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首页> 外文OA文献 >Transatlantic exchange and poetess tradition in Felicia Hemans and Elizabeth Barrett Browning: “Landing of the pilgrim fathers in New England” and “The runaway slave at pilgrim’s point”
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Transatlantic exchange and poetess tradition in Felicia Hemans and Elizabeth Barrett Browning: “Landing of the pilgrim fathers in New England” and “The runaway slave at pilgrim’s point”

机译：费利西亚·赫曼斯（Felicia Hemans）和伊丽莎白·巴雷特·布朗宁（Elizabeth Barrett Browning）的跨大西洋交流和女诗传统：“新英格兰朝圣者父亲的登陆”和“朝圣者离家出走的奴隶”

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In the nineteenth century increasing numbers of people crossed and re-crossed the Atlantic following patterns of exploration, trade, emigration, warfare and tourism. Yet, the involvement of British women writers in the major geopolitical changes that occurred in the British Atlantic world has only recently been investigated. Feminist critics have been interested in reclaiming a tradition of nineteenth-century popular poetesses whose verse circulated broadly on both sides of the Atlantic and who became a vehicle for transatlantic exchange, suggesting a commodification of women’s sentimental lyric. An important name in early nineteenth-century transatlanticism is the one of Felicia Dorothea Hemans, a poet interested in the rewriting of national imperial history(ies), and who published in 1825 two poems about the colonial enterprise in North America, “The Forest Sanctuary” and “Landing of the Pilgrim Fathers in New England”. These constitute, according to Daniel Hannah, “an important window onto the complicated interrelations of desire and displacement that sometimes structured the nineteenth-century transatlantic imaginary” (2011). Later on in the century, Elizabeth Barrett Browning foregrounds the constructions of cultural categories, such as ‘the struggling poetess’, ‘the suffering slave’ and ‘the woman in pain’ in her “The Runaway Slave at Pilgrim’s Point” (1848-50) as it becomes a ‘place’ for multiple cross identifications; by “transposing the slave narrative into sentimental lyric”, “EBB performs a crossing between genres that is also a form of cross-cultural exchange” (Jackson and Prins, 2000). Subsequently, in “A Curse for a Nation” (1860), the Victorian poetess addresses a nation where slavery has become the focal point for discourses of sentiment. While we may, like Tricia Lootens, identify the transatlantic poetess tradition as one of ‘internal dissent’, “a tradition that seeks to convert women’s powerlessness and non-belonging to a form of extra national power” (2008), these poems have (too) easily been converted into national(istic) texts.
机译：在19世纪，随着探索，贸易，移民，战争和旅游业的发展，越来越多的人越过大西洋和重新穿越大西洋。但是，直到最近才调查了英国女作家对英属大西洋世界发生的重大地缘政治变化的参与。女权主义者的评论家们对恢复19世纪流行女诗人的传统很感兴趣，这些诗人的经文在大西洋两岸广泛流传，并成为跨大西洋交流的工具，表明女性感性抒情已经商品化。十九世纪初跨大西洋主义的一个重要名字是费利西亚·多萝西娅·赫曼斯（Felicia Dorothea Hemans）的一位诗人，他对重写国家帝国历史很感兴趣，他于1825年出版了两首关于北美殖民地企业的诗《森林保护区》。 ”和“新英格兰朝圣者之地”。根据丹尼尔·汉纳（Daniel Hannah）的观点，这些构成了“重要的窗口，可以了解有时构成19世纪跨大西洋想象的复杂的欲望和流离失所之间的联系”（2011年）。在本世纪后期，伊丽莎白·巴雷特·布朗宁（Elizabeth Barrett Browning）在其《朝圣者的逃亡奴隶》（1848-50）中提出了文化类别的建构，例如“挣扎的女诗人”，“受苦的奴隶”和“痛苦的女人”。 ），因为它成为了多个交叉标识的“地方”；通过“将奴隶的叙事转变成感性的抒情诗”，“ EBB在流派之间实现了跨文化交流，这也是一种跨文化交流”（Jackson and Prins，2000）。随后，在《为国家诅咒》（1860年）中，维多利亚时代的女诗人谈到了一个奴隶制已成为表达情感话题的焦点的国家。尽管我们可能像特里西娅·卢滕斯（Tricia Lootens）一样，将跨大西洋女诗人的传统视为“内部持不同政见者”之一，但“这些传统试图将妇女的无能为力和不属于女性的权力转变为一种额外的国家权力”（2008年），但这些诗歌具有（也）很容易被转换成国家（主义）文本。

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    Guimarães Paula Alexandra;

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  • 年度 2015
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