从“真正女性崇拜”到“新女性想象”
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摘要
19世纪50年代至60年代，美国文坛涌现出大批女性作家及作品。这些女性作家所创作的作品在当时非常受读者欢迎，其销量远非同时代男性作家的作品销量所能企及。女性作家及作品牢牢占据了当时的文学市场，以至于有评论家把这一时期称为“美国女性的文艺复兴”。
当时美国社会意识形态领域流行“真正女性崇拜”思想。其思想核心是一系列主要针对中产阶级白人女性而提出的行为准则和伦理规范，这些内容被历史学家芭芭拉·韦尔特概括为四种女性美德：“虔诚、顺从、贞洁、持家”。只有具备这四种美德的女性才能称其为“真正女性”。
“真正女性崇拜”思想把女性的活动范围限定在家庭领域，同时把女性美化为男性的道德榜样和社会的道德脊梁。当时的女性作家在作品中塑造了许多符合“真正女性”标准的女性道德典范，进而影响了广大读者的道德塑造。
与此同时，正是这些男权社会强加给女性的伦理规范使得女性时常陷入各种困境。女性作家在作品中真实再现了女性所处的困境，并由此针对女性伦理、家庭伦理以及社会伦理等问题进行了深入地探索。这其中的代表人物是苏珊·沃纳、范妮·费恩、哈里叶特·比彻·斯托和路易莎·梅·奥尔科特。
四位代表作家对伦理的探索可以归纳为四个层面：
第一层面以沃纳为代表。沃纳的作品真实再现了女性生存的困境，并塑造了比较符合“真正女性”道德标准的女主人公，以此提示女性困境中的生存策略。沃纳的作品虽然也隐含了对传统女性伦理规范的无奈和不满，但在伦理探索问题上沃纳给出的“处方”更多的还是强调女性精神上的自我完善。
第二层面以费恩为代表。费恩笔下女主人公在失去丈夫保护和经济来源的情况下，通过自身不断努力，最终突破传统女性为人妻为人母的角色模式，取得新的伦理身份——成功的作家和精明的商人，并取得对当时女性来说实属不易的经济独立。费恩在女性伦理探索上迈出关键的一步。
第三层面以斯托为代表。斯托的作品触及了当时的重大社会问题——奴隶制，并提出“家庭女性主义”和“母爱拯救世界”等思想，其核心是把一直处于从属地位的女性推向家庭和社会的核心位置，这对当时社会来说无异于一场伦理革命。斯托把伦理探索深入到了社会伦理层面。
第四层面以奥尔科特为代表。奥尔科特的作品中既有符合传统社会道德标准的女主人公，同时她们在许多方面也与后来出现的“新女性”有不少相似之处；同时作品也展现了平等的婚姻关系，并把女性领域由家庭领域扩大到公共领域。奥尔科特在女性伦理、家庭伦理等方面进行了更深远地探索。
从苏珊·沃纳到路易莎·梅·奥尔科特，这些女性作家所创作的作品仿佛组成了一幕长剧，剧中的女主人公逐渐从被动接受到主动创造，从依赖顺从到独立自主，从自我克制到自我主张，从自我牺牲到自我实现，其笔下的女主人公也由遵从男权社会规范的“真正女性”向勇敢设计自己人生的“新女性”逐渐过渡。
In the1850s and60s, there emerged a lot of women writers and works in thehistory of American literature. These women writers’ works were very popular amongthe readers at that time. The sales of the works of the contemporary men writers werefar behind of the women’s. The American literary market was occupied by the womenwriters and their works. Some critics called this period “the American Women’sRenaissance”.
The dominating ideology to define the boundaries of acceptable female behavioraimed at middle-class white women was the “cult of true womanhood”. BarbaraWelter, a feminist historian, termed the “cult of true womanhood” characterizing by“piety, purity, submission and domesticity”. The woman who possessed the fourfemale virtues could be called “true woman”.
The ideology of “cult of true womanhood” restricted the activities of the womenin the domestic sphere and this ideal stressed women's role as the moral example andthe religious and moral backbone of America. The women writers created many moralmodels conforming to “true woman” and then affected the moral self-shaping of thereaders.
These feminist ethics imposed upon women by the patriarchal society causeddilemmas which could be seen in the women writers’ works. Thus the women writersexplored deeply feminist ethics, domestic ethics and social ethics. The representativefigures were Susan Warner, Fanny Fern, Harriet Beech Stowe and Louisa May Alcott.
