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Evolving the Genre of Empire: Gender and Place in Women's Natural Histories of the Americas, 1688-1808 City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 Evolving the Genre of Empire: Gender and Place in Women's Natural Histories of the Americas, 1688-1808 Diana Epelbaum The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1478 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EVOLVING THE GENRE OF EMPIRE: GENDER AND PLACE IN WOMEN’S NATURAL HISTORIES OF THE AMERICAS, 1688-1808 by DIANA L. EPELBAUM A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 i © 2016 DIANA L. EPELBAUM All Rights Reserved ii Evolving the Genre of Empire: Gender and Place in Women’s Natural Histories of the Americas, 1688-1808 by Diana L. Epelbaum This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Dr. Duncan Faherty Chair of Examining Committee Date Dr. Mario DiGangi Executive Officer Supervisory Committee: Dr. David Reynolds Dr. Carrie Hintz Dr. Christopher Iannini THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Evolving the Genre of Empire: Gender and Place in Women’s Natural Histories of the Americas, 1688-1808 by Diana L. Epelbaum Advisor: Dr. Duncan Faherty In the eighteenth century, “natural history” was a capacious genre designation that alluded to conventions as diverse in their cultural and political resonances as they were in their applications within the New Science. My project is a genre study of seventeenth- and eighteenth- century natural history text and art produced by women scientists, explorers, colonists, and early Americans writing the New World; it destabilizes rigid notions of genre that exclude women, suggesting that genre is by nature fluid, inclusionary as well as exclusionary. To this end, I return into conversation understudied naturalists Maria Sybilla Merian, Jane Colden, and Eliza Pinckney, who physically and figuratively toiled on the peripheries of transatlantic institutional science, and reimagine the early republican novels of Leonora Sansay and Susanna Rowson as hybrid natural histories. I explore how women’s complicated negotiations and performances of gender and genre (conventions) expose gender and genre’s dynamic interplay and this interplay’s role in crafting alternate visions of the Americas. I argue that women naturalists evolved the genre by disrupting imperial modes of knowledge production to arrive at these alternate visions. My first chapter pairs German entomologist Maria Sybilla Merian (1647-1717) with Dutch soldier John Gabriel Stedman (1744-1797), whose natural histories of Surinam underscore the genre’s radical transformations over the course of the eighteenth century and expose the fundamentally different investments of female and male naturalists (regeneration/production and iv consumption, respectively). I interrogate the gendered lenses through which Merian and Stedman narrate ecologic changes, especially in light of a Surinamese topography that enabled the “stable chaos” of constant slave marronage, a condition that paradoxically preserved parts of the pre- colonization landscape. In Chapter Two, I trace the parallel career trajectories of two colonials, Jane Colden (1724-1766) and William Bartram (1739-1823), who begin as gender-marked objects in their fathers’ transatlantic correspondence, but become subjects through their botanic practice. My chapter probes how Colden and Bartram differently channel ecologic impulses through their depictions of the upstate New York wilderness and the Southeast; I argue that Colden’s ecologic sensibility is more highly developed than Bartram’s, whose proto-nationalism compromises this sensibility. Chapter Three compares republican mother and indigo planter Eliza Lucas Pinckney (1722-1793) with surveyor and statesman William Byrd II (1674-1744). I argue that Pinckney and Byrd engage a “colonial regionalism” to creatively “map” both the regional instability of the South Carolina lowcountry and the Virginia/North Carolina borderlands and their own fluid creole identities. The autobiographical nature of their work enables proto-national readings and marks an evolution of the genre toward narrative, and ultimately, toward even greater hybridity. Chapter Four explores how the early national “novels” of Leonora Sansay and Susanna Rowson, set fully or partly in the West Indies, appropriate the natural history in order to navigate what Sean Goudie calls “the creole complex.” I argue that neither Sansay nor Rowson is able to successfully mark the West Indies as distinct from the new nation; while Rowson attempts to disavow “paracolonial” relations, promoting a narrative of white American “creole regeneracy,” Sansay’s work is more ambivalent, suggesting that U.S.