Relevant bibliographies by topics / Domestic fiction, American

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Domestic fiction, American'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 March 2023

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Journal articles on the topic "Domestic fiction, American"

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Ruppel, Tim. "Gender Training: Male Ambitions, Domestic Duties, and Failure in the Magazine Fiction of T. S. Arthur." Prospects 24 (October 1999): 311–37. http://dx.doi.org/10.1017/s0361233300000405.

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Although T. S. Arthur'S extraordinary literary presence and popularity were acknowledged during the antebellum period, studies of both the American Renaissance and domestic fiction have failed to provide anything more than a passing reference to his fiction. Arthur's meager current reputation has been defined by a single work, the sensationalist temperance novel, Ten Nights in a Bar-room, And What I Saw There (1854). More generally, cultural historians have labeled Arthur as one of the “fictional eulogists of the self-made man” and a purveyor of the “rags to riches” myth. However, the magazine fiction that Arthur regularly produced for Godey's Lady's Book in the 1840s had nothing to do with either temperance or the myth of autonomous individualism. Instead, his tales focused on the relationship between behavior in the home and in the marketplace. Writing in the aftermath of the devastating Panic of 1837, Arthur sought to identify the causes of domestic disorder and economic failure. Significantly, his narratives of personal accountability asserted that failure and disorder were the inevitable results of deviations from emerging gender norms. The prospective urban merchant and domestic women who appeared prominently in his magazine fiction must learn that the management of troublesome bodies is the key to economic and domestic stability.
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Šesnić, Jelena. "“Uncanny Domesticity” in Contemporary American Fiction: The Case of Jhumpa Lahiri." Kultura Popularna 4, no. 54 (May 7, 2018): 94–105. http://dx.doi.org/10.5604/01.3001.0011.6724.

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The argument contends that Jhumpa Lahiri’s fiction – in particular her two novels to date, The Namesake (2003) and The Lowlands (2013) – features a combination of the elements of homeliness and estrangement, domestic and foreign, ultimately, self and the other, that evokes the Freudian concept of the uncanny. Placing it in the context of the diasporic family dynamics, prevalent in Lahiri’s fiction, the uncanny effect may be seen to reside in the unspoken secrets and repressed content passed on from the first to the second generation and disturbing the neat acquisition of the trappings of middle-class domesticity. Drawing on recent models of the “geopolitical novel” (Irr), the “new immigrant fiction” (Koshy) and the “South Asian diasporic novel” (Grewal), the reading engages with the irruption of the unhomely into the domestic space, sustained by immigrant families in the face of local and global disturbances.
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Xinyi, Ma, and Hua Jing. "Humanity in Science Fiction Movies: A Comparative Analysis of Wandering Earth, The Martian and Interstellar." International Journal of Linguistics, Literature and Translation 4, no. 1 (January 30, 2021): 210–14. http://dx.doi.org/10.32996/ijllt.2021.4.1.20.

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Wandering Earth, released in 2019, is regarded as a phenomenal film that opens the door to Chinese science fiction movies. The Chinese story in the film has aroused the resonance of domestic audiences, but failed to get high marks on foreign film review websites. In contrast, in recent years, science fiction films in European and American countries are still loved by audiences at home and abroad, such as The Martian and Interstellar, which have both commercial and artistic values. It can be seen that the cultural communication of western science fiction movies is more successful than that of China. Taking the above three works as examples, this paper analyzes the doomsday plot, the beauty of returning home and the role shaping of scientific women in science fiction movies from the perspective of the organic combination of “hard-core elements of science fiction” and “soft value in humanity”, in an attempt to help the foreign cultural communication of domestic science fiction movies. As an attempt to facilitate the global development of Chinese science fiction, this paper concludes that certain Chinese traditional cultural spirit needs further spreading, that Chinese science fiction and humanity should be combined in a more natural way, and that in particular, female character need in depth and multi-dimensional interpretation.
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Yao, Xine. "Desire and Asian Diasporic Fiction: Democracy and the Representative Status of Onoto Watanna’s Miss Numè of Japan (1899)." American Literary History 35, no. 1 (February 1, 2023): 97–112. http://dx.doi.org/10.1093/alh/ajac154.

