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Relevant bibliographies by topics / Uncle Tom’s Cabin

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Academic literature on the topic 'Uncle Tom’s Cabin'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Uncle Tom’s Cabin"

1

Florey, Kenneth. "Stowe’s Uncle Tom’s Cabin." Explicator 45, no. 1 (October 1986): 20–21. http://dx.doi.org/10.1080/00144940.1986.11483956.

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Murtini, Anugrah. "Act of Resistance against Government Policies in Slavery as Reflected in Uncle Tom’s Cabin." LETS 1, no. 2 (June 10, 2020): 71–79. http://dx.doi.org/10.46870/lets.v1i2.27.

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The aims of this research were to find the implementation of government policies toward the African-American slaves in America and act of resistance against slavery system as reflected in the novel Uncle Tom’s Cabin. The research employs a descriptive qualitative method by applying sociological approach in analyzing Uncle Tom’s Cabin with reference to Wellek and Warren on the relationship between literary work and social context in which it was written. Data sources are primary and supporting data. The primary data are taken from Uncle Tom’s Cabin, and supporting data are taken from the books, journals, articles, and some sources from internet. In this novel, the researcher found that; 1) Government policies toward the African-American slaves reflected in Uncle Tom’s Cabin are Slave Codes 1705 and Fugitive Slave Act 1850 2) the act of resistence by the slaves against slavery system reflected in this novel is passive resistence. Passive resistences are shown by the characters of the slave such as runnaway, tell a lie, and protesting the authority of their owner.

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Barbara Hochman. "Devouring Uncle Tom’s Cabin :." Reception: Texts, Readers, Audiences, History 2, no. 2 (2010): 48. http://dx.doi.org/10.5325/reception.2.2.0048.

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Gómez R., Luis Fernando. "Relations among Masculinities: Controversy in Uncle Tom’s Cabin." Revista Folios, no. 25 (May 28, 2017): 115. http://dx.doi.org/10.17227/01234870.25folios115.124.

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La cabaña del tío Tom, escrita por Beecher-Stowe ha causado debate histórico debido a sunoción de masculinidad entre el hombre blanco y el hombre africano durante el período de laesclavitud. Se dice que la autora describe estas dos fuerzas antagónicas con fundamentosextremos de sentimentalismo y romanticismo racial, que parecen distorsionar los hechos realesrelacionados con la esclavitud en Estados Unidos. Ambas razas condenaron a la novelistapor la denuncia que hace de la esclavitud como una institución hegemónicamente masculina.En este artículo se examina tal polémica en La cabaña del tío Tom, a la luz de la teoría quepropone el sociólogo R.W. Connell sobre relaciones entre masculinidades. A partir de ésta, seargumenta el presente artículo que mientras la masculinidad blanca se define por un sentidode poder basado en hegemonía, complicidad y subordinación, la africana, representada porel tío Tom, se caracteriza por adoptar una actitud sumisa, débil y resignada frente a la marginalización.Debido a que La cabaña de tío Tom está inspirada en una realidad histórica, a lolargo del artículo se analiza igualmente la novela en relación con hechos reales, en los cualeslos ideales de la masculinidad hegemónica hicieron de la esclavitud una institución poderosaen Estados Unidos.

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Urakova, Alexandra. "“I do not want her, I am sure”." Nineteenth-Century Literature 74, no. 4 (March 2020): 448–72. http://dx.doi.org/10.1525/ncl.2020.74.4.448.

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Alexandra Urakova,“‘I do not want her, I am sure’: Commodities, Gifts, and Poisonous Gifts in Uncle Tom’s Cabin” (pp. 448–472) This essay focuses on Harriet Beecher Stowe’s Uncle Tom’s Cabin (1852) in discussing the interrelation of sentimentality, slavery, and race. It asks what happens when a slave himself or herself becomes a gift in the way that Mr. Shelby buys Eliza as a present for his wife, and St. Claire seems to bestow Uncle Tom upon Eva and ultimately gives Topsy to his cousin Ophelia. Although much has been said about “sentimental property” or “sympathetic ownership” in Stowe, the instances of exchanging slaves as gifts in the novel have been surprisingly overlooked. Touching upon one of the novel’s important and precarious themes—the distinction between people and things—the aforementioned episodes not only contribute to our understanding of the novel’s gift economy but also invite us to revise the complex attitude to racial otherness in Uncle Tom’s Cabin. I claim that while pursuing a sentimental ideology of the gift that comes to support racialist implications of its abolitionist rhetoric, Stowe’s novel also contains a radical potential of its critique embodied in the image of the poisonous gift of a slave child, Topsy, who figures as an unwelcome, wasteful, and repellent present. Concurring with critical opinion that Stowe’s racism is in the sentiment, this essay suggests that the novel’s unsentimental, explicitly racist metaphors paradoxically inform one of Stowe’s strongest antislavery arguments.

