A "Stranger's Near Approach": Afterlives of Romanticism

A "Stranger's Near Approach": Afterlives of Romanticism The South Atlantic Quarterly :, Winter . Copyright ©  by Duke University Press. Ian Baucom (written under the pseudonym Linda Brent) falls a few good decades outside the historical moment with which Romanticism is usually associated and that, generally, allows it to designate not only a shared (if never quite agreed on) set of ideological, epistemological, or aesthetic protocols but a reasonably stable period concept. And then, too, there is the problem of genre or mode. As Valerie Smith has argued, the primary influence on Jacobs’s text would appear to be the domestic, sentimental novel (whose situationally compromised but virtuous heroine, as Smith further suggests, both provides a model for the narrative of sexual menace at the heart of Incidents and proves itself radically inadequate to the experiences of sexual violence Jacobs reveals to be definitive of the life of the ‘‘slave girl’’).2 And if there is a generic allegiance to something other than the sentimental novel in the passage I cite it would certainly seem to be to the Gothic, though again, even gothic terror seems flippant in relation to the racial terror that drove Jacobs, in the ‘‘incident’’ she here relates, to go into hiding http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png South Atlantic Quarterly Duke University Press

A "Stranger's Near Approach": Afterlives of Romanticism

South Atlantic Quarterly, Volume 102 (1) – Jan 1, 2003

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Publisher
Duke University Press
Copyright
Copyright 2003 by Duke University Press
ISSN
0038-2876
eISSN
1527-8026
DOI
10.1215/00382876-102-1-1
Publisher site
See Article on Publisher Site

Abstract

The South Atlantic Quarterly :, Winter . Copyright ©  by Duke University Press. Ian Baucom (written under the pseudonym Linda Brent) falls a few good decades outside the historical moment with which Romanticism is usually associated and that, generally, allows it to designate not only a shared (if never quite agreed on) set of ideological, epistemological, or aesthetic protocols but a reasonably stable period concept. And then, too, there is the problem of genre or mode. As Valerie Smith has argued, the primary influence on Jacobs’s text would appear to be the domestic, sentimental novel (whose situationally compromised but virtuous heroine, as Smith further suggests, both provides a model for the narrative of sexual menace at the heart of Incidents and proves itself radically inadequate to the experiences of sexual violence Jacobs reveals to be definitive of the life of the ‘‘slave girl’’).2 And if there is a generic allegiance to something other than the sentimental novel in the passage I cite it would certainly seem to be to the Gothic, though again, even gothic terror seems flippant in relation to the racial terror that drove Jacobs, in the ‘‘incident’’ she here relates, to go into hiding

Journal

South Atlantic QuarterlyDuke University Press

Published: Jan 1, 2003

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