In Performatively Speaking, Debra Rosenthal draws on speech act theory to open up the current critical conversation about antebellum American fiction and culture and to explore what happens when writers use words not just to represent action but to constitute action itself. Examining moments of discursive action in a range of canonical and noncanonical works-T. S. Arthur's temperance tales, Fanny Fern's Ruth Hall, Nathaniel Hawthorne's The Scarlet Letter, Harriet Beecher Stowe's Uncle Tom's Cabin, and Herman Melville's Moby-Dick-she shows how words act when writers no longer hold to a difference between writing and doing. The author investigates, for example, the voluntary self-binding nature of a promise, the formulaic but transformative temperance pledge, the power of Ruth Hall's signature or name on legal documents, the punitive hate speech of Hester Prynne's scarlet letter A, the prohibitory vodun hex of Simon Legree's slave Cassy, and Captain Ahab's injurious insults to second mate Stubb. Through her comparative methodology and historicist and feminist readings, Rosenthal asks readers to rethink the ways that speech and action intersect.

Series Information:
Routledge Literary Sourcebooks

First published in book form in 1852, Uncle Tom's Cabin quickly became a bestseller, recognised as a powerful contribution to anti-slavery debates. After more than 150 years, it remains one of the most widely discussed works of American literature.
This Routledge Literary Sourcebook:
*examines the life and career of Harriet Beecher Stowe
*sets the novel within its cultural contexts and reprints related documents from the period
*surveys criticism of the book from publication to the present
*reprints extracts from reviews and key critical texts
*annotates crucial passages from the novel, linking them to the contextual and critical materials included elsewhere in the Sourcebook
*suggests directions for further reading.
Bringing together a wealth of material with clear critical commentary, Debra Rosenthal offers the ideal starting point for anyone beginning to study this crucial American novel.

Since its emergence in the late twentieth century, climate fiction--or cli-fi--has concerned itself as much with economic injustice and popular revolt as with rising seas and soaring temperatures. Indeed, with its insistent focus on redressing social disparities, cli-fi might reasonably be classified as a form of protest literature. As environmental crises escalate and inequality intensifies, literary writers and scholars alike have increasingly scrutinized the dual exploitations of the earth’s ecosystems and the socioeconomically disadvantaged. Cli-Fi and Class focuses on the representation of class dynamics in climate-change narratives. With fifteen essays on the intersection of the economic and the ecological--addressing works ranging from the novels of Joseph Conrad, Cormac McCarthy, and Octavia Butler to the film Black Panther and the Broadway musical Hadestown--this collection unpacks the complex ways economic exploitation impacts planetary well-being, and the ways climatic change shapes those inequities in turn.

Since its emergence in the late twentieth century, climate fiction--or cli-fi--has concerned itself as much with economic injustice and popular revolt as with rising seas and soaring temperatures. Indeed, with its insistent focus on redressing social disparities, cli-fi might reasonably be classified as a form of protest literature. As environmental crises escalate and inequality intensifies, literary writers and scholars alike have increasingly scrutinized the dual exploitations of the earth’s ecosystems and the socioeconomically disadvantaged. Cli-Fi and Class focuses on the representation of class dynamics in climate-change narratives. With fifteen essays on the intersection of the economic and the ecological--addressing works ranging from the novels of Joseph Conrad, Cormac McCarthy, and Octavia Butler to the film Black Panther and the Broadway musical Hadestown--this collection unpacks the complex ways economic exploitation impacts planetary well-being, and the ways climatic change shapes those inequities in turn.

In Performatively Speaking, Debra Rosenthal draws on speech act theory to open up the current critical conversation about antebellum American fiction and culture and to explore what happens when writers use words not just to represent action but to constitute action itself. Examining moments of discursive action in a range of canonical and noncanonical works-T. S. Arthur's temperance tales, Fanny Fern's Ruth Hall, Nathaniel Hawthorne's The Scarlet Letter, Harriet Beecher Stowe's Uncle Tom's Cabin, and Herman Melville's Moby-Dick-she shows how words act when writers no longer hold to a difference between writing and doing. The author investigates, for example, the voluntary self-binding nature of a promise, the formulaic but transformative temperance pledge, the power of Ruth Hall's signature or name on legal documents, the punitive hate speech of Hester Prynne's scarlet letter A, the prohibitory vodun hex of Simon Legree's slave Cassy, and Captain Ahab's injurious insults to second mate Stubb. Through her comparative methodology and historicist and feminist readings, Rosenthal asks readers to rethink the ways that speech and action intersect.

Race mixture has played a formative role in the history of the Americas, from the western expansion of the United States to the political consolidation of emerging nations in Latin America. Debra J. Rosenthal examines nineteenth-century authors in the United States and Spanish America who struggled to give voice to these contemporary dilemmas about interracial sexual and cultural mixing. Rosenthal argues that many literary representations of intimacy or sex took on political dimensions, whether advocating assimilation or miscegenation or defending the status quo. She also examines the degree to which novelists reacted to beliefs about skin differences, blood taboos, incest, desire, or inheritance laws. Rosenthal discusses U.S. authors such as James Fenimore Cooper, Catharine Maria Sedgwick, Walt Whitman, William Dean Howells, and Lydia Maria Child as well as contemporary novelists from Cuba, Peru, and Ecuador, such as Gertrudis Gomez de Avellaneda, Clorinda Matto de Turner, and Juan Leon Mera. With her multinational approach, Rosenthal explores the significance of racial hybridity to national and literary identity and participates in the wider scholarly effort to broaden critical discussions about America to include the Americas.