when Eliza was fifteen. When her father was called back to Antigua in 1739, he left Eliza in charge of his three plantations. The young woman proved a talented manager, and successfully introduced the cultivation of indigo (a dye for textiles), a crop she imported from the West Indies in 1740. This agricultural breakthrough was a boon to the young colony, and became the source of fortune for many South Carolinian planters. In 1744 she married widower Charles Pinckney, a wealthy planter, and settled into the traditional role held by many wealthy southern women: plantation mistress and mother.

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7

Huber, Hannah L. "“A Monst’us Pow’ful Sleeper”". In Sleep Fictions, 59–90. University of Illinois Press, 2023. http://dx.doi.org/10.5622/illinois/9780252045400.003.0003.

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In 1851, Louisiana doctor Samuel Cartwright declared that lethargy was an innate trait among African Americans that could only be managed through the prescription of hard labor. A half century later, Charles Chesnutt penned his “Uncle Julius” tales (1887–1900), which played on the plantation tradition of local color fiction and drew from slave narratives to challenge scientific racism in the US South and beyond. The stories, told by a formerly enslaved and newly indentured Black inhabitant of a North Carolina plantation, illustrate the South’s incessant demands on Black people’s time. Chesnutt’s stories portray Black characters who resist sleep deprivation and exhaustion by ironically feigning drowsy demeanors in an effort to subvert master clock time on southern plantations in the antebellum era and the New South.

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