Exploration of the ethical issues of the four representative writers can be summarized in the following four aspects:
The first level was represented by Warner, whose creations mainly focused onthe sufferings encountered in the dilemmas of women’s survival. Warner created theheroines conforming to “true woman” to tell the readers the survival strategies.Although Warner’s works included the substance of the messages of dissatisfactionand dissent, Warner emphasized on the women’s self-improve.
The second level was represented by Fern, whose heroines suffered the loss oftheir husbands’ protection and economic sources however through their own effortthey finally broke through the traditional female roles as wives and mothers andobtained their new ethical identity: successful writers and smart businesswomen. Andthen they achieved economic independence, which was not easy for women at thattime. Fern takes a key step in exploring feminist ethics.
The third level was represented by Stow, whose exploration viewpoint involvedthe most provocative issue of her day: race and slavery. Stow proposed the ideologyof “domestic feminism” and hoped for changing the subordinate position of womenand makes them the centre of the family and society. This ideology was an ethicalrevolution for her time.
The fourth level was represented by Alcott, whose works included many heroinesconforming to the traditional moral standards and these heroines also had numeroussimilarities with “New Woman” appearing later. Her works also showed the equalrelationships in marriage. Through her works Alcott explored feminist ethics anddomestic ethics deeply.
From Susan Warner to Louisa May Alcott, the works composed by these womenwriters formed a drama in which the heroines were gradually from passive acceptanceto active creation, from dependence to independence, from self-control toself-assertion and from self-sacrifice to self-realization. The heroines achieved thetransition from the “True Woman” conforming to the traditional moral standards tothe “New Woman” designing lives for themselves bravely.
当时美国社会意识形态领域流行“真正女性崇拜”思想。其思想核心是一系列主要针对中产阶级白人女性而提出的行为准则和伦理规范，这些内容被历史学家芭芭拉·韦尔特概括为四种女性美德：“虔诚、顺从、贞洁、持家”。只有具备这四种美德的女性才能称其为“真正女性”。
“真正女性崇拜”思想把女性的活动范围限定在家庭领域，同时把女性美化为男性的道德榜样和社会的道德脊梁。当时的女性作家在作品中塑造了许多符合“真正女性”标准的女性道德典范，进而影响了广大读者的道德塑造。
与此同时，正是这些男权社会强加给女性的伦理规范使得女性时常陷入各种困境。女性作家在作品中真实再现了女性所处的困境，并由此针对女性伦理、家庭伦理以及社会伦理等问题进行了深入地探索。这其中的代表人物是苏珊·沃纳、范妮·费恩、哈里叶特·比彻·斯托和路易莎·梅·奥尔科特。
四位代表作家对伦理的探索可以归纳为四个层面：
第一层面以沃纳为代表。沃纳的作品真实再现了女性生存的困境，并塑造了比较符合“真正女性”道德标准的女主人公，以此提示女性困境中的生存策略。沃纳的作品虽然也隐含了对传统女性伦理规范的无奈和不满，但在伦理探索问题上沃纳给出的“处方”更多的还是强调女性精神上的自我完善。
第二层面以费恩为代表。费恩笔下女主人公在失去丈夫保护和经济来源的情况下，通过自身不断努力，最终突破传统女性为人妻为人母的角色模式，取得新的伦理身份——成功的作家和精明的商人，并取得对当时女性来说实属不易的经济独立。费恩在女性伦理探索上迈出关键的一步。
第三层面以斯托为代表。斯托的作品触及了当时的重大社会问题——奴隶制，并提出“家庭女性主义”和“母爱拯救世界”等思想，其核心是把一直处于从属地位的女性推向家庭和社会的核心位置，这对当时社会来说无异于一场伦理革命。斯托把伦理探索深入到了社会伦理层面。
第四层面以奥尔科特为代表。奥尔科特的作品中既有符合传统社会道德标准的女主人公，同时她们在许多方面也与后来出现的“新女性”有不少相似之处；同时作品也展现了平等的婚姻关系，并把女性领域由家庭领域扩大到公共领域。奥尔科特在女性伦理、家庭伦理等方面进行了更深远地探索。
从苏珊·沃纳到路易莎·梅·奥尔科特，这些女性作家所创作的作品仿佛组成了一幕长剧，剧中的女主人公逐渐从被动接受到主动创造，从依赖顺从到独立自主，从自我克制到自我主张，从自我牺牲到自我实现，其笔下的女主人公也由遵从男权社会规范的“真正女性”向勇敢设计自己人生的“新女性”逐渐过渡。
In the1850s and60s, there emerged a lot of women writers and works in thehistory of American literature. These women writers’ works were very popular amongthe readers at that time. The sales of the works of the contemporary men writers werefar behind of the women’s. The American literary market was occupied by the womenwriters and their works. Some critics called this period “the American Women’sRenaissance”.
