“A gallant heart to the empire.” Autoethnography and Imperial identity in Mary Seacole’s Wonderful Adventures

Posted in Articles, Biography, Caribbean/Latin America, History, Identity Development/Psychology, Literary/Artistic Criticism, Media Archive, United Kingdom, Women on 2010-08-31 04:14Z by Steven

“A gallant heart to the empire.” Autoethnography and Imperial identity in Mary Seacole’s Wonderful Adventures

Philological Quarterly
Volume 83, Number 2, Spring, 2004

Sarah Salih, Professor of English
University of Toronto

A portrait of Mary Seacole in oils, c. 1869, by the obscure London artist Albert Charles Challen (1847–81). The original was discovered in 2003 by historian Helen Rappaport, and acquired by the National Portrait Gallery in London in 2008.

It seems fitting that the bi-centenary year of Mary Seacole’s birth has been marked by a spate of discoveries and publications about the author of Wonderful Adventures of Mrs Seacole in Many Lands (1857). In January 2005 a “lost” portrait of Seacole, painted in 1879 by an obscure London artist named Albert Challen, was placed on view in the National Portrait Gallery. Coincidentally, Jane Robinson’s rather clumsily-titled biography, Mary Seacole: The Charismatic Black Nurse Who Became a Heroine of the Crimea, was published only weeks later, and in the same month the Home Office named one of its new buildings after Mary Seacole. (1) To round off these events, a Channel 4 documentary screened in April 2005 revealed the identity of Seacole’s husband Horace (hitherto unknown), and Wonderful Adventures was published as a Penguin Classic at the beginning of that year. (2) Assuredly, Seacole is enjoying a second heyday (albeit a posthumous one), having already taken her place amidst a burgeoning group of “Great Black Britons” whose achievements are receiving belated recognition. (3) This is not to imply that Seacole has been rescued from obscurity: between her death in 1881 and Alexander and Dewjee’s edition of Wonderful Adventures of Mrs Seacole in Many Lands almost a century later, a steady trickle of articles and publications concerning Seacole appeared both in Britain and Jamaica. Moreover, since 1984, Seacole has received increasing academic attention, and she has long been installed as a figurehead for a number of different groups including Jamaicans, black British people and nurses.

Still, it does seem to be the case that during the last decade or two, “Seacole” has become something of a brand name for Caribbean nurses, so-called “ethnic minorities” in Britain, and Jamaicans both patriate and expatriate. There are already numerous buildings called “Mary Seacole” in Britain and Jamaica, and a Mary Seacole Street almost came into existence in London during the 1990s. (4) It is not only Seacole’s name that is being invoked; people are also reading her text, or sections of it, since it is widely available in its entirety (Wonderful Adventures has been issued at least three times since Alexander and Dewjee’s 1984 edition) and in excerpted form. Moreover, there is a growing canon of critical literature about Seacole and her autobiography, and well-known scholars such as Moira Ferguson and Simon Gikandi have tackled the thorny question of Seacole’s national, cultural and racial identifications–a question on which I wish to focus here. Certainly, Seacole has been adopted by different groups both inside and outside the academy, and she has been made to stand for (not always complementary) national, racial and cultural causes. Is there something about Seacole’s text that lends itself to these multiple interpretations? Why does “Seacole” mean so many different things to so many different people? Both in the country of her birth (Jamaica) and the country she adopted (Britain), Seacole is a national heroine, and yet sometimes it does seem as though the Seacole text (by which I mean Wonderful Adventures, as well as reconstructions of “Mary Seacole” by different generations of critics) is being pulled in quite different directions. Can Seacole be “black,” “British,” and “Jamaican” at the same time? If these ontological vectors are in fact compatible, then is it important for contemporary readers and critics to take into account how Seacole constructed herself; or how she was constructed by her nineteenth-century contemporaries?…

Reading Wonderful Adventures as a transcultural autoethnography in conjunction with the responses of Seacole’s nineteenth-century critics to both author and text will yield broader insights into the construction and representation of “mixed race” women, both now and in Seacole’s era. My analysis of Wonderful Adventures will accordingly draw on the growing cluster of paratexts that has surrounded Seacole’s autobiography since the time of its publication. In particular, I wish to dwell on how Jamaican and British newspaper articles featuring Seacole exemplify Benedict Anderson’s idea of national identity as an imagined, textual community that is linguistically, rather than consanguineously, constructed. It is my hope that such a discussion will contribute to a more wide-ranging investigation into the naming, representation and construction of the “mixed race” female subject in imperial contexts….