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Pere Gifra-Adroher. "Uncle Tom’s Cabin as Visual Culture (review)." Callaloo 32, no. 2 (2009): 657–60. http://dx.doi.org/10.1353/cal.0.0411.

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Black, Alex W. "Uncle Tom’s Cabin and the Archives of Racial Performance." J19: The Journal of Nineteenth-Century Americanists 3, no. 1 (2015): 138–46. http://dx.doi.org/10.1353/jnc.2015.0006.

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Hye-Kyeng, Kim. "The Key to Women’s Liberation in Uncle Tom’s Cabin." Modern Studies in English Language & Literature 59, no. 1 (February 28, 2015): 465–87. http://dx.doi.org/10.17754/mesk.59.1.467.

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Panova, Olga Yu. "Uncle Tom’s Cabin by Harriet Beecher Stowe: African American Responses." Вестник Пермского университета. Российская и зарубежная филология 10, no. 2 (2018): 111–21. http://dx.doi.org/10.17072/2037-6681-2018-2-111-121.

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Simona Tamuli, Simona Tamuli. "Compression and Modification in the Adaptation of Uncle Tom’s Cabin." International Journal of English and Literature 10, no. 4 (2020): 65–72. http://dx.doi.org/10.24247/ijelaug202010.

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Dissertations / Theses on the topic "Uncle Tom’s Cabin"

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Ryrberg, David. "Rhetorical Strategies and Biblical Hypertextuality in Uncle Tom’s Cabin." Thesis, Karlstads universitet, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-67223.

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Proehl, Kristen Beth. "Re-Evaluating Sentimental Violence in "Uncle Tom's Cabin" and "Dred"." W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539626429.

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Jackson, Vanessa L. "TOMMI'S PLACE: AN ADAPTATION AND COMMENTARY ON UNCLE TOM'S CABIN." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5667.

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Harriet Beecher Stowe penned Uncle Tom’s Cabin which was published in 1852. This book exposed and condemned the atrocities of slavery. Her book became a bestseller and is said to be one of the primary reasons why slavery was eventually abolished. Though slavery has been dismantled the system of oppression which allowed the marginalization of others to thrive has never been eliminated. This system established a dominant culture; one which oppresses those of African descent and has endured for centuries. Tommi’s Place retells Uncle Tom’s Cabin in contemporary corporate America. Tommi’s Place reflects that this system of oppression is still alive and well today. It exists in the form of discriminatory practices that thwart, prevent, preclude, and stop the advancement of the marginalized especially those of African descent.

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Ipema, Tim M. "The voices of protest in Uncle Tom's Cabin and Native Son /." View online, 1990. http://repository.eiu.edu/theses/docs/32211998880394.pdf.

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Yang, Kaibin, and 阳开斌. "Imperialist civilizing mission of Uncle Tom's Cabin and history of itsChinese rewriting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B47250975.

