Women in German Yearbook I. Feminist Studies and German Culture@@@The New Feminist Criticism. Essays on Women, Literature, and Theory

NICHOLAS GASKILL: Vibrant Environments: The Feel of Color from the White Whale to the Red Wheelbarrow (Under the direction of Jane F. Thrailkill) In the closing decades of the nineteenth century, a host of color media technologies combined with new theories of embodied perception to alter both the types of color experiences commonly available and the general understanding of their significance. Synthetic colors brightened all manner of manufactured goods, from textiles and tin can labels to candy and oil paints, and these colored materials sparked a flurry of interest in the sensory and affective impact of cultural environments. This dissertation argues that the discourses and practices of modern color in the U.S. guided literary writers in experimenting with the effects of textual “environments” on readers and in demonstrating, through these investigations, the role of aesthetic experience in the extra-artistic realms of commerce, political reform, and education. At issue in each of these areas is the formation of individual subjects—and the groups they might create— through interactions with an arranged material environment. Color, more so than other sensory qualities, proved especially useful in tracking and intervening in these processes because it so readily slides among sensory, linguistic, and cultural domains, all functioning within a complex act of perception. I contend that late-nineteenth-century writers such as Hamlin Garland, Charlotte Perkins Gilman, Stephen Crane, Charles Chesnutt, and L. Frank Baum—and later authors such as Nella Larsen and Claude

https://cdr.lib.unc.edu/downloads/js956g01z

Vibrant environments: the feel of color from the white whale to the red wheelbarrow

Doctoring "The Yellow Wallpaper"

美国俚语大全 = =new dictionary of american slang

In Villette, the obvious fakeness of the phantom robs it of uncanny status, reducing it to a form of narrative decoy which deflects attention away from what are consistently described as unheimlich in the novel: children and childhood. Though Lucy Snowe's own childhood past is shrouded in mist, an Object Relations reading reveals the souvenir value she attributes, instead, to domestic furniture and fittings, themselves operating as phantoms giving shape to an otherwise formless sense of loss. Ultimately, as the novel's ending shows, this superficially consolatory mechanism simply ensnares the adult Lucy in an ongoing false self-image: the abandoned child.

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William Veeder

Papers

Who is Jane?: The Intricate Feminism of Charlotte Perkins Gilman