Catalogue


Rhetorical drag : gender impersonation, captivity, and the writing of history /
Lorrayne Carroll.
imprint
Kent, OH : Kent State University Press, c2007.
description
ix, 251 p.
ISBN
0873388828 (alk. paper), 9780873388825 (alk. paper)
format(s)
Book
Holdings
More Details
imprint
Kent, OH : Kent State University Press, c2007.
isbn
0873388828 (alk. paper)
9780873388825 (alk. paper)
contents note
Being read with a greedy attention : Mather in drag -- Peculiar efficacy and authority : Hannah Duston's missing voice -- The original copy and the mistake of the transcriber : Elizabeth Hanson's relation -- Affecting history : impersonating women in the early Republic.
general note
This work examines authorial gender impersonation (men writing as women) of American women's captivity narratives from 1697 to 1849, and the connections between gender figuration and historiography.
catalogue key
6119583
 
Includes bibliographical references and index.
A Look Inside
Summaries
Long Description
In this fresh examination of seventeenth-, eighteenth-, and nineteenth-century American captivity narratives, author Lorrayne Carroll argues that male editors and composers impersonated the women presumed to be authors of these documents. This "gender impersonation" significantly shaped the authorial voice and complicated the use of these texts as examples of historical writing and as women's literature. Carroll contends that gender impersonation was pervasive and that not enough critical attention has been paid to male intervention in female accounts. Rhetorical Drag examines the familiar territory of captivity narratives, including versions of Hannah Duston's captivity, and widens it by analyzing numerous examples, placing each in a deeply historicized context. For example, Mary Rowlandson's The Soveraignty and Goodness of God is viewed as a template against which later authors might differentiate their works rather than as a model. In this vein, Carroll looks at how Cotton Mather shaped the narrative of Hannah Swarton in light of Rowlandson's text (itself thought to have been edited by his father) and according to the ideals of female behavior outlined in his conduct book for women, Ornaments for the Daughters of Zion. A chapter on Quaker captivities illuminates the practices of censorship among Friends. Furthermore, Carroll does original archival work on the provenance of Susannah Johnson's narrative and makes some interesting discoveries about the practices of gender impersonation and collaborative composition that produced Johnson's text. Using this narrative, which appeared in the late eighteenth century, Carroll discusses the shift and evolution of gender norms in therepresentation of women's voices and embodied experience. Those interested in early American literary studies and historiography as well as women's and gender studies will find Rhetorical Drag a fascinating and important addition to the literature.
Unpaid Annotation
In this fresh examination of seventeenth-, eighteenth-, and nineteenth-century American captivity narratives, author Lorrayne Carroll argues that male editors and composers impersonated the women presumed to be authors of these documents. This "gender impersonation" significantly shaped the authorial voice and complicated the use of these texts as examples of historical writing and as women's literature. Carroll contends that gender impersonation was pervasive and that not enough critical attention has been paid to male intervention in female accounts. Rhetorical Drag examines the familiar territory of captivity narratives, including versions of Hannah Duston's captivity, and widens it by analyzing numerous examples, placing each in a deeply historicized context. For example, Mary Rowlandson's The Soveraignty and Goodness of God is viewed as a template against which later authors might differentiate their works rather than as a model. In this vein, Carroll looks at how Cotton Mather shaped the narrative of Hannah Swarton in light of Rowlandson's text (itself thought to have been edited by his father) and according to the ideals of female behavior outlined in his conduct book for women, Ornaments for the Daughters of Zion. A chapter on Quaker captivities illuminates the practices of censorship among Friends. Furthermore, Carroll does original archival work on the provenance of Susannah Johnson's narrative and makes some interesting discoveries about the practices of gender impersonation and collaborative composition that produced Johnson's text. Using this narrative, which appeared in the late eighteenth century, Carroll discusses the shift and evolution of gender norms in the representation of women's voices and embodied experience. Those interested in early American literary studies and historiography as well as women's and gender studies will find Rhetorical Drag a fascinating and important addition to the literature.
Bowker Data Service Summary
Presenting an examination of 17th, 18th, and 19th century American captivity narratives, this work argues that male editors and composers impersonated the women presumed to be authors of these documents. It is aimed at those interested in early American literary studies and historiography as well as women's and gender studies.
Table of Contents
Introduction : "Particular knowledge"p. 1
"Being read with a greedy attention" : Mather in dragp. 17
"Peculiar efficacy and authority" : Hannah Duston's missing voicep. 55
"The original copy and the mistake of the transcriber" : Elizabeth Hanson's relationp. 109
"Affecting history" : impersonating women in the early republicp. 135
Epilogue : "I'm just an advertisement for a version of myself"p. 185
Table of Contents provided by Blackwell. All Rights Reserved.

This information is provided by a service that aggregates data from review sources and other sources that are often consulted by libraries, and readers. The University does not edit this information and merely includes it as a convenience for users. It does not warrant that reviews are accurate. As with any review users should approach reviews critically and where deemed necessary should consult multiple review sources. Any concerns or questions about particular reviews should be directed to the reviewer and/or publisher.

  link to old catalogue

Report a problem