The dominating ideology to define the boundaries of acceptable female behavioraimed at middle-class white women was the “cult of true womanhood”. BarbaraWelter, a feminist historian, termed the “cult of true womanhood” characterizing by“piety, purity, submission and domesticity”. The woman who possessed the fourfemale virtues could be called “true woman”.
The ideology of “cult of true womanhood” restricted the activities of the womenin the domestic sphere and this ideal stressed women's role as the moral example andthe religious and moral backbone of America. The women writers created many moralmodels conforming to “true woman” and then affected the moral self-shaping of thereaders.
These feminist ethics imposed upon women by the patriarchal society causeddilemmas which could be seen in the women writers’ works. Thus the women writersexplored deeply feminist ethics, domestic ethics and social ethics. The representativefigures were Susan Warner, Fanny Fern, Harriet Beech Stowe and Louisa May Alcott.
Exploration of the ethical issues of the four representative writers can be summarized in the following four aspects:
The first level was represented by Warner, whose creations mainly focused onthe sufferings encountered in the dilemmas of women’s survival. Warner created theheroines conforming to “true woman” to tell the readers the survival strategies.Although Warner’s works included the substance of the messages of dissatisfactionand dissent, Warner emphasized on the women’s self-improve.
The second level was represented by Fern, whose heroines suffered the loss oftheir husbands’ protection and economic sources however through their own effortthey finally broke through the traditional female roles as wives and mothers andobtained their new ethical identity: successful writers and smart businesswomen. Andthen they achieved economic independence, which was not easy for women at thattime. Fern takes a key step in exploring feminist ethics.
The third level was represented by Stow, whose exploration viewpoint involvedthe most provocative issue of her day: race and slavery. Stow proposed the ideologyof “domestic feminism” and hoped for changing the subordinate position of womenand makes them the centre of the family and society. This ideology was an ethicalrevolution for her time.
The fourth level was represented by Alcott, whose works included many heroinesconforming to the traditional moral standards and these heroines also had numeroussimilarities with “New Woman” appearing later. Her works also showed the equalrelationships in marriage. Through her works Alcott explored feminist ethics anddomestic ethics deeply.
From Susan Warner to Louisa May Alcott, the works composed by these womenwriters formed a drama in which the heroines were gradually from passive acceptanceto active creation, from dependence to independence, from self-control toself-assertion and from self-sacrifice to self-realization. The heroines achieved thetransition from the “True Woman” conforming to the traditional moral standards tothe “New Woman” designing lives for themselves bravely.
引文
①参见F. O. Matthiessen, American Renaissance: Art and Expression in the Age of Emerson and Whitman, NewYork: Oxford Unversity Press,1941.
②Richd Gray, A History of American Literature, Second Edition, Chichester: Wiley-Blackwell,2012, p.92.
③萨克文·伯克维奇主编：《剑桥美国文学史》第二卷，散文作品，1820-1865年，史志康等译，北京：中央编译出版社，2008年，第81页。
④Susan Castillo, American Literature in Context to1865, Chichester: Wiley-Blackwell,2011, p.161.
①Susan Coultrap-McQuin, Doing Literary Business: American Women Writers in the Nineteenth Century, ChapelHill, NC: University of North Carolina Press,1990, pp.1-2.
②Jane Tompkins,“The Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, pp.147-185.
③David S. Reynolds, Beneath the American Renaissance: The Subversive Imagination in the Age of Emerson andMelville, New York: Oxford University Press,1988, p.387.
④Ibid..
⑤参见Herbert Ross Brown, The Sentimental Novel in America,1788-1860, Drubam: Duke University Press,1940.
⑥参见Helen Waite Papashvily, All the Happy Endings: A Study of the Domestic Novel in America, the WomenWho Wrote it, the Women Who Read it in the Nineteenth Century, New York: Harper,1956.
⑦参见Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca:Cornell University Press,1978.
⑧参见Susan K. Harris,19th-Century American Women’s Novels: Interpretive Strategies, New York: CambridgeUnversity Press,1990.
⑨Sacvan Bercovitch, Cyrus R. K. Patell, ed.“Women’s Fiction and the Literary Maketplace,” The CambridgeHistory of American Literature: Volume2, Prose Writing1820-1865, Cambridge: Cambridge University Press,1995, p.89.
⑩James D. Wallace,“Hawthorne and the Scribbling Women Reconsidered,” American Literature, Vol.62, No.2,
(Jun.,1990):204.