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Abstract “Onoto Watanna,” the pseudo-Japanese penname of the mixed-race Chinese Winnifred Eaton, acts as a “Bad Grandma” of the Asian North American literary tradition. Building upon Susan Koshy’s and Lisa Lowe’s accounts of the Asian American novel, I approach Watanna’s Miss Numè of Japan (1899) as the “first Asian American novel” representative of an accommodationist, rather than resistant, tendency “Asian American” representation that anticipates the aggregate and disaggregate problems and possibilities of that political formation in US liberal democracy. The novel, a tale of interracial romances set in Japan, tracks the uncomfortable tensions and convergences of desire and Asian diasporic fiction that speaks to the heteronormative bourgeois construction of anti-Black settler colonial “Asian America.” By tapping into the seduction and marriage plot traditions of eighteenth- and nineteenth-century (white) domestic fiction, Miss Numè racially recodes the genre’s processes of meaning-making about freedom, coercion, and material stability onto a comparative global stage. The romances allegorize negotiations between Japan and the US as two rising global imperialist powers, asymmetries of power coded as Asiatic racialized gender. Miss Numè traces fantasies of individualist desire inextricable from the novel’s status as a compromised origin for the Asian American novel and Asian Americanist coalitional politics.With this “bad” early entry in the Asian American literary tradition, the beginnings of a cross-ethnic Asian sensibility reveals the bourgeois fantasies of diasporic desire at its very emergence, not as a postlapsarian ossification.
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MORLEY, CATHERINE. "“How Do We Write about This?” The Domestic and the Global in the Post-9/11 Novel." Journal of American Studies 45, no. 4 (November 2011): 717–31. http://dx.doi.org/10.1017/s0021875811000922.

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This article argues that far from marking a break in recent literary development, the terrorist attacks of 9/11 made less of an impact on American fiction than we often think. Critics have often accused writers after 9/11 of “retreating” into the domestic; in fact, domestic and individual narratives, often set against sweeping historical backgrounds, already dominated American writing in the late 1990s. At first, therefore, novelists handling the events of 9/11 framed them within the personal and the small-scale. In the last two years, however, writers such as Adam Haslett and Jonathan Franzen have begun publishing broader, more ambitious state-of-the-nation novels, explicitly addressing the United States' relationship with the Middle East and the impact of globalization. Yet in these novels, too, the global and the personal are tightly intertwined; again and again, writers are drawn to the domestic themes that have so often dominated American literature.
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Băniceru, Ana Cristina. "Gothicizing Domesticity – The Case of Charlotte Perkins Gilman and Edgar Allan Poe." Romanian Journal of English Studies 15, no. 1 (December 1, 2018): 9–16. http://dx.doi.org/10.1515/rjes-2018-0002.

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Abstract It is critical common knowledge that domestic narratives and the structure of traditional domesticity are subverted in Gothic fiction (Smith 2013). The household and its apparent security are threatened from within by unknown supernatural forces. What seems familiar becomes upsetting, strange and ‘unfamiliar’. Both Charlotte Perkins Gilman in “The Yellow Wall-Paper” and Edgar Allan Poe in “The Black Cat” give comparable views on American domesticity, both questioning two important aspects of domestic life (family and a blissful household). The two writers create a mad discourse in which the inexplicable and the uncanny infiltrate into reality and the sentimental domestic narrative is undermined.
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Anderson, Douglas, and G. M. Goshgarian. "To Kiss the Chastening Rod: Domestic Fiction and Sexual Ideology in the American Renaissance." Modern Language Review 89, no. 3 (July 1994): 738. http://dx.doi.org/10.2307/3735156.