- Caribbean economic relations and the further creolization of whites may be unavoidable, and even necessary for the Republic. v ACKNOWLEDGEMENTS The deepest debt of gratitude is owed to my advisor, Duncan Faherty, who saw this project through from beginning to end, and pushed me to complete when I wasn’t sure I would. His mentorship and friendship buoyed me on this journey. To David S. Reynolds, who let me into his own remarkable process of composition when, years ago, I assisted in the research for his book, Mightier than the Sword: Uncle Tom’s Cabin and the Battle for America. I learned a thing or two then about process, about synthesizing mounds of research into a coherent narrative. Carrie Hintz’s was the first course I took as a graduate student, and it too introduced me to the work of deep research and deep analysis, setting the tone for the next eight years of intensive study. In Christopher Iannini’s course at Rutgers in the Fall of 2010, I read my first natural history—Hans Sloane’s—and I instantly knew that I had discovered my dissertation project. I will never forget the model Chris set for critical thought, and for teaching, struggling and reaching with us, his students, for more profound connections. To Al Coppola, whose course on cultures of natural philosophy filled in the context I needed to begin my research, opening for me a new field of scholarship: eighteenth-century studies. Al has been an invaluable mentor ever since. Finally, Sondra Perl and Rebecca Mlynarczyk alternately mentored me and inspired with their scholarship for the entirety of my graduate school career. A research grant through The Graduate Center’s Advanced Research Collaborative allowed me the opportunity to travel to London for archival work in the Summer of 2014. I visited the British Library, the Linnean Society, the Royal Society, and the Natural History Museum, and my trip was instrumental to the formation of this project. Thanks is owed also to the New York City libraries whose materials were equally crucial, including the Natural History Museum, the New-York Historical Society, and the New York Public Library. vi To the community of graduate students who accompanied me and from whom I learn every day, thank you. These include immeasurably supportive friends, Anastasia Vahaviolos Valassis, Colleen Cusick Endick, Diana Meckley, and Philip Kadish, who began this journey alongside me. My deepest thanks to our Composition and Rhetoric community, whose weekly meetings, frequent collaborations, and mutual support for one another was the light of my graduate school experience. To name just a few of these wonderful scholars: Dominique Zino, Andrew Lucchesi, Benjamin Miller, Amanda Licastro, Jill Belli, Andrea Rosso Efthymiou, Nichole Stanford, Sean Molloy, Nolan Chessman, Erin Anderson, Robert Greco, and Hilarie Ashton. No debt is complete without acknowledging the many, many gifted students I have had the privilege to learn from in the past fourteen years. To my students at Stuyvesant High School, James Madison High School, College of Staten Island, Miami-Dade College, Florida International University, Bloomfield College, and those from the Institute of Reading Development as well as my young tutees, I think of so many of you so often and I imagine those of you who are out of touch leading lives of fulfillment and goodness. Mentors and supervisors who have influenced my teaching, and in turn, my scholarship, include Michael Edelman, Brandon Fralix, Adrian Fielder, and most especially my dear friend, John La Bonne. Teacher- colleagues who have lent a critical ear, who have lived with me in “teacher-talk,” are much too many to name, but Sarah Babbitt and Lisa Levine have been the most generous of collaborators and friends. Finally, I wish to acknowledge friends whose support has never wavered: Cynthia Marian, Joy Friedman, Leila Rode Rosen, Erica Zaklin, Alyssa Rosemartin, Cassie Abrams, Nathalie Theunen. To my sister, Emily Epelbaum, the debt is steep. To my parents, Alla and Samuel Epelbaum, even steeper. You raised me to be independent and grounded; you expected vii that I love books and learning, experience and discovery, and I did. You gave and gave and your unconditional love made me strong. My aunt, Vera Porter, lent understanding and a listening ear. Natalie and Paul Koshenkov, continued support. Vadim Koshenkov was by my side
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