①F. O. Matthiessen, American Renaissance: Art and Expression in the Age of Emerson and Whitman, New York:Oxford Unversity Press,1941, p. xi.
②Elaine Showalter,“Masterpieces and Mass Markets,” A Jury of Her Peers: American Women Writers from AnneBradstreet to Annie Proulx, New York: Alfred A. Knopf.2009, p.71.
③Paul Lauter,“Race and Gendr in the Shaping of the American Literary Canon,” Feminist Studies9(1983):449.
④金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第4页。
⑥Nina Baym,“Melodramas of Beset Manhood: How Theories of American Fiction Exclude Women Authors,”American Quarterly, Vol.33, No.22(Summer,1981):125-126.
①Jane Tompkins,“Sentimental Power: Uncle Tom's Cabin and the Politics of Literary History,” SensationalDesigns: The Cultural Work of American Fiction,1790-1860, New York: Oxford University Press,1986, p.123.
③Elaine Showalter, A Jury of Her Peers: American Women Writers from Anne Bradstreet to Annie Proulx, NewYork: Alfred A. Knopf.2009, p. xiii.
④Sacvan Bercovitch, Cyrus R. K. Patell, ed.“Women’s Fiction and the Literary Marketplace,” The CambridgeHistory of American Literature: Volume2, Prose Writing1820-1865, Cambridge: Cambridge University Press,1995.中译本参见萨克文·伯克维奇主编：“女性小说和19世纪50年代的文学市场”，《剑桥美国文学史》第二卷，散文作品，1820-1865年，史志康等译，北京：中央编译出版社，2008年。Nina Baym,“the Riseof Woman Author,” The Columbia Literary History of the United States, Emory Elliott ed. New York: ColumbiaUniversity Press,1988.中译本参见埃默里·埃利奥特主编：“妇女作家的崛起”，《哥伦比亚美国文学史》，朱通伯等译，成都：四川辞书出版社，1994年。Lora Romero,“Domesticity and Fiction,” The Columbia Historyof American Novel, Emory Elliott, Cathy N. Davidson, ed. New York: Columbia University Press,1991.
⑤萨克文·伯克维奇主编：《剑桥美国文学史》第二卷，散文作品，1820-1865年，史志康等译，北京：中央编译出版社，2008年，第76页。
①周铭，金莉：《从道德天使到实践先锋——美国女性的环保角色嬗变》，载《妇女研究论丛》，2010年第4期，第88页。
②Jane Tompkins,“Sentimental Power: Uncle Tom's Cabin and the Politics of Literary History,” SensationalDesigns: The Cultural Work of American Fiction,1790-1860, New York: Oxford University Press,1986, p.124.
③Jane Weiss,“Susan Warner,” Nineteenth Century American Women Writers: A Bio-Bibliographical CriticalSourcebook, Denise d. Knight ed. WestPort: Greenwood Press,1997, p.458.
①Susan K. Harris,“‘But is it Any Good?’: Evaluating Nineteenth-Century American Women’s Fiction,”American Literature, Vol.63, No.1(Mar.,1991):43.
②Fred Lewis Pattee, The Feminine Fifties, New York: D. Appleton-Century Company,1940.
③Ibid., p.92.
④Herbert Ross Brown, The Sentimental Novel in America,1789-1860, Durbam, N. C.: Duke University Press,1940.
⑤Alexander Cowie,“The Vogue of the Domestic Novel,1850-1870,” South Atlantic Quarterly41(Oct.,1942):420.
⑥Leslie A. Fiedler, Love and Death in the American Novel, New York: Criterion Books,1960, p.257.
⑦Helen Waite Papashvily, All the Happy Endings: A Study of the Domestic Novel in America, the Women WhoWrote it, the Women Who Read it in the Nineteenth Century, New York: Harper,1956.
②Ann Douglas, The Feminization of American Culture, New York: Avon Books,1977.
③Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: CornellUniversity Press,1978.
①Marry Kelley, Private Woman, Public Stage: Literary Domesticity in Nineteenth-Century America, New York:Oxford University Press,1984.
②Susan K. Harris,19th-Century American Women's Novels: Interpretative Strategies, New York: CambridgeUniversity Press,1990.
⑤Elaine Showalter,“Trdition and the Female Talent: The Awakening as a Solitary Book,” New Essays on TheAwakening, ed. Wendy Martin, Cambridge: Cambridge University Press,1988, pp.33-57.
⑥Jane Tompkins, Sensational Designs: The Cultural Work of American Fiction,1790-1860, New York: OxfordUniversity Press,1986.
⑦Nina Baym, Novels, Readers, and Reviewers: Responses to Fiction in Antebellm America, Ithaca: CornellUniversity Press,1984.