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The Silence of Miss Lambe: Sanditon and Fictions of ‘Race’ in the Abolition Era

Posted in Articles, Literary/Artistic Criticism, Media Archive, Slavery, United Kingdom, Women on 2010-08-31 02:52Z by Steven

The Silence of Miss Lambe: Sanditon and Fictions of ‘Race’ in the Abolition Era

Eighteenth-Century Fiction
Volume 18, Issue 3 (Spring 2006)
pages 329-353

Sarah Salih, Professor of English
University of Toronto

Although it would be difficult to argue that Sanditon (1817) is “historical” in any immediately obvious sense, it is nonetheless clear that the social history of England is central to Jane Austen’s last, unfinished text. Critics appear to agree that the novel, which, as Warren Roberts points out, was written during a period of social turbulence in England, reflects anxieties about the shift from one socio-economic structure to another. Once a fishing village and agricultural community, Sanditon has been “perverted” into a resort, a “sandy town,” where the sea is an exploitable resource and invalidism is a social activity engaged in by characters who are “urban, rootless, irresponsible and self-indulgent.” As Tony Tanner puts it, “[Sanditon is] a little parable of change—supersession, supplanting, and substitution.” These are certainly accurate characterizations, and yet the majority of the novel’s commentators overlook what Edward Said would call its “geographical problematic,” the fact that the seaside resort is dependent on economic resources from outside—from other areas of England, and, it seems, from England’s Caribbean colonies. I am referring to Miss Lambe, Austen’s only “brown” character—so briefly invoked and so tantalizingly incomplete. Certainly, Miss Lambe does not take up much of Sanditon’s eleven and a half chapters, and as my title suggests, she never utters a word. All the same, the characters’ allusions to the “West India” contingent, along with Miss Lambe’s presence in the text, certainly warrant closer critical attention than they have hitherto received.

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Monstrous Intimacies: Making Post-Slavery Subjects

Posted in Books, History, Literary/Artistic Criticism, Media Archive, Monographs, United States on 2010-08-30 22:00Z by Steven

Monstrous Intimacies: Making Post-Slavery Subjects

Duke University Press
August 2010
264 pages
21 illustrations
Cloth ISBN: 978-0-8223-4591-6
Paperback ISBN: 978-0-8223-4609-8

Christina Sharpe, Associate Professor of English and Director of American Studies
Tufts University

Arguing that the fundamental, familiar, sexual violence of slavery and racialized subjugation have continued to shape black and white subjectivities into the present, Christina Sharpe interprets African Diasporic and Black Atlantic visual and literary texts that address those “monstrous intimacies” and their repetition as constitutive of post-slavery subjectivity. Her illuminating readings juxtapose Frederick Douglass’s narrative of witnessing the brutal beating of his Aunt Hester and Essie Mae Washington-Williams’s declaration of freedom in Dear Senator: A Memoir by the Daughter of Strom Thurmond, as well as the “generational genital fantasies” depicted in Gayl Jones’s novel Corregidora and a firsthand account of such “monstrous intimacies” in the journals of an antebellum South Carolina senator, slave-holder, and vocal critic of miscegenation. Sharpe explores the South African-born writer Bessie Head’s novel Maru—about race, power, and liberation in Botswana—in light of the history of the Khoi San woman Saartje Baartman, who was displayed in Europe as the “Hottentot Venus” in the nineteenth century. Reading Isaac Julien’s film The Attendant, Sharpe takes up issues of representations of slavery, display, and the sadomasochism of everyday black life. Her powerful meditation on intimacy, subjection, and subjectivity culminates in an analysis of the black and white silhouettes created by Kara Walker and the subtexts of the critiques leveled against the silhouettes and the artist.

Table of Contents

  • Acknowledgments
  • Introduction. Making Monstrous Intimacies: Surviving Slavery, Bearing Freedom
  • 1. Gayl Jones’s Corregidora and Reading the “Days That Were Pages of Hysteria”
  • 2. Bessie Head, Saartje Baartman, and Maru Redemption, Subjectification, and the Problem of Liberation
  • 3. Isaac Julien’s The Attendant and the Sadomasochism of Everyday Black Life
  • 4. Kara Walker’s Monstrous Intimacies
  • Notes
  • Bibliography
  • Index
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1111 ENG 126: Racial Passing, Black and White

Posted in Course Offerings, Literary/Artistic Criticism, Media Archive, Passing on 2010-08-30 20:41Z by Steven

