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Sample Text Template BLACKENING CHARACTER, IMAGINING RACE, AND MAPPING MORALITY: TARRING AND FEATHERING IN NINETEENTH-CENTURY AMERICAN LITERATURE A Dissertation by MARINA TRNINIC Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Larry J. Reynolds Committee Members, Dennis Berthold M. Jimmie Killingsworth Angela Pulley-Hudson Head of Department, Nancy Warren August 2013 Major Subject: English Copyright 2013 Marina Trninic ABSTRACT This study examines the ritual of tarring and feathering within specific American cultural contexts and literary works of the nineteenth-century to show how the discourse surrounding the actual and figurative practice functioned as part of a larger process of discursive and visual racialization. The study illustrates how the practice and discourse of blackening white bodies enforced embodiment, stigmatized imagined interiority, and divorced the victims from inalienable rights. To be tarred and feathered was to be marked as anti-social, duplicitous and even anarchic. The study examines the works of major American authors including John Trumbull, James Fenimore Cooper, Edgar Allan Poe, and Nathaniel Hawthorne, analyzing how their works evidence a larger national conflation of character, race, and morality. Sometimes drawing on racial imagery implicitly, and sometimes engaging in the issues of race and slavery explicitly, their works feature tarring and feathering to portray their anxieties about social coercion and victimization in the context of the “experiment” of democracy. Trumbull’s mock-epic genre satirizes the plight of the Tory and diminishes the forms of the revolution; Cooper’s novel works as a rhetorical vehicle to prevent a perceived downfall of the republic; the short fiction of Poe exaggerates the horror of uneven and racialized power relations; and Hawthorne’s body of work ironizes the original parody of tar and feathers to expose the violent nature of democratic foundation. Relying on an interdisciplinary approach, this first, in-depth study of tarring and feathering in America reveals that the ritual is a fertile ground for understanding the multivalent social constructs of the time. ii Examining tarring and feathering incidents can tell scholars about the status of racial feeling, moral values (including sexual and gender norms), and economic fissures of the context in which they occur. Abjecting the body of the victim, the act rewrites the individual’s relationship to the body politic, and the performance of the ritual reveals the continuously emergent, publically sanctioned forms of belonging to the community and the nation. Moreover, examining the representation of tarring and feathering can tell scholars about an author’s relationship to the ideology of an American way. iii To my family To my mother, Majda, and sister, Andrea To the memory of my father, Zoran To the memory of my grandparents, Bogdan, Vera, Milan, and Mira iv ACKNOWLEDGEMENTS I am very fortunate to have had a wonderful dissertation committee that supported me through every step of my research and writing. It was an honor and a pleasure to work with my committee chair, Larry J. Reynolds, who cheered with kindness, raised with patience, and guided with expertise this project, and through it, me myself. His exemplary scholarship, departmental citizenship, and generosity with his thoughts and time continue to inspire me as I move forward. I am grateful also for my committee members, who from directing me to important research to providing constructive feedback of my writing, strengthened the contribution my project makes. M. Jimmie Killingsworth, who taught me pedagogy and modern rhetoric, left an indelible mark on the content and style on my teaching and scholarship. Dennis Berthold, who taught me early American literature, and who was always happy to chat through ideas with me, offered careful and insightful readings of my work, with a great ability to follow the contours of my reasoning and urge the implicit into the explicit. Angela Pulley-Hudson always “got” where my ideas were going, from the early stages to the final product, and offered such helpful ideas to frame and anchor my work, with references that were right-on, to boot. Many thanks also go to my friends and colleagues and the English faculty and staff for making my time at Texas A&M University an experience which exceeded my expectations. Mary Ann O’Farrell’s excellent seminar on cultural and theoretical understandings of skin helped to inspire this project, and her ability to focus students’ v attention to produce deeper insights always challenged me to go further with my analysis. Moreover, the faculty and staff serving Graduate Studies Office, including Mary Ann, Sally Robinson, Britt Mize, and Paulette Lesher, was always helpful, efficient, and to be commended on their efforts on behalf of my scholarship and that of others in my place. This project was generously funded by the English Department Dissertation Fellowship, the College of Liberal Arts Dissertation Fellowship, and the Brown and Kruse Scholar Award from the Melbern G. Glasscock Center for Humanities Research, and I extend my sincere gratitude for this support. I owe thanks also to those who influenced my writing and thinking. My undergraduate mentor, Jim Pipkin sparked my interest in literary study and first helped me discover my writing voice. During my time at Texas A&M University Press, working with Mary Lenn Dixon helped me gain an understanding of how successful scholarly studies are framed and written. Thanks also go to my colleague, Anne-Marie Womack, who was always willing to read and offer astute comments on my drafts, helping me to see the forest. Abigail Bowers, the Sam to my Frodo, carried me when walking became impossible. Her willingness to trudge through the most rudimentary of drafts kept me working. Finally, thanks to my mother and father for always encouraging me, and having such trust in my abilities that they always took any of my goals as success already granted. Thanks to my sister for having enough trust in me to let me be her friend. Thanks to Greg for the support on the home front and for making me laugh at least once vi a day. Thanks to my canine loves, Finnegan and Madeline, for always making sure I woke up at the first sign of light. vii TABLE OF CONTENTS Page ABSTRACT .............................................................................................................. ii DEDICATION .......................................................................................................... iv ACKNOWLEDGEMENTS ...................................................................................... v TABLE OF CONTENTS .......................................................................................... viii LIST OF FIGURES ................................................................................................... x CHAPTER I INTRODUCTION ............................................................................... 1 CHAPTER II TARRING AND FEATHERING IN PRE-REVOLUTIONARY AMERICAN LITERATURE ........................................................................... 20 The Case of John Malcolm ............................................................... 21 Tar and Feathers in Context .............................................................. 28 Literary Representation of Tarring and Feathering ........................... 39 CHAPTER III “TARS AND FEATHERS ARE THE BLACKGUARDS:” ANTI-RENT RACIALIZED VIOLENCE AND COUNTERFEIT APPEALS TO HIGHER LAW IN JAMES FENIMORE COOPER’S REDSKINS ....................................................................................................... 54 Anti-Rent Indians .............................................................................. 59 For Shame, Cooper’s “Injin” Redskins.............................................. 65 CHAPTER IV REBELLION AND SOCIAL INVERSION: EDGAR ALLAN POE’S TARRING AND FEATHERING OF MASTERS AND ABOLITIONISTS ............................................................................................ 88 Poe and Jacksonian Tar ..................................................................... 89 Poe’s Insane Tar and Feathers ........................................................... 92 Blackening Revenge in “Hop-Frog” ................................................. 104 viii Page CHAPTER V TARRING AND TARRED SELVES: MARKING COMPLEXIONS IN NATHANIEL HAWTHORNE’S WORKS .................. 114 Our Kinsmen: Hawthorne’s Re-vision of Tarred Tories ................... 117 Yankee Doodle’s Feather: Fashion, Gender, and Class .................... 132 Gallows, Guillotines, and Tar for Those of a Different Feather: The Continuum of Victimization .......................................... 135 The Black Stain of Blood .................................................................. 140 Surviving Exhibition and “Coldness of Former Friends” In “Tar-and-feather Dignity” ................................................. 143 Trampled by the Footsteps of War ................................................... 146 CHAPTER VI CONCLUSION: TARRING AND FEATHERING BEYOND THE CIVIL WAR ....................................................................... 151 WORKS CITED ........................................................................................................ 161 ix LIST OF FIGURES Page Figure 1. Tarred man animalized, with devil ..........................................................
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