⑧Alfred Habegger, Gender, Fantasy, and Realism in American Literature, New York: Columbia University Press,1982.
①Elizabeth Ammons, Conflicting Stories: American Women Writers at the Turn into the Twentieth Century, NewYork: Oxford University Press,1991.
②Dale M. Bauer, Philip Gould, ed. The Cambridge Companion to Nineteenth-Century American Women's Writing,Cambridge: Cambridge University Press,2001.
③Greil Marcus, Werner Sollors, ed. A New Literary History of America, Cambridge: Harvard University Press,2009.
④Elaine Showalter, A Jury of Her Peers: American Women Writers from Anne Bradstreet to Annie Proulx, NewYork: Alfred A. Knopf.2009.
⑤Ibid., p. xvi.
⑥Laura Laffrado, Uncommon Women: Gender and Representation in Nineteenth-Century U.S. Women's Writing,Columbus: Ohio State University Press,2009.
⑦Charlotte J. Rich, Transcending the New Woman: Multiethnic Narratives in the Progressive Era, Columbia:
①Nancy Schong,“Inside the Sentimental: The Psychological Work of The Wide, Wide World,” Genders4(Spring1989):23.
②Jane Tompkins,“The Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.175.
③Emory Elliott,“The Rise of Woman Author,” Columbia Literary History of the United States, New York:Columbia University Press,1988, p.292.
④Joe Sutliff Sanders, Disciplining Girls: Understanding the Origins of the Classic Orphan Girl Story, Baltimore:Johns Hopkins University Press,2011, p.24.
⑤Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.584.
①Emory Elliott,“The Rise of Woman Author,” Columbia Literary History of the United States, New York:Columbia University Press,1988, p.299.
②Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.598.
③Ibid., p.584.
④Joyce W. Warren, Fanny Fern: An Independent Woman, New Brunswick: Rutgers University Press,1992, p.2.
⑤Ibid..
⑥Elizabeth Ammons,“Introduction,” Harriet Beecher Stowe's Uncle Tom's Cabin: A Casebook, ElizabethAmmons, ed. New York: Oxford University Press,2007, p.8.
⑦Jan Pilditch,“Uncle Tom’s Cabin (1852),” Slavery in the United States: A Social, Political, and HistoricalEncyclopedia, Vol.2, Junius P Rodriguez, ed. Santa Barbara: ABC-CLIO, Inc.,2007, p.486.
⑧Thomas F. Gossett, Uncle Tom's Cabin and American Culture, Dallas, Tex.: Southern Methodist UniversityPress,1985, p.164.
⑨Jane Tompkins, Sensational Designs: The Cultural Work of American Fiction,1790-1860, New York: OxfordUniversity Press,1986, p.122.
①Sarah Elbert, A Hunger for Home: Louisa May Alcott and Little Women, Philadelphia: Temple University Press,p, xiiv.
②Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-CenturyAmerican Women’s Novels,” American Quarlerly38(Summer1986):239.
①Ann A. Wood,“The Scribbling Women and Fanny Fern: Why Women Wroter,” American Quarterly23(Spring1971):13.
②Susan Coultrap-Mcquin,“The Impact of Dometic Feminism: Harriet Beecher Stowe’s Mature Career,” DoingLiterary Business: American Women Writers in the Nineteenth Century, Chapel Hill: University of NorthCarolina Press,1990, p.81.
③Elizabeth Ammons,“Stowe’s Dream of the Mother-Savior: Uncle Tom’s Cabin and American Women WritersBefore the1920s,” New Essays on Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge: Cambridge UniversityPress,1986, p.157.
④Elizabeth Ammons,“Heroines in Uncle Tom’s Cabin,” American Literature, Vol.49, No.2(May,1977), p.165.
⑤Janice M. Alberghene and Beverly Lyon Clark, ed.,“Introduction,” Little Women and The Feminist Imagination:Criticism, Controversy, Personal Essays, New York: Garland,1999, p. xxix.
①Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: CornellUniversity Press,1978, p.22.
③Jane Tompkins,“Sentimental Power: Uncle Tom's Cabin and the Politics of Literary History,” SensationalDesigns: The Cultural Work of American Fiction,1790-1860, New York: Oxford University Press,1986, p.124.
④参见Fred Lewis Pattee, The Feminine Fifties, New York: D. Appleton Century Company,1940.
①Margaret Lynch-Brennan, The Irish Bridget: Irish Immigrant Women in Domestic Service in America,1840-1930, New York: Syracuse University Press,2009, pp.60-62.