1111 ENG 126: Racial Passing, Black and White

The College of Saint Rose
Albany, New York
Fall 2009

Eurie Dahn, Assistant Professor of English

In this course, we will analyze depictions of racial passing in American literature. In particular, we will examine narratives where African Americans “pass” for white and vice versa. While the popularity of passing as a historical phenomenon is debatable, it is incontestably a source of literary richness. This course is also about interraciality and the meaning of race itself, as the possibility of passing exposes hidden ambiguities and anxieties about race in the United States. Texts we will read may include those by Jessie Fauset, Nella Larsen, James Weldon Johnson, Mark Twain, and Walter Mosley. This is a discussion-based course, so come prepared to participate. Fulfills diversity requirement.

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Between Hoax and Hope: Miscegenation and Nineteenth-Century Interracial Romance

Posted in Articles, History, Literary/Artistic Criticism, Media Archive, United States on 2010-08-27 19:40Z by Steven

Between Hoax and Hope: Miscegenation and Nineteenth-Century Interracial Romance

Literature Compass
Volume 3, Issue 4 (July 2006)
pages 648–657
DOI: 10.1111/j.1741-4113.2006.00345.x

Katharine Nicholson Ings, Associate Professor of English
Manchester College, North Manchester, Indiana

This essay surveys recent scholarship on interracial romance during the nineteenth century using the hoax Miscegenation pamphlet of 1863 as a lens. An anonymous and ironic piece of writing that promoted race-mixing from a deceptively Republican perspective, Miscegenation coined the titular term, newly situating interracial relationships within a Latinate, pseudo-scientific framework. It also encouraged romance between white women and black men, an endorsement that was designed to enrage its white male readership but in fact gave hope to some white women who were unable to articulate their interracial desire publicly. Using this double focus, I explore how nineteenth-century authors of interracial romance borrowed the language of science, such as “hybridity” and “crossing”; how they employed the concept of “blood-mixing” as both sexual and medicinal (via transfusions); and I read the Miscegenation pamphlet as a kind of scientific romance fiction itself.

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Illegal fictions : white women writers and the miscegenated imagination 1857-1869 (E. D. E. N. Southworth, Louisa May Alcott, Rebecca Harding Davis, Lydia Maria Child)

Posted in Dissertations, History, Literary/Artistic Criticism, Media Archive, Slavery, United States on 2010-08-27 18:55Z by Steven

Illegal fictions : white women writers and the miscegenated imagination 1857-1869 (E. D. E. N. Southworth, Louisa May Alcott, Rebecca Harding Davis, Lydia Maria Child)

Indiana University
2000

Katharine Nicholson Ings, Associate Professor of English
Manchester College, North Manchester, Indiana

This dissertation examines how popular nineteenth-century white women writers depicted interracial romance in their fiction. I focus on E. D. E. N. Southworth, Louisa May Alcott, Rebecca Harding Davis, and Lydia Maria Child, authors who composed what I call illegal fictions, largely neglected works that explored the possibilities of interracial unions between blacks and whites. These authors, all abolitionists, denounce slavery in their works while simultaneously reflecting upon the limitations of the feminine roles that they were expected to play in society.

I approach their fictions through three critical lenses: racial theory, sentimental narrative theory, and biography to determine the implications of the hybrid individual, national, and textual identities present in the narratives and in the authors’ lives. On the one hand, these illegal fictions attempt to negotiate the tension between white women and black men and women, each of whom strove to be recognized as citizens. On the other hand, their fictions point to how the idea of miscegenation literally a mixing of races informed the creativity of these women authors during the years spanning the Civil War. At the imaginative level the authors offer visions of either a successful or failed multicultural America; at the generic level they engage in a blending of forms: slave narrative merges with the sentimental novel to initiate a dialogue between African and Caucasian American literary traditions.

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Colonial Desire: Hybridity in Theory, Culture and Race, 2nd Edition

Posted in Books, History, Literary/Artistic Criticism, Media Archive, Monographs on 2010-08-26 04:42Z by Steven

Colonial Desire: Hybridity in Theory, Culture and Race, 2nd Edition

Routledge
1994-12-14
248 pages
Paperback ISBN: 978-0-415-31183-0

Robert J. C. Young, Silver Professor of English and Comparative Literature
New York University

As one of the most important books in post-colonial studies, this book argues that contemporary theories on post-colonialism and ethnicity are disturbingly close to the colonial discourse of the nineteenth century.

