“I Nailed Those Lies”: Sarah Winnemucca Hopkins, Print Culture, and Collaboration

2017 ◽  
Vol 5 (1) ◽  
pp. 79-106
Author(s):  
Carolyn Sorisio
Keyword(s):  
Print Culture ◽  
Sarah Winnemucca Hopkins ◽  
Sarah Winnemucca

Plotting Maidens and Traitors

2017 ◽  
Author(s):  
Naomi Greyser
Keyword(s):  
Native Americans ◽  
American West ◽  
Land Law ◽  
Mexican War ◽  
Sarah Winnemucca Hopkins ◽  
Dawes Act ◽  
Stock Character ◽  
Individual Ownership ◽  
Sarah Winnemucca ◽  
The U.S

This chapter maps sympathy’s place in the emplotment of what became known as the “New Southwest” after the U.S.–Mexican War. The chapter reads sympathy in the work of María Amparo Ruiz de Burton and Sarah Winnemucca Hopkins, who opposed U.S. settlers plotting out the American West. In Life Among the Piutes, Hopkins countered the proposals that would eventually become the Dawes Act of 1887, which prescribed allotment (parceling land for tribesmembers’ individual ownership) and severalty (stripping Native Americans of tribal citizenship). She guides Anglo readers in understanding “love thy neighbor as thyself” as a principle best expressed from far away. After Gwin’s Land Law of 1851, de Burton lost a fortune defending her family’s rancho against U.S. squatters. In The Squatter and the Don, she inverts the stock character of the “sad” Mexicano to associate U.S. Americans with tears and grief through the figures of the white railroad baron, corrupt lawyer, and settler citizen.

On Sympathetic Grounds

2017 ◽  
Author(s):  
Naomi Greyser
Keyword(s):  
North America ◽  
Nathaniel Hawthorne ◽  
Necessary Conditions ◽  
Well Being ◽  
Production Of Space ◽  
Rock Formations ◽  
Sarah Winnemucca Hopkins ◽  
Critical Method ◽  
Sarah Winnemucca ◽  
Geophysical Mapping

On Sympathetic Grounds lays out sympathy’s vital place in shaping North America. The book puts forward a critical method for thinking about sentimentalism as a genre, mode, and political and affective outlook people have used to cultivate a sense of intimacy across distance—that is, an affective geography. Chapters intersperse theoretical reflections on the affective production of space with analyses of valleys that become vales of tears, heart-rending oratory, and weeping rock formations, as well as emplotments of narrative and continent in works by Harriet E. Wilson, Sarah Winnemucca Hopkins, Nathaniel Hawthorne, and others. Philosophers and rhetoricians regard grounds as necessary conditions for argumentation. This book takes grounds to be geopolitical, geoaffective, and geophysical, mapping them as alternately shaky, unsettling, and stabilizing. Circulating across bodies and surfaces, sympathy has enriched conditions for living at the same time that it has mercilessly enlisted some bodies and lives as the grounds for others’ well-being.

Mass Production: Impossible London’s Criminal Subjects

2018 ◽  
Author(s):  
Ted Geier
Keyword(s):  
Print Culture ◽  
Mass Production ◽  
History Of ◽  
Mass Events

Considers mass readership and the ‘tastes’ it produces. Maps the history of criminals and execution spectacles, particularly as addressed by the London ‘public’ voices of Defoe and Dickens. Connects these mass events to the new mass print culture and circulation forms, such as the penny dreadfuls and their Newgate novel precursor. This shows the development of the public’s ‘taste for blood’, anxieties at an encroaching nonhumanity, and an infatuation with the inhuman from Jack Sheppard to Sweeney Todd and Dracula.

Of Travellers, Messengers and Foundlings – Fictionality, Authorship, and Textual Property in Thomas More’s Paratexts

Moreana ◽  
2016 ◽  
Vol 53 (Number 205- (3-4) ◽  
pp. 17-44
Author(s):  
Gabriela Schmidt
Keyword(s):  
Present Article ◽  
Print Culture ◽  
Thomas More ◽  
Recent Scholarship ◽  
One Step

Paratexts have attracted increasing attention in recent scholarship as an especially privileged tool for managing the reception of a text in early print culture, and Thomas More was certainly an exceptionally versatile user of this strategic publishing device. Not only does he make ample use of conventional paratextual techniques such as prefaces, marginal glosses and commendatory poems, he also takes the medium one step further by making his paratexts part of the narrative setting of his works, especially in the literary dialogues. In creating a plethora of (semi-)fictional voices and contexts, he effectively blurs the line between text and context, fact and fiction, and author and editor/printer. While this textual game of hide-and-seek has been extensively studied in Utopia and has often been seen as a typically ‘humanist’ feature of the text, the present article explores similar techniques throughout More’s work, thus overcoming the alleged rift between his pre- and post-reformation writings.

Macaronics as What Eludes Translation

Paragraph ◽  
2015 ◽  
Vol 38 (2) ◽  
pp. 214-230
Author(s):  
Haun Saussy
Keyword(s):  
Print Culture ◽  
The Other ◽  
Digital Code ◽  
Avant Garde ◽  
The Moment

‘Translation’ is one of our all-purpose metaphors for almost any kind of mediation or connection: we ask of a principle how it ‘translates’ into practice, we announce initiatives to ‘translate’ the genome into predictions, and so forth. But the metaphor of translation — of the discovery of equivalents and their mutual substitution — so attracts our attention that we forget the other kinds of inter-linguistic contact, such as transcription, mimicry, borrowing or calque. In a curious echo of the macaronic writings of the era of the dawn of print, the twentieth century's avant-garde, already foreseeing the end of print culture, experimented with hybrid languages. Their untranslatability under the usual definitions of ‘translation’ suggests a revival of this avant-garde practice, as the mainstream aesthetic of the moment invests in ‘convergence’ and the subsumption of all media into digital code.

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