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This thesis is a revisionist study of Uncle Tom’s Cabin, a renowned American classic by Mrs. Stowe, and its Chinese translations. Thematically refreshing the novel as imperialist, I intend to therefore shed new lights in appreciating its century-long journey across China by studying two definitive rewritings of the original, heinu yutian lu （《黑奴吁天?》）from late Qing and heinu hen（《黑奴恨》）from the 1960s. The thesis structurally contains four parts. Chapter 1 introduces the project generally. Chapter 2 studies the original text and chapter 3 and 4 the two Chinese translated texts respectively. Re-reading of the original is crucial. Inspired by Edward Said’s efforts in connecting western culture and Imperialism, I established civilizing mission as core of the black narrative in Uncle Tom’s Cabin, a novel widely celebrated as masterpiece of abolitionist literature. My argument is based on textual analysis. I will argue that evangelization of Africa, rather than abolition of slavery, had been Stowe’s fundamental concern in building Uncle Tom’s Cabin, and it is exactly driven by this civilizing mission that she dictated the roles of the novel’s two leading black characters, Uncle Tom and George Harris. Tom, the Christian martyr, is to prove Africans’ capability of getting civilized; Harris, Stowe’s Christian patriot, is the pioneer of colonizing Africa into a new world of Christian and American civilization. Reestablishing the original as such, I interpret the novel’s travel to 20th century China a historical event: an Imperialist novel goes by an Imperialism-fighting country in an Imperialist age. Therefore forces a long-ignored question: how had Chinese translators responded? How the response developed? This question can be best answered by looking into heinu yutian lu and heinu hen, two texts that represent respectively the beginning and the ending of Chinese critical treatment of the original in translating. And I will form my answer by analyzing the Chinese rewriting of the images of Uncle Tom and Harris, for they in the original are responsible for execution of the civilizing mission. Translating under a crucial circumstance of imperial crisis, Lin Shu and Wei Yi, the producers of heinu yutian lu, aimed to promote the ideology of “ loving the country and preserving the race”（??保种）.While presenting the black sufferings as faithful even exaggerated as possible, they consistently infiltrated the novel’s Christianity. And it is this strategy of de-Christianization that undermined the original’s imperialist design. After the translation, both Tom and Harris adopted a new face. The former was still a noble Negro only based on Chinese virtues, and the latter kept well his patriotic passion, but not for Christian civilization, rather purely for Africa. Intervention of the original’s civilizing mission climbed to a higher level as in the case of heinu hen, a drama adaptation by Ouyang yuqian in the radical 1960s. With Marxist class struggle being the guiding principle, Christian humanitarianism of the original was heavily criticized, and the black image reshaped dramatically. With Tom being portrayed as a slave that gradually woke up to his class consciousness, Harris was transformed into a revolutionary hero.
published_or_final_version
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Master of Philosophy

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Raabe, Wesley Neil. "Harriet Beecher Stowe's 'Uncle Tom's Cabin' an edition of the 'National Era' version /." Electronic edition (requires Firefox 1.5 and Flash Player 8.0) Electronic edition's information page, 2006. http://www.iath.virginia.edu/~wnr4c/index.htm.

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Abbatelli, Valentina. "Producing and marketing translations in fascist Italy : 'Uncle Tom's Cabin' and 'Little Women'." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/97254/.

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The thesis investigates the sociological, cultural and ideological factors that affect the production and marketing of two major translations published in Fascist Italy and targeting both adult and young readers. The dissertation focuses upon a selected corpus of translations of the American novels, Uncle Tom’s Cabin (1852) and Little Women (1868), which were repeatedly translated between the 1920s and 1940s. By adopting an interdisciplinary approach, which encompasses fields such as the history of publishing, the sociology of translation, children’s literature, studies on the role and functions of the Paratext and scholarship on Fascism and its cultural policy, this study aims to offer a detailed examination of the Italian publishing market during the Ventennio. It probes the contexts informing the publishing history of these translations, their readerships, and interrelations with the growing importance of cinema, as well as questions related to the various retranslations produced. Furthermore, given the central role of publishing in the shaping of political consent and the contradictory attitude of the regime towards translations, this thesis explores ideological influences affecting selected translations of these novels that centre on issues of particular resonance for the regime, namely, race and gender. The dissertation is divided in two parallel sections, each one divided into three chapters. The opening chapters in each part examine the publishing history of Uncle Tom’s Cabin and Little Women respectively, with attention to the USA, the UK, and France and a primary focus upon Italy, above all Fascist Italy. The following chapters in each section investigate the role that the visual representations of these two books played in conveying racial and gender aspects and in contributing to the construction of their meaning by the readers. Finally, the closing chapters of each section are devoted to a translation analysis of selected passages in order to survey translational behaviours used to depict feminine and racial features, given that these were known to be especially problematic during the Ventennio. This survey aims to pinpoint norms informing translations targeting both young people and adults.

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Sims, Jessica Laurens. "What would mother do? boys as mothers in Harriet Beecher Stowe's Uncle Tom's cabin /." Auburn, Ala., 2007. http://repo.lib.auburn.edu/2007%20Spring%20Theses/SIMS_JESSICA_39.pdf.

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Spingarn, Adena Tamar. "Uncle Tom in the American Imagination: A Cultural Biography." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10455.

