The Modern Feminine in the Medusa Satire of Fanny Fern argues that Sara Parton and her literary alter ego, Fanny Fern, occupy a star-power position within the antebellum literary marketplace dominated by women authors of sentimental fiction, writers Nathaniel Hawthorne (in)famously called the damn mob of scribbling women. The Fanny Fern persona represents a nineteenth-century woman voicing the modern feminine within a laughter-provoking bourgeois carnival, a forerunner of Hélène Cixous's laughing Medusa figure and her theory about écriture féminine . By advancing an innovative theory about an Anglo-American aesthetic, comic belles lettres, Caron explains the comic nuances of Parton's persona, capable of both an amiable and a caustic satire. The book traces Parton's burgeoning celebrity, analyzes her satires on cultural expectations of gendered behavior, and provides a close look at her variegated comic style. The book then makes two first-order conclusions: Parton not only offers a unique profile for antebellum women comic writers, but her Fanny Fern persona also anchors a potential genealogy of women comic writers and activists, down to the present day, who could fit Kate Clinton's concept of fumerism , a feminist style of humor that fumes, that embraces the comic power of a Medusa satire.

Understands Sara Parton as a symbolic origin for a genealogy of feminist satirists Draws on theories about comic artifacts and American empire in a transnational context Examines Sara Parton's early newspaper writings as well as many uncollected items

Autorentext

James E. Caron is Professor Emeritus, University of Hawai i at M noa. In addition to publishing many articles on comic writers and comic artifacts, he has authored Satire as the Comic Public Sphere: Postmodern "Truthiness" and Civic Engagement (2021), and Mark Twain, Unsanctified Newspaper Reporter (2008), as well as co-edited essays on Charlie Chaplin in Refocusing Chaplin: A Screen Icon in Critical Contexts (2013).

Klappentext

The Modern Feminine in the Medusa Satire of Fanny Fern argues that Sara Parton and her literary alter ego, Fanny Fern, occupy a star-power position within the antebellum literary marketplace dominated by women authors of sentimental fiction, writers Nathaniel Hawthorne (in)famously called the damn mob of scribbling women. The Fanny Fern persona represents a nineteenth-century woman voicing the modern feminine within a laughter-provoking bourgeois carnival, a forerunner of Hélène Cixous s laughing Medusa figure and her theory about écriture féminine. By advancing an innovative theory about an Anglo-American aesthetic, comic belles lettres, Caron explains the comic nuances of Parton s persona, capable of both an amiable and a caustic satire. The book traces Parton s burgeoning celebrity, analyzes her satires on cultural expectations of gendered behavior, and provides a close look at her variegated comic style. The book then makes two first-order conclusions: Parton not only offers a unique profile for antebellum women comic writers, but her Fanny Fern persona also anchors a potential genealogy of women comic writers and activists, down to the present day, who could fit Kate Clinton s concept of fumerism, a feminist style of humor that fumes, that embraces the comic power of a Medusa satire.

Inhalt
1 Introduction: Fanny Fern and the Mob of Scribbling Women.- 2 Sara Payson Willis Parton's (Comic) Preacher, Fanny Fern.- 3. The Satirist and Her Public.- 4 Satirizing Gender Expectations: Fanny Fern as the Impossible Subject.- 5 Creating Comic Community: Scathing Epithets, Caricature, and Comic Violence.- 6 Constructing Fanny Fern as Satirist.- 7 Fanny Fern's Significance in the American Comic Tradition.