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Hume, Beverly A., and G. M. Goshgarian. "To Kiss the Chastening Rod: Domestic Fiction and Sexual Ideology in the American Renaissance." American Literature 65, no. 1 (March 1993): 151. http://dx.doi.org/10.2307/2928088.

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Biltereyst, Daniel. "Resisting American Hegemony: A Comparative Analysis of the Reception of Domestic and US Fiction." European Journal of Communication 6, no. 4 (December 1991): 469–97. http://dx.doi.org/10.1177/0267323191006004005.

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CROWNSHAW, RICHARD. "Deterritorializing the “Homeland” in American Studies and American Fiction after 9/11." Journal of American Studies 45, no. 4 (November 2011): 757–76. http://dx.doi.org/10.1017/s0021875811000946.

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Literary criticism has debated the usefulness of the trauma paradigm found in much post-9/11 fiction. Where critiqued, trauma is sometimes understood as a domesticating concept by which the events of 9/11 are incorporated into sentimental, familial dramas and romances with no purchase on the international significance of the terrorist attacks and the US's response to them; or, the concept of trauma is understood critically as the means by which the boundaries of a nation or “homeland” self-perceived as violated and victimized may be shored up, rendered impermeable – if that were possible. A counterversion of trauma argues its potential as an affective means of bridging the divide between a wounded US and global suffering. Understood in this way, the concept of trauma becomes the means by which the significance of 9/11 could be deterritorialized. While these versions of trauma, found in academic theory and literary practice, invoke the spatial – the domestic sphere, the homeland, the global – they tend to focus on the time of trauma rather than on the imbrication of the temporal and the spatial. If, instead, 9/11 trauma could be more productively defined as the puncturing of national fantasies of an inviolable and innocent homeland, fantasies which themselves rest on the (failed) repression of foundational violence in the colonial and settler creation of that homeland, and on subsequent notions of American exceptionalism at home and, in the exercise of foreign policy, abroad, then the traumatic can be spatialized. In other words, understood in relation to fantasy, trauma illuminates the terroritalization and deterritorialization of American history. After working through various examples of post-9/11 fiction to demonstrate parochial renditions of trauma and trauma's unrealized global resonances, this article turns to Cormac McCarthy's 9/11 allegory The Road for the way in which its spaces, places and territories are marked by inextricable traumas of the past and present – and therefore for the way in which it models trauma's relation to national fantasy.
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Dissertations / Theses on the topic "Domestic fiction, American"

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Andrade, Emily Y. "Illegal immigration : 6 stories from an American family." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1365172.

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Illegal Immigration: Six Stories from an American Family is a collection of stories derived from and inspired by the author's personal life experiences, dreams, and family history, as a Mexican American woman. The stories also hold distinct archetypal patterns, images, storylines and symbolism due to the author's connection to the collective unconscious through meditation. The stories tell character driven stories of adversity, and the search for home, and identity by linking main characters to their family members in each story. The collection as a whole reveals generational patterns, histories and connections not only present in the matriarchal bloodline of the collection, but from one human to another. The stories beckon the reader into an alternate reality created by these archetypal patterns inherent in all humans, in an attempt to transcend genres and find a place within the psyche where anything is possible.
Illegal immigration -- Marco and Margarita -- La muerte de mi padre -- Together again -- Vivi and Ricardo -- The healer.
Department of English
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Frear, Sara S. ""A fine view of the delectable mountains" the religious vision of Mary Virginia Terhune and Augusta Jane Evans Wilson /." Auburn, Ala., 2007. http://repo.lib.auburn.edu/07M%20Dissertations/FREAR_SARA_35.pdf.

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Prebel, Julie E. "Domestic mobility in the American post-frontier, 1890-1900 /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/9339.