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This dissertation charts the dramatic cultural transformation of Uncle Tom, the heroic Christian martyr of Harriet Beecher Stowe's antislavery novel Uncle Tom's Cabin (1852), into a commonly known slur for a submissive race traitor. As many scholars have noted, the hero of Stowe's novel is not what we would today call an "Uncle Tom." Some have put the blame for the figure's drastic transformation on the many popular stage adaptations of Stowe's novel that blanketed the nation during the nineteenth and early twentieth centuries. However, relying on extensive archival work in both traditional archives and digitized historical periodicals, which have been unexamined on this topic until now, this dissertation reveals that Uncle Tom's transformation did not occur in the theater. Not only did the Uncle Tom character often retain his dignity in these postbellum shows, but the Uncle Tom's Cabin dramas remained politically relevant to many African Americans--and for that reason deeply threatening to many white Southerners--into the twentieth century. Significant objections to Uncle Tom as a racial representation in popular culture did not emerge until the late 1930s, but Uncle Tom became a detested political model two decades before that. The Christ-like qualities that made him a hero in Stowe's novel and to many nineteenth-century Americans, black and white, became increasingly undesirable to a new generation that embraced a more assertive understanding of masculinity and were less interested in heaven's salvation than in earthly progress. This turn-of-the-century transformation in cultural values set the stage for a more pointed critique of Uncle Tom as a political model in the 1910s, a decade of turmoil not only because of growing racial injustice, but also because of major political, educational, and geographical shifts within the race. While Uncle Tom's Cabin retained progressive meanings to many African Americans, Uncle Tom became a slur in the black political rhetoric of the 1910s, when a younger generation of leaders responded to the deteriorating racial climate by attacking the values and strategies of the older generation for seriously jeopardizing racial progress.

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Cooper, Heather Lee. "Upstaging Uncle Tom's cabin: African American representations of slavery before and after the Civil War." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5444.

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This dissertation is a social and cultural history about the ways that African Americans contributed to national debates about race, slavery, and emancipation by constructing and performing their own representations of slavery for the public. Scholars often portray these larger debates as a contest of ideas among whites, but African Americans played an important and still understudied role in shaping the white public’s understandings of race and slavery throughout the nineteenth century, especially in the North. Moving from from the 1830s to the early 1900s, my dissertation identifies several critical moments when African Americans, especially former slaves, gained new access to the public stage and seized opportunities to represent their own identities, histories, and experiences in different forums. Chapter One focuses on the unique contribution that fugitive slave activists made to the abolition movement. I place the published slave narratives in a larger performative context that includes public appearances and speeches; singing and dramatic readings; and oral testimony given in more private settings. In contrast to the sympathetic but frequently disempowering rhetoric of white abolitionists, fugitive activists used their performances to construct a positive representation of black manhood and womanhood that showed slaves not as benevolent objects in need of rescue but as strong men and women ready to enter freedom on equal terms. Chapter Two focuses on the Civil War, when runaway slaves had new opportunities to communicate their understandings of slavery and freedom to the Northerners who sent south during the war, as soldiers, missionaries, and aid workers. “Contraband” slaves’ testimony revealed the prevalence of violence and family separation, as well as slaves’ willingness to endure great hardship in pursuit of freedom. Contraband men and women also worked to publicly assert their new identities as freedpeople when they preemptively claimed the rights of citizenship and power over their own bodies. Their testimony and actions challenged white Northerners to embrace emancipation as an explicit Union war aim. Chapter Three of my dissertation examines black performance on the formal stage, 1865-1890s, by focusing on three groups of black performers: African American minstrels, the Hyers Sisters Dramatic Company, and the Fisk Jubilee Singers. Capitalizing on Northerners’ increased interest in slavery and “authentic” black performers, these groups offered their own representations of slavery and emancipation to the public, sometimes disrupting whites’ romanticized image of the “old plantation” in the process. During an era when the country moved toward reconciliation and reunion, these performances kept the issue of slavery before the public and, in some cases, contributed to an emancipationist memory of the war which challenged contemporary Northerners to protect the rights of freedpeople. My final chapter focuses on the autobiographies written and published by formerly enslaved women post-1865. My analysis of the women’s narratives as a body of work challenges the prevailing notion that post-bellum slave narratives were focused on regional reconciliation and the writer’s successful life in freedom. Women writers continued to remember and represent slavery as a brutal institution and revealed the ways that it continued to shape their lives in freedom, challenging contemporary images of the “old plantation” and devoted, self-sacrificing “Mammy.” Through their writing, these women represented African American women as central actors in stories of resistance, survival, and self-emancipation. With sustained attention to the deeply gendered nature of these representations, my dissertation sheds new light on the unique ways that African American women participated in these larger social debates and contributed to the public’s understanding of race and slavery before, during, and after the Civil War. Moving beyond the traditional periodization of U.S. slavery and emancipation and the typical focus on actors within a single, organized social movement, my project uncovers the breadth and diversity of African Americans’ public representations of slavery and freedom in contexts that were simultaneously social, cultural, and political. Using a broad range of published and unpublished archival materials, my work reveals African Americans’ distinct contribution to national debates regarding slavery’s place in the nation and the future of the men and women held within it.

