Red Letters, White Paper, Black Ink: Race, Writing, Colors, and Characters in 1850S America
Red Letters, White Paper, Black Ink: Race, Writing, Colors, and Characters in 1850s America Samuel Arrowsmith Turner Portland, Maine B.A., Vassar College, 1997 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August, 2013 ii Abstract It’s well known that both the idea of race and the idea of writing acquired new kinds of importance for Americans in the mid-nineteenth century. Less obvious has been the extent to which the relationship between the two ideas, each charged by antebellum America with an ever-broader range of ideological functions, has itself served for some authors both as an object of inquiry and as a politico-aesthetic vocabulary. “White Paper, Black Ink, Red Letters” concerns this race-writing dialectic, and takes as its point of departure the fact that both writing and race depend on a priori notions of visibility and materiality to which each nonetheless is – or seems to be – irreducible. That is, though any given utterance of racial embodiment or alphabetic inscription becomes intelligible by its materialization as part of a field of necessarily visible signifiers (whether shapes of letters or racially encoded features of the body) the power of any such signifier to organize or regulate experience depends on its perceived connection to a separate domain of invisible meanings. iii For many nineteenth-century Americans race offered an increasingly persuasive narrative of identity at a time when the self-evidence of class, gender, and nationality as modes of affiliation seemed to be waning.
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