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Index
PREFACE
INTRODUCTION: INTIMACY, PUBLICITY, AND FEMININITY
Intimate Publics
Love: Repeat after Me
Sentimentality: Love, Then Repeat
On Method and Ambivalence
The Chapters
Unfinished Business
1: POOR ELIZA
“The Small House of Uncle Thomas”
The Unfinished Business of Sentimentality
Adorable Liberal Racism: Shirley Temple’s Dimples
This Is (Not) a Story to Pass On
2: PAX AMERICANA: THE CASE OF SHOW BOAT
Adapting—to Racism
Uncle Tom’s Show Boat
You’re Not the Type
What Love Has to Do with It
The Consolations of Landscape
Stereotypes, Survival, and Narrative Ends
Show Boat’s Unfinished Business: Once upon a Time, a Little Jewish Slave Girl…
3: NATIONAL BRANDS, NATIONAL BODY: IMITATION OF LIFE
On Prosthetic Embodiment
“B. Pullman” and “H. Prynne”: The Feminine Uses of Camouflage
Aunt Jemima and Uncle Sam
White Neon, Black Gold: The Sirkean System
4: UNCLE SAM NEEDS A WIFE: CITIZENSHIP AND DENEGATION
Sentimentality’s “Unfinished Business”
“Drop Complaints Here”: Making (Up) Women Citizens
From Sarcasm to the Sacred
5: REMEMBERING LOVE, FORGETTING EVERYTHING ELSE: NOW, VOYAGER
The Ideology of Normal Love
The Business of Love
The Intimate Journal of Miss Charlotte Vale, Spinster
The Real Miss Beauchamp
The Enabling Cliché
Unfinished Business
6: “IT’S NOT THE TRAGEDIES THAT KILL US, IT’S THE MESSES”: FEMININITY, FORMALISM, AND DOROTHY PARKER
On Wanting (To Be) “Somebody”
On the Pleasures of Being Generic
Unfinished Business
7: THE COMPULSION TO REPEAT FEMININITY: LANDSCAPE FOR A GOOD WOMAN AND THE LIFE AND LOVES OF A SHE-DEVIL
The “So What?” Question
“I Sing a Hymn to the Death of Love”
The Nation Form
The Body
Genre
Unfinished Business, or The Return of the Repressed: Pleasure
OVERTURE/APERTURE: SHOWBOAT 1988—THE REMAKE
NOTES
BIBLIOGRAPHY
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