②Bret E. Carroll, American Masculinities: A Historical Encyclopedia, Thousand Oaks: Sage Publications,2003,p.120.
③Francis D. Cogliano, Revolutionary America,1763-1815: Political History, London: Taylor&Francis e-Library,2005, p.186.
④王政：《女性的崛起：当代美国的女权运动》，北京：当代中国出版社，1995年，第5页。
①王恩铭：《20世纪美国妇女研究》，上海：上海外语教育出版社，2002年，第10页。
②转引自王恩铭：《20世纪美国妇女研究》，上海：上海外语教育出版社，2002年，第10页。
③王恩铭：《20世纪美国妇女研究》，上海：上海外语教育出版社，2002年，第12页。
①Barbara Welter,“The Cult of True Womanhood,1820-1860,” American Quarterly, Vol.18, No.2,(Summer,1966):151-174.
①王恩铭：《20世纪美国妇女研究》，上海：上海外语教育出版社，2002年，第17页。
③萨克文·伯克维奇主编：《剑桥美国文学史》第二卷，1820-1865年，史志康等译，北京：中央编译出版社，2008年，第14页。
④转引自金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第14页。
①Mary Kelley,“The Sentimentalists: Promise and Betrayal in the Home,” Signs4.3(Spring1979), p.438.
②萨克文·伯克维奇主编：《剑桥美国文学史》第二卷，1820-1865年，史志康等译，北京：中央编译出版社，2008年，第82页。
①金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第17页。
③Saul D. Feldman, Escape from the Doll’s House: Women in Graduate and Professional School Education, NewYork: Megraw,1974, p.22.
④金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第18页。
⑤Mary P. Ryan, The Empire of the Mother: American Writing about Domesticity,1830-1860, New York: HaworthPress,1982, p.116.
⑥Nina Baym, Novels, Reader, and Reviewers: Responser to Fiction in Antebellum America, Ithaca: CornellUniversity Press,1984, p.31.22
②金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第20页。
③Susan K. Harris,19th-Century American Women’s Novels: Interpretive Strategies, New York: CambridgeUnversity Press,1990, p.27.
④金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第21页。
⑤Cathy N. Davidson, Revolution and the Word: the Rise of the Novel in America, New York: Oxford UniversityPress,1986, p.123.
①埃默里·埃利奥特主编：哥伦比亚美国文学史，朱通伯等译，成都：四川辞书出版社，1994年，第234页。
②萨克文·伯科维奇主编：剑桥美国文学史（第二卷），史志康等译，北京：中央编译出版社，2008年，第113-117页。
③Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: Cornell24
①Mary Kelley,“The Sentimentalists: Promise and Betrayal in the Home,” Signs4.3(Spring1979), p.437.26
①参见Herbert Ross Brown, The Sentimental Novel in America,1788-1860, Drubam: Duke University Press,1940.
②Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-Century
American Women’s Novels,” American Quarterly, Vol.38, No.2,(Summer,1986):223-242.
③Gregg Crane, The Cambridge Introduction to the Nineteenth-Century Amrican Novel, New York: Cambridge
University Press,2007, p.104.
②斯陀夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第289页。
④Gregg Crane, The Cambridge Introduction to the Nineteenth-Century Amrican Novel, New York: CambridgeUniversity Press,2007, p.104.
①Joe Sutliff Sanders, Disciplining Girls: Understanding the Origins of the Classic Orphan Girl Story, Baltimore:Johns Hopkins University Press,2011, p.24.
②Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-CenturyAmerican Women’s Novels,” American Quarlerly38(Summer1986):227.
③Ibid., p.228.
④Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.584.
⑤Nina Baym,“the Rise of Woman Author,” The Columbia Literary History of the United States, Emory Elliott ed.New York: Columbia University Press,1988, p.299.
⑥Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.584.
⑦埃默里·埃利奥特主编：《哥伦比亚美国文学史》，朱通伯等译，成都：四川辞书出版社，1994年，第244页。
①Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: CornellUniversity Press,1978, pp.11-12.
②Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.9.
①Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: CornellUniversity Press,1978, p.144.
②Nancy Schnog,“Inside the Sentimental: the Psychological Work of The Wide, Wide World,” Genders4(Spring1989):12.
③Grace Ann Hovet, Theodore R. Hovet,“Identity Development in Susan Warner’s The Wide, Wide World:Relationship, Performance and Construction,” Legacy8.1(Spring1991):6.
①Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.510.
②Ibid., p.525.
③Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.163.
④Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.603.
①Anna Warner, Susan Warner [Elizabeth Wethrell], New York: G. P. Putnam’s Sons,1909, p.200.
①Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.10.
①Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.175.
②Ibid., p.176.
③Gregg Crane, The Cambridge Introduction to the Nineteenth-Century Amrican Novel, New York: CambridgeUniversity Press,2007, p.115.
①Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.553.
②Gregg Crane, The Cambridge Introduction to the Nineteenth-Century Amrican Novel, New York: CambridgeUniversity Press,2007, p.114.
④Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.166.
②Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.161.
④Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.12.
⑤Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.598.
⑥Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of American
①Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.18.
③Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.164.
④Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.42.
⑤Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.165.
②Mary P. Hiatt,“Susan Warner’s Subtext: The Other Side of Piety,” Journal of Evolutionary Psychology8(August1987):253.
①Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.193.
⑤Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.168.
②Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.13.
③Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.169.
④Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-CenturyAmerican Women’s Novels,” American Quarlerly38(Summer1986):226.
②Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.176.
③Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-CenturyAmerican Women’s Novels,” American Quarlerly38(Summer1986):230.
①Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-CenturyAmerican Women’s Novels,” American Quarlerly38(Summer1986):231.
②Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.326.
④Catharine O’Connell,“‘We Must Sorrow’: Silence, Suffering, and Sentimentality in Susan Warner’s The Wide,Wide World,” Studies in American Fiction,25:1(1997: Spring), p.23.
⑤Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.9.
①Catharine O’Connell,“‘We Must Sorrow’: Silence, Suffering, and Sentimentality in Susan Warner’s The Wide,Wide World,” Studies in American Fiction,25:1(1997: Spring), p.23.
②Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.541.
①Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-CenturyAmerican Women’s Novels,” American Quarlerly38(Summer1986):232.
④Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.598.
⑤Jane Tompkins, Sensational Design: The Culture Work of American Fiction,1790-1860, New York: OxfordUniversity Press,1986, p.200.
①Veronica Stewart,“Mothering a Female Saint: Susan Warner’s Dialogue Role in The Wide, Wide World,” EssaysIn Literature22.1(Spring1995):59.
②Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.584.
④Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-CenturyAmerican Women’s Novels,” American Quarlerly38(Summer1986):232.
⑤Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.172.
①Nancy Schong,“Inside the Sentimental: The Psychological Work of The Wide, Wide World,” Genders4(Spring1989):17-18.
②转引自金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第152页。
③金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第152页。
④Nancy Schong,“Inside the Sentimental: The Psychological Work of The Wide, Wide World,” Genders4(Spring1989):23.
⑤Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-CenturyAmerican Women’s Novels,” American Quarlerly38(Summer1986):239.
⑥Jane Weiss,“Susan Warner,” Nineteenth Century American Women Writers: A Bio-Bibliographical CriticalSourcebook, p.459.
⑦Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.585.
①Susan S. Williams,“Widening The World: Susan Warner, Her Readers, and the Assumption of Authorship,”American Quarterly42(December1990):565.
②Fred Lewis Pattee, The Feminine Fifties, New York: D. Appleton-Century Company,1940, p.57.
③D. G. Myers,“The Canonization of Susan Warner,” The New Criterion7.4(December1988):78.
①Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxxv.
②Joyce W. Warren, Fanny Fern: An Independent Woman, New Brunswick: Rutgers University Press,1992, p.3.
②Marry Kelley, Private Woman, Public Stage:Literary Domesticity in Nineteenth-Century America, New York:Oxford University Press,1984, p.138.
③Joyce W. Warren, Fanny Fern: An Independent Woman, New Brunswick: Rutgers University Press,1992, p.2.
①Joyce W. Warren, Fanny Fern: An Independent Woman, New Brunswick: Rutgers University Press,1992, p.130.
②Nancy A. Walker, Fanny Fern, New York: Twayne,1993, p.51.
③Joyce W. Warren,“Text and Context in Fanny Fern's Ruth Hall: From Widowhood to Independence,” Joiningsand Disjoinings: The Significance of Marital Status in Literature, ed. Joanna Stephens Mink, Janet DoublerWard, Bowling Green, Ohio: Bowling Green State University Popular Press,1991, p.74.
④转引自金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第167页。
⑤Joyce W. Warren, Fanny Fern: An Independent Woman, New Brunswick: Rutgers University Press,1992, pp.124-125.
⑥Ann A. Wood,“The Scribbling Women and Fanny Fern: Why Women Wroter,” American Quarterly23(Spring1971):13.
⑦Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.290.
①Joyce W. Warren,“Text and Context in Fanny Fern's Ruth Hall: From Widowhood to Independence,” Joiningsand Disjoinings: The Significance of Marital Status in Literature, ed. Joanna Stephens Mink, Janet DoublerWard, Bowling Green, Ohio: Bowling Green State University Popular Press,1991, p.68.