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O'Neil, Jennifer KayLynn. "Invisible, not invincible : a fiction and memoir thesis on domestic abuse /." View online, 2010. http://repository.eiu.edu/theses/docs/32211131575225.pdf.

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Jenkins, Jennifer Lei. "Failed mothers and fallen houses: Gothic domesticity in nineteenth-century American fiction." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186122.

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This study examines the relation between gender and genre in four novels that chart the development of American domestic life from the Colonial to the Gilded Age. In these novels, the presence in the house of women--mothers, daughters, sisters, servants, slaves--often threatens the fathers' dynastic ambitions and subverts the formal intentions of the narrative. These women represent familiar but strange forces of the uncanny which lurk beneath the apparently placid surface of domestic narrative. In "house" novels by Hawthorne, Stowe, Alcott, and James, interactions of the uncanny feminine with dynastic concerns threaten not only the novel's social message of destiny and dynasty, but the traditional form of the novel itself. In The House of the Seven Gables, Hawthorne constructs a narrative in which patrician fathers and domestic daughters struggle for control of the House and its story. Slavery disrupts domestic life in Uncle Tom's Cabin, inverting and thereby perverting traditional notions of home and family and producing monstrous mothers and failed households. Alcott details the abuses and dangers of reified gender roles in family life, while depicting a young woman's attempt to reconstruct domesticity as a female community in Work. Finally, James displaces domestic concerns entirely from The Other House, portraying instead the violent nature of feminine desire unrestrained by tradition, community, or family. Story and telling work at cross-purposes in these novels, creating a tension between Romantic structures and realistic narrative strategies. These authors depart from the tropes of their times, using gothic devices to reveal monstrous mothers, uncanny children, and failed or fallen houses within the apparently conservative domestic novel. Such gothic devices transcend literary historians' distinctions of romance and sentimental fiction as respectively male and female stories and reveal the fundamentally subversive nature of domestic fiction. For these writers, the uncanny presence of the feminine produces a counternarrative of gender, class, and race, redefines the cultural boundaries of home and family, and exposes the fictive nature of social constructions of gender and domesticity.
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Gilbertson, Alice Marie Sorenson. "The hidden ones female leadership in the nineteenth-century educational reform movement and in sentimental-domestic fiction, 1820-1870 /." Access abstract and link to full text, 1994. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/9500705.

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Istomina, Julia. "Property, Mobility, and Epistemology in U.S. Women of Color Detective Fiction." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429191876.

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Klimasmith, Elizabeth. "At home in the city : networked space and urban domesticity in American literature, 1850-1920 /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/9372.

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Halleck, Kenia Milagros. "Modernización y género sexual en los melodramas domésticos de autoras centroamericanas, 1940-1960 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9981957.

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Gohain, Atreyee. "Where the Global Meets the Local: Female Mobility in South Asian Women's Fiction in India and the U.S." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1428022854.

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Books on the topic "Domestic fiction, American"

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Neodomestic American fiction. Columbus: Ohio State University Press, 2010.

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1940-, Anderson Nancy G., ed. Family fiction: Unpublished narratives. Birmingham, Ala: Summa Publications, 1989.

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Domestic disturbances. Boulder, CO: Subito Press, 2013.

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Dreams and other ailments: Stories. Arlington, Va: Gival Press, 2001.

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Kingery, Margaret. Dark horse. Muncie, Ind: Ball State University, 1997.

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Grotesque relations: Modernist domestic fiction and the U.S. welfare state. Oxford: Oxford University Press, 2008.

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Smith, Parkhurst Liz, and Lorenzen Rod, eds. Homecoming: The southern family in short fiction. Little Rock: August House, 1990.

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Reconstructing the family in contemporary American fiction. New York: P. Lang, 1997.

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Recontextualizing Asian American domesticity: From Madame Butterfly to My American wife. Lanham, MD: Lexington Books, 2008.

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Margaret, Maron, and Malice Domestic Ltd, eds. Margaret Maron presents Malice domestic 8. New York: Avon Twilight, 1999.

