Leseprobe
* Affiliatelinks/Werbelinks
Links auf reinlesen.de sind sogenannte Affiliate-Links. Wenn du auf so einen Affiliate-Link klickst und über diesen Link einkaufst, bekommt reinlesen.de von dem betreffenden Online-Shop oder Anbieter eine Provision. Für dich verändert sich der Preis nicht.
Dancing on the Color Line
Gretchen Martin
* Affiliatelinks/Werbelinks
Links auf reinlesen.de sind sogenannte Affiliate-Links. Wenn du auf so einen Affiliate-Link klickst und über diesen Link einkaufst, bekommt reinlesen.de von dem betreffenden Online-Shop oder Anbieter eine Provision. Für dich verändert sich der Preis nicht.
University Press of Mississippi 
Belletristik / Essays, Feuilleton, Literaturkritik, Interviews
Beschreibung
The extensive influence of the creative traditions derived from slave culture, particularly black folklore, in the work of nineteenth- and twentieth-century black authors, such as Ralph Ellison and Toni Morrison, has become a hallmark of African American scholarship. Yet similar inquiries regarding white authors adopting black aesthetic techniques have been largely overlooked.
Gretchen Martin examines representative nineteenth-century works to explore the influence of black-authored (or narrated) works on well-known white-authored texts, particularly the impact of black oral culture evident by subversive trickster figures in John Pendleton Kennedy's
Swallow Barn, Harriet Beecher Stowe's
Uncle Tom's Cabin, Herman Melville's
Benito Cereno, Joel Chandler Harris's short stories, as well as Mark Twain's
Adventures of Huckleberry Finn and
Pudd'nhead Wilson.
As Martin indicates, such white authors show themselves to be savvy observers of the many trickster traditions and indeed a wide range of texts suggest stylistic and aesthetic influences representative of the artistry, subversive wisdom, and subtle humor in these black figures of ridicule, resistance, and repudiation.
The black characters created by these white authors are often dismissed as little more than limited, demeaning stereotypes of the minstrel tradition, yet by teasing out important distinctions between the wisdom and humor signified by trickery rather than minstrelsy, Martin probes an overlooked aspect of the nineteenth-century American literary canon and reveals the extensive influence of black aesthetics on some of the most highly regarded work by white American authors.
Kundenbewertungen
John Pendleton Kennedy, Reconstruction, racism, Lucinda MacKethan, folktales, Adventures of Huckleberry Finn, black characters, post-Reconstruction, African American Studies, minstrel tradition, Frederick Douglass, Toni Morrison, humor, Folklore, Roger Abrahams, W.E.B. Du Bois, Joel Chandler Harris, abolitionists, Gilbert Osofsky, Henry Louis Gates, Jr., Eugene Genovese, Benito Cereno, Herman Melville, sexual exploitation, black influence, proslavery genre, fugitives, Mark Twain, whites, American Literature, Laurence Levine, blacks, Uncle Tom’s Cabin, slaves, Slave culture, Pudd’nhead Wilson, Ralph Ellison, Swallow Barn, Harriet Beecher Stowe, slavery