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Books on the topic "Uncle Tom’s Cabin"

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Frick, John W. Uncle Tom’s Cabin on the American Stage and Screen. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1007/978-1-137-56645-4.

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Aesthetics & ethics: Otherness and moral imagination from Aristotle to Levinas and from Uncle Tom's Cabin to House Made of Dawn. Heidelberg: Winter, 2008.

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Beecher, Stowe Harriet. Uncle Tom's cabin. New York: Macmillan Pub. Co., 1994.

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Beecher, Stowe Harriet. Uncle Tom's cabin. Belmont, CA: Thomson Wadsworth, 2005.

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Beecher, Stowe Harriet. Uncle Tom's cabin. Edited by Reichardt Mary R and Pearce Joseph 1961-. San Francisco: Ignatius Press, 2009.

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Beecher, Stowe Harriet. Uncle Tom's Cabin. New York: Penguin Group USA, Inc., 2008.

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Beecher, Stowe Harriet. Uncle Tom's Cabin. Fairfield: 1st World Library, 2006.

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1811-1896, Stowe Harriet Beecher, ed. Uncle Tom's cabin. S.l.]: Dodo Press, 2009.

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Beecher, Stowe Harriet. Uncle Tom's cabin. Oxford: Oxford University Press, 1998.

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Pinckney, Darryl. Uncle Tom's cabin. New York: Signet Books, 1998.

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Book chapters on the topic "Uncle Tom’s Cabin"

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Greven, David. "The Afterlife of Uncle Tom’s Cabin." In Men Beyond Desire, 179–91. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403977113_8.

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Hochman, Barbara. "Devouring Uncle Tom’s Cabin: Antebellum ‘Common’ Readers." In The History of Reading, Volume 1, 87–100. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230316782_6.

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Budge, Gavin. "Slavery and Mass Society in Uncle Tom’s Cabin." In Romanticism, Medicine and the Natural Supernatural, 147–70. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137284310_6.

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Borgstrom, Michael. "Setting the Record Straight in Uncle Tom’s Cabin." In Minority Reports, 55–73. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230109711_4.

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Frick, John W. "Long Live Uncle Tom! Uncle Tom’s Cabin in the Twentieth Century." In Uncle Tom’s Cabin on the American Stage and Screen, 149–82. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1007/978-1-137-56645-4_5.

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Frick, John W. "Long Live Uncle Tom! Uncle Tom’s Cabin in the Twentieth Century." In Uncle Tom's Cabin on the American Stage and Screen, 149–82. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137112378_5.

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Steen, Shannon. "How Uncle Tom’s Cabin Killed the King of Siam." In Racial Geometries of the Black Atlantic, Asian Pacific and American Theatre, 1–32. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230297401_1.

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Rosbach, Annika. "Translation and Convergence Culture: German Renderings of Uncle Tom’s Cabin." In Göttinger Schriften zur Englischen Philologie, 77–91. Göttingen: Göttingen University Press, 2015. http://dx.doi.org/10.17875/gup2021-1701.

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Frick, John W. "“O’ It Was a Sight Worth Seeing”: Uncle Tom Hits the Road." In Uncle Tom’s Cabin on the American Stage and Screen, 107–47. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1007/978-1-137-56645-4_4.

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Frick, John W. "Uncle Tom in Middle Age: From a Stage Tradition to the Silver Screen." In Uncle Tom’s Cabin on the American Stage and Screen, 183–223. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1007/978-1-137-56645-4_6.

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Conference papers on the topic "Uncle Tom’s Cabin"

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"An Analysis of Female Consciousness in Uncle Tom’s Cabin." In 2017 International Conference on Financial Management, Education and Social Science. Francis Academic Press, 2017. http://dx.doi.org/10.25236/fmess.2017.44.

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