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Book chapters on the topic "Domestic fiction, American"

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VanDette, Emily E. "Sibling Pedagogy: The Brother-Sister Ideal in Domestic Advice and Children’s Periodical Literature." In Sibling Romance in American Fiction, 1835–1900, 23–47. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137316905_2.

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McElwee, Johanna. "Books and the creation of the middle-class home in American nineteenth-century domestic fiction 1." In Reading Home Cultures Through Books, 81–95. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003139591-7.

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"Remapping Domestic Fiction:." In Neodomestic American Fiction, 15–40. Ohio State University Press, 2020. http://dx.doi.org/10.2307/j.ctv16qk398.5.

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Ferraro, Thomas J. "No Forgiveness in Heaven, No Forgetting in Hell." In Transgression and Redemption in American Fiction, 166–85. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198863052.003.0008.

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Chapter 7 argues that the word which brings the “nasty, grim little tale” of Willa Cather’s The Professor’s House to the surface is “sin” and that the hermeneutic that makes sense of the Professor’s love-driven crisis of will is German-American Catholic. The starting point of this revisionist reading is non-controversial; The Professor’s House frames one great homosocial, alternatively domestic, putatively anti-capitalist intergenerational romance (Tom Outland’s reminiscences of his cowpoke buddy, Roddy Blake) inside another (Professor St. Peter’s idealization and idolization of Tom Outland), both of which seem to be as pure of heart—and of fluid exchange—as the pristine air and water of Outland’s Blue Mesa. But the women of the novel, especially wife Lillian and the two daughters, would seem to have a different story to tell, regarding the Professor’s investments in Outland and Outland’s retreat with Roddy and what male-male romance has in it for women—a subtext of feminist perspective and women’s values that emerges, in remarkable clarity, as if by miracle, from the fractured yet relentless Catholic insinuations of the novel: a veritable catechism of silent revelations and muted insistences beginning, in fact, with the reclamation of the discourse and provenance of sin. It comes as a surprise, then, that a novel as sophisticated in sociological inquiry, sexual wisdom, and experimental form as The Professor’s House—one of the most academically revered, or at least attended to, novels in the current modernist canon—can and does have a moral—indeed, it tests for morality.
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Flint, Kate. "Savagery and Nationalism: Native Americans and Popular Fiction." In The Transatlantic Indian, 1776-1930, 136–66. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691203188.003.0006.

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This chapter explores British popular writing. It considers some of the means by which stereotypes of Indians that emanated from the United States circulated within Britain and were modified and filtered through domestic concerns. The chapter first assesses the influence that James Fenimore Cooper had on transatlantic adventure and historical fiction, and then pass to Charles Dickens's often contradictory treatments of native peoples, before looking at the more complicated case of Mayne Reid. This British writer of popular Westerns employed contemporary American-generated stereotypes of Indians and at times reinforced that country's message of manifest destiny, yet he also managed to question certain political and racial aspects of American life in a way that offered up a warning to his home readership. These stereotypes are read through a consideration of the shifting nuances of the idea of the “savage” in mid-Victorian Britain.
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Coghlan, J. Michelle. "Becoming Americans in Paris: The Commune as Frontier in Turn-of-the-Century Adventure Fiction." In Sensational Internationalism. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474411202.003.0003.

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This chapter charts the reconfiguration of the Commune’s domestic threat in American popular fiction in the 1890s. I show how America’s fin-de-siècle preoccupation with the revolution of 1871 consistently reframes Paris as a frontier of empire even as it critically reimagines it as a site where American tourists—or, more specifically, Gilded Age American men—might be said to “find” themselves. Setting Edward King’s 1895 boys’ book, Under the Red Flag, alongside G. A. Henty’s A Woman of the Commune, and two other immensely popular but virtually forgotten historical romances of the period, The Red Republic and An American in Paris, I argue that the 1890s were a particularly apt time to revisit the Commune because of the very real labor unrest plaguing the country, and more importantly because the “romance of the Commune” served to revise American conceptions of revolution at a moment when the U.S. was reimagining its role abroad and reevaluating its attitude towards empire.
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Giles, Paul. "Metaregionalism: The Global Pacific Northwest." In The Global Remapping of American Literature. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691136134.003.0007.

