000			03787nam a22005415i 4500
001			978-3-031-41276-9
003			DE-He213
005			20251030110907.0
007			cr nn 008mamaa
008			240102s2024 sz | s |||| 0|eng d
020			_a9783031412769 _9978-3-031-41276-9
024	7		_a10.1007/978-3-031-41276-9 _2doi
050		4	_aPN760.5-769
072		7	_aDSBF _2bicssc
072		7	_aLIT024040 _2bisacsh
072		7	_aDSBF _2thema
100	1		_aCaron, James E. _eauthor. _4aut _4http://id.loc.gov/vocabulary/relators/aut _968843
245	1	4	_aThe Modern Feminine in the Medusa Satire of Fanny Fern _h[electronic resource] / _cby James E. Caron.
250			_a1st ed. 2024.
264		1	_aCham : _bSpringer International Publishing : _bImprint: Palgrave Macmillan, _c2024.
300			_aXIII, 217 p. 1 illus. _bonline resource.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
490	1		_aPalgrave Studies in Nineteenth-Century Writing and Culture, _x2634-6508
505	0		_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.
520			_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.
650		0	_aLiterature, Modern _x19th century.
650		0	_aAmerica _xLiteratures. _966799
650		0	_aComedy. _968021
650	1	4	_aNineteenth-Century Literature.
650	2	4	_aNorth American Literature. _966800
650	2	4	_aComedy Studies. _968024
710	2		_aSpringerLink (Online service)
773	0		_tSpringer Nature eBook
776	0	8	_iPrinted edition: _z9783031412752
776	0	8	_iPrinted edition: _z9783031412776
776	0	8	_iPrinted edition: _z9783031412783
830		0	_aPalgrave Studies in Nineteenth-Century Writing and Culture, _x2634-6508 _968844
856	4	0	_uhttps://doi.org/10.1007/978-3-031-41276-9
912			_aZDB-2-LCM
912			_aZDB-2-SXL
999			_c56990 _d56990