Kirjahaku

Before most Americans ever saw an actual daguerreotype, they encountered this visual form through written descriptions, published and rapidly reprinted in newspapers throughout the land. In The Camera and the Press, Marcy J. Dinius examines how the first written and published responses to the daguerreotype set the terms for how we now understand the representational accuracy and objectivity associated with the photograph, as well as the democratization of portraiture that photography enabled. Dinius's archival research ranges from essays in popular nineteenth-century periodicals to daguerreotypes of Americans, Liberians, slaves, and even fictional characters. Examples of these portraits are among the dozens of illustrations featured in the book. The Camera and the Press presents new dimensions of Nathaniel Hawthorne's The House of the Seven Gables, Herman Melville's Pierre, Harriet Beecher Stowe's Uncle Tom's Cabin, and Frederick Douglass's The Heroic Slave. Dinius shows how these authors strategically incorporated aspects of daguerreian representation to advance their aesthetic, political, and social agendas. By recognizing print and visual culture as one, Dinius redefines such terms as art, objectivity, sympathy, representation, race, and nationalism and their interrelations in nineteenth-century America.

Historians and literary historians alike recognize David Walker's Appeal to the Coloured Citizens of the World (1829-1830) as one of the most politically radical and consequential antislavery texts ever published, yet the pamphlet's significant impact on North American nineteenth-century print-based activism has gone under-examined. In The Textual Effects of David Walker's "Appeal" Marcy J. Dinius offers the first in-depth analysis of Walker's argumentatively and typographically radical pamphlet and its direct influence on five Black and Indigenous activist authors, Maria W. Stewart, William Apess, William Paul Quinn, Henry Highland Garnet, and Paola Brown, and the pamphlets that they wrote and published in the United States and Canada between 1831 and 1851. She also examines how Walker's Appeal exerted a powerful and lasting influence on William Lloyd Garrison's Liberator and other publications by White antislavery activists. Dinius contends that scholars have neglected the positive, transnational, and transformative effects of Walker's Appeal on print-based political activism and literary and book history-that is, its primarily textual effects-due to an enduringly narrow focus on the violence that the pamphlet may have occasioned. She offers as an alternative a broadened view of activism and resistance that centers the works of Walker, Stewart, Apess, Quinn, Garnet, and Brown within an exploration of radical forms of authorship, publication, civic participation, and resistance. In doing so, she has written a major contribution to African American literary studies and the history of the book in antebellum America.

Historians and literary historians alike recognize David Walker's Appeal to the Coloured Citizens of the World (1829-1830) as one of the most politically radical and consequential antislavery texts ever published, yet the pamphlet's significant impact on North American nineteenth-century print-based activism has gone under-examined. In The Textual Effects of David Walker's "Appeal" Marcy J. Dinius offers the first in-depth analysis of Walker's argumentatively and typographically radical pamphlet and its direct influence on five Black and Indigenous activist authors, Maria W. Stewart, William Apess, William Paul Quinn, Henry Highland Garnet, and Paola Brown, and the pamphlets that they wrote and published in the United States and Canada between 1831 and 1851. She also examines how Walker's Appeal exerted a powerful and lasting influence on William Lloyd Garrison's Liberator and other publications by White antislavery activists. Dinius contends that scholars have neglected the positive, transnational, and transformative effects of Walker's Appeal on print-based political activism and literary and book history-that is, its primarily textual effects-due to an enduringly narrow focus on the violence that the pamphlet may have occasioned. She offers as an alternative a broadened view of activism and resistance that centers the works of Walker, Stewart, Apess, Quinn, Garnet, and Brown within an exploration of radical forms of authorship, publication, civic participation, and resistance. In doing so, she has written a major contribution to African American literary studies and the history of the book in antebellum America.