Rather than marking ourselves off from patterns of thought which characterized Victorian racial theory, we show remarkable complicity with historical ways of viewing ‘the other’, both sexually and racially. ‘Englishness’, Young suggests, has been less fixed and stable than uncertain, fissured with difference and a desire for otherness.

In this updated new edition, the author revisits the ideas set out in the book in light of recent developments in post-colonial theory, including projects influenced by his own work. With this fresh intervention, Robert Young is set once again to re-energize his field and open new channels of debate.

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The New Hollywood Racelessness: Only the Fast, Furious, (and Multiracial) Will Survive

Posted in Articles, Communications/Media Studies, Literary/Artistic Criticism, Media Archive, United States on 2010-08-25 17:20Z by Steven

The New Hollywood Racelessness: Only the Fast, Furious, (and Multiracial) Will Survive

Cinema Journal
Volume 44, Number 2, Winter 2005
pages 50-67

Mary C. Beltrán, Associate Professor of Media Studies
University of Texas, Austin

This article interrogates the rise of the “multiculti” action film and the casting of multiracial actors as Hollywood action film protagonists. These trends are examined in light of shifts in U.S. ethnic demographics and youth-oriented popular culture.

Recent Hollywood films such as Romeo Must Die (Andrzej Bartkowiak, 2000) and The Fast and the Furious (Rob Cohen, 2001) are notable for their multiethnic casts and stylized urban settings. Correspondingly, the key to the survival of the protagonists in these “multiculti” action narratives is their ability to thrive in environments defined by cultural border crossings and pastiche. Perhaps not coincidentally, the heroes who command these environments increasingly are played by biracial and multiethnic actors, such as Vin Diesel in The Fast and the Furious and XXX (Rob Cohen, 2002) and Russell Wong, who plays a pivotal role in Romeo Must Die.

This trend reflects contemporary shifts in U.S. ethnic demographics and ethnic identity, while subtly reinforcing notions of white centrism that are the legacy of the urban action movie. In particular, as I shall argue, the new, ethnically ambiguous protagonist embodies contemporary concerns regarding ethnicity and race relations with respect to the nation’s burgeoning cultural creolization and multiethnic population. The analysis presented here shall be situated in the history of Hollywood representations of the multiethnic inner city, as well as in relation to shifts in the country’s ethnic demographics, cultural interests, and popular culture…

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“Skinfolks” and “Kinfolks”: Racial Passing in American Films 1930-1960

Posted in Literary/Artistic Criticism, Media Archive, Passing, United States on 2010-08-25 02:40Z by Steven

“Skinfolks” and “Kinfolks”: Racial Passing in American Films 1930-1960

Department of American Studies
University of Virginia
Summer 2002

Introduction

Characters with a desire to become something that they are not in order to escape their realities have been present from the earliest American films to the present. The popular encyclopedia of American cinema, Videohound, categorizes films with these characters under “Not-So-Mistaken-Identity”. Of these “not-so-mistaken identity” films, more than half of the characters in question are black passing as white. This reflects the American obsession with race, authenticity, and reinvention.

As characters whose racial identity could rest somewhere between black and white, passing characters have the potential to subvert racial categories by proving the falsity of the black and white racial binary. Elaine Ginsberg argued that the power of passing narratives is “its interrogation of the essentialism that is the foundation of identity politics, passing has the potential to create a space for creative multiple identities, to experiment with multiple subject positions, and to cross social and economic boundaries that exclude or oppress.” However in most popular American films, these characters are never allowed the freedom to define themselves and live with their choices.

Despite the possibilities their existence in a society anxious about interracial sex suggests, they are actually used most often to prove that it is not possible to transcend racial categories. And just in case the repeated humiliation, violence, and personal sacrifices they endure in the films did not persuade the audience to value stability in racial identity, more traditional, stereotypical black characters are always present, and usually placed at the moral center of the films, to reinforce racist definitions of blackness and whiteness…

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VIS409 Mixed Race Women’s Memoirs

Posted in Course Offerings, History, Literary/Artistic Criticism, Media Archive, United States, Women on 2010-08-23 21:37Z by Steven

VIS409 Mixed Race Women’s Memoirs

Antioch University Midwest
Winter 2010

This course is designed as a multidisciplinary exploration of race, gender, and identity utilizing oral and written narratives of Black-white mixed race women from the mid-nineteenth century to the present as source material. Drawing from elements of cultural studies, African American studies, American studies, and women’s studies, students will construct critical and historical contexts for self-identity and perceptions of that identity in women of interracial descent.