03408nam a22004575i 4500001001800000003000900018005001700027007001500044008004100059020001800100024003500118050001600153072001700169072002300186072001600209100007700225245010400302250001800406264008500424300004400509336002600553337002600579338003600605347002400641490007500665505042300740520133601163650003802499650002602537650001202563650003502575650003102610650002002641710003402661773002602695776003602721776003602757776003602793830007502829856004602904978-3-031-41276-9DE-He21320251030110907.0cr nn 008mamaa240102s2024    sz |    s    |||| 0|eng d  a97830314127697 a10.1007/978-3-031-41276-92doi 4aPN760.5-769 7aDSBF2bicssc 7aLIT0240402bisacsh 7aDSBF2thema1 aCaron, James E.eauthor.4aut4http://id.loc.gov/vocabulary/relators/aut14aThe Modern Feminine in the Medusa Satire of Fanny Fernh[electronic resource] /cby James E. Caron.  a1st ed. 2024. 1aCham :bSpringer International Publishing :bImprint: Palgrave Macmillan,c2024.  aXIII, 217 p. 1 illus.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda1 aPalgrave Studies in Nineteenth-Century Writing and Culture,x2634-65080 a1 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.  aThe 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. 0aLiterature, Modernx19th century. 0aAmericaxLiteratures. 0aComedy.14aNineteenth-Century Literature.24aNorth American Literature.24aComedy Studies.2 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303141275208iPrinted edition:z978303141277608iPrinted edition:z9783031412783 0aPalgrave Studies in Nineteenth-Century Writing and Culture,x2634-650840uhttps://doi.org/10.1007/978-3-031-41276-9