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This chapter examines the metaregional dimensions of the Pacific Northwest and the ways in which its very inscription as a region elucidates the fraught and contested relation between text and place in American literature. Elettra Bedon coined the term “metaregionalism” to describe a self-conscious manipulation of certain forms of dialect. On analogy with metafiction, metaregionalism might be said to foreground the assumptions involved in traditional ascriptions of place. The chapter first considers the epistemology of space before discussing how the Pacific Northwest was tackled in the writings of Gary Snyder, Ursula Le Guin, and Richard Brautigan. It also analyzes the fiction of William Gibson and Douglas Coupland; Gibson deploys Vancouver to achieve critical distance from the behemoths of U.S. capitalism, and Coupland brings his native Pacific Northwest into the wider oceanic orbit of Asia and Australasia in order to chart a generational passage away from domestic security and entitlement.
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Hantke, Steffen. "The Southwest." In Monsters in the Machine. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496805652.003.0004.

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This chapter switches the focus from iconic characters to iconic spaces, following the demographic changes brought about by World War II and the expansion of the domestic infrastructure during the Eisenhower administration. It focuses on the ways in which the military encouraged certain ways of perceiving and experiencing cities, suburbs, and small towns in the transition from World War II to the Cold War. More specifically, it takes on the desert landscape of the American Southwest and tracks its occupation by the military. Closely associated with the development and testing of the US nuclear arsenal, but also with the world of the American frontier and the Western, the southwestern desert appears, in turn, deeply familiar and eerily strange to 1950s American culture. Science fiction films like Jack Arnold's It Came from Outer Space (1953) and Gordon Douglas's Them! (1954) unfold as the Cold War overwrites the traditional connotations of the landscape.
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Cole, Jean Lee. "Coda." In How the Other Half Laughs, 149–58. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826527.003.0006.

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The comic sensibility can ultimately be described as a way to make sense of trauma through collective feeling. This chapter offers avenues to explore further, especially the comic sensibility as expressed by women on stage, in comic strips, in fiction, and in art. Initial readings of strips by Grace Gebbie Wiederseim (later Grace Drayton, creator of the Campbell’s Soup Kids), Katherine P. Rice, and Marjorie Organ show that women comic strip artists presented a singularly grotesque vision of American domestic life and the courtship rituals of the New Woman. Paintings of Edith Dimock Glackens, wife of William Glackens, also display the comic sensibility through a visceral engagement with color and the grotesque possibilities of the human form.
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Faherty, Duncan. "“Murder, Robbery, Rape, Adultery, and Incest”." In Warring for America. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469631516.003.0003.

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This essay considers how and why Federalist writers turned to the medium of fiction after the Revolution of 1800 in order to continue to express their concerns about the dangers of a Jeffersonian ascendency and the future of national development. By exploring the connections between rhetorical practices before and after Jefferson’s election, I argue that Federalist writers deployed the same tropes and metaphors to reflect on the loss of their authority despite the shift in genre from newspaper editorial to the novel form. Central to this practice was the use of reflections on the Haitian Revolution which served to represent the instabilities of plantation culture and its capacity to erode cultural mores. The essay focuses on Martha Meredith Read’s Margaretta (1807) as an emblematic example of the ways in which Federalist writers sought to deploy representations of planter decadence as a means of critiquing Jeffersonian power. Yet more than simply critiquing Jeffersonianism, Read also seeks to reframe the tenets of Federalism by advocating that properly ordered domestic spheres are the true source of cultural stability.
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