By D. Downey
This e-book exhibits simply how heavily past due nineteenth-century American women's ghost tales engaged with items corresponding to pictures, mourning paraphernalia, wallpaper and humble family furnishings. that includes uncanny stories from the massive urban to the small city and the empty prairie, it deals a brand new point of view on an outdated style.
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Additional info for American Women’s Ghost Stories in the Gilded Age
32 The sculpture (according to the extensive accompanying explanatory notes) depicted a young Greek girl captured by Turks, naked and chained to a post, presumably to be sold as a concubine. 35 The Reverend Orville Dewey gushed, ‘The Greek Slave is clothed all over with sentiment; sheltered, protected by it from every profane eye. 36 Responses to Edward Brackett’s sculpture Shipwrecked Mother and Child (1850), in which a nude, drowned woman lies on a rock, clutching her dead infant, similarly insisted that it was clothed with maternal purity and mortal sanctity.
42 The cultural desire to reduce women’s bodies to works of art also surfaced in less exotic settings. As photographical technology evolved into cheaper and more accessible forms, those who would otherwise never have been able to afford to have an image of themselves produced were queuing up to be transformed into portraits. A trade initially dogged by superstition in the nineteenth century, the relationship between photographer and sitter was, from the beginning, a difficult one, particularly for those uncomfortable with being scrutinized or horrified at the results.
40 He wishes to show her off to the world, in order to illustrate by contrast how far femininity has fallen from true beauty, while simultaneously indulging in erotic, orientalized reveries about the abandoned sensuality and Moorish splendor from which he imagines her having sprung (and which, as detailed further in Chapter 6, was central to late-nineteenth-century American marketing strategies). As works such as The Greek Slave became themselves endlessly reproduced, as miniature copies, engravings, lamp stands, and other household items, the meanings so carefully attributed to art of this kind were inexorably destabilized.
American Women’s Ghost Stories in the Gilded Age by D. Downey
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