The Black Madonna: Notions of true womanhood from Jacobs to Hurston. I Will Gladly Share with Them My Richer Heritage": Schoolteachers in Frances EW Harper's" Iola Leroy" and Charles Chesnutt's" Mandy Oxendine. The Cambridge companion to the Harlem Renaissance. (2014). Ain't I A Woman: Black Women and Feminism. Proceedings of the Eleventh National Woman's Rights Convention. World’s congress of representative women, edited by May W. The Trope of a New Negro and the Reconstruction of the Image of the Black. The New Negro: Readings on race, representation, and African American culture, 1892–1938. A Brighter Coming Day: A Frances Ellen Watkins Harper Reader. New York: The Feminist Press at CUNY.įoster, F. A brighter coming day: A Frances Ellen Watkins Harper Reader. “‘Reading Aright’: White slavery, Black referents, and the strategy of histotextuality in Iola Leroy. Passing and the rise of the African American novel.
Reading Beyond the Conventions: A Look at Frances EW Harper's" Iola Leroy, or Shadows Uplifted". The “Hindered Hand:” Cultural implications of early African-American fiction. Fairleigh Dickinson University Press.ĭu Bois, W. Sentimentalism in nineteenth-century America: Literary and Cultural Practices. African American Review, 34(1), 5-18.ĭe Jong, M. Raising Voices, Lifting Shadows: Competing Voice-Paradigms in Frances EW Harper's Iola Leroy. Greenwood Publishing Group.Ĭhristmann, J. Black women novelists: The development of a tradition. Frances EW Harper's Educational Reservations: The Indian Question in" Iola Leroy". Face value: Ambivalent citizenship in Iola Leroy. Woman’s fiction: A guide to novels by and about women in America, 1820–1870.
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