The South Atlantic Quarterly ï±ï°ï²:ï±, Winter ï²ï°ï°ï³. Copyright Â© ï²ï°ï°ï³ 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 inï¬uence on Jacobsâs 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 deï¬nitive of the life of the ââslave girlââ).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 ï¬ippant in relation to the racial terror that drove Jacobs, in the ââincidentââ she here relates, to go into hiding
South Atlantic Quarterly – Duke University Press
Published: Jan 1, 2003
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