⑤Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.175.
①Joyce W. Warren, Fanny Fern: An Independent Woman, New Brunswick: Rutgers University Press,1992, p.69.
②Ann D. Wood,“The Scribbling Women and Fanny Fern: Why Women Wroter,” American Quarterly23(Spring1971):23.
③Marry Kelley, Private Woman, Public Stage: Literary Domesticity in Nineteenth-Century America, New York:Oxford University Press,1984, p.139.
④Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.115.
③Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxxi.
①Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.146.
②Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: CornellUniversity Press,1978, p.253.
③Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxii.
④Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.173.
⑤Susan K. Harris,“Inscribing and Defining: The Many Voices of Fanny Fern’s Ruth Hall,”19th-CenturyAmerican Women’s Novels: Interpretive Strategies, New York: Cambridge University Press,1990, p.332.
①Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.332.
②Linda Huf, A Portrait of the Artist as a Young Woman: The Writer as Heroine in American Literature, New York:Frederick Ungar,1983, p.30.
①Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, pp.125-126.
②Linda Huf, A Portrait of the Artist as a Young Woman: The Writer as Heroine in American Literature, New York:Frederick Ungar,1983, p.32.
③Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.156.
④Joyce W. Warren,“Introduction,” Fanny fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxii.
⑤金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第173页。
⑥Linda Huf, A Portrait of the Artist as a Young Woman: The Writer as Heroine in American Literature, New York:Frederick Ungar,1983, p.24.
①Joyce W. Warren,“Introduction,” Fanny fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxiii.
②Nancy A. Walker, Fanny Fern, New York: Twayne,1993, pp.45-46.
③Susan K. Harris,“Inscribing and Defining: The Many Voices of Fanny Fern’s Ruth Hall,”19th-CenturyAmerican Women’s Novels: Interpretive Strategies, New York: Cambridge University Press,1990, pp.112-113.
④Elaine Showalter,"American Gynocriticism," American Literary History, Vol.5, No.1(Spring,1993), p.116.
⑤Joyce W. Warren,“Legacy Profile: Fanny Fern (1811-1872),” Legacy2.2(1985), p.56.
①Joyce W. Warren,“Text and Context in Fanny Fern's Ruth Hall: From Widowhood to Independence,” Joiningsand Disjoinings: The Significance of Marital Status in Literature, ed. JoAnna Stephens Mink, Janet DoublerWard, Bowling Green State University Popular Press,1991, p.73.
①John Seely Hart, The Female Prose Writers of America, Philadelphia: E. H. Butler&Co.,1866, p.470.
②Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.126.
④Joyce W. Warren,“Text and Context in Fanny Fern's Ruth Hall: From Widowhood to Independence,” Joiningsand Disjoinings: The Significance of Marital Status in Literature, ed. JoAnna Stephens Mink, Janet DoublerWard, Bowling Green, Ohio: Bowling Green State University Popular Press,1991, p.74.
①Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxi.
③Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.109.
④Joyce W. Warren,“Text and Context in Fanny Fern's Ruth Hall: From Widowhood to Independence,” Joiningsand Disjoinings: The Significance of Marital Status in Literature, ed. JoAnna Stephens Mink, Janet DoublerWard, Bowling Green, Ohio: Bowling Green State University Popular Press,1991, p.73.
⑤Joyce W. Warren,“Introduction,” Fanny fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxii.
④Joyce W. Warren, The (Other) American Traditions: Nineteenth-Century Women Writers, New Brunswick:Rutgers University Press,1993, p.80.
①Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxi.
④Joyce W. Warren,“The Gender of American Individualism: Fanny Fern, the Novel, and the American Dream,”Politics, Gender, and the Arts, ed. Ronald Dotterer, Susan Bowers, Selingsgrove,PA: Susguehanna UniversityPress,1991, pp.153-155.
①Gregg Crane, The Cambridge Introduction to the Nineteenth-Century Amrican Novel, New York: CambridgeUniversity Press,2007, p.125.
①Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxiii.
④Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: CornellUniversity Press,1978, p.35.
⑤Ibid., pp.48-49.
⑥Jane Tompkins, Sensational Designs: The Cultural Work of American Fiction,1790-1860, New York: OxfordUniversity Press,1986, p.125.
①Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxiv.
①转引自金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第180页。
②转引自金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第181页。
③Joyce W. Warren, Fanny Fern: An Independent Woman, New Brunswick: Rutgers University Press,1992, p.9.
④Marry Kelley, Private Woman, Public Stage: Literary Domesticity in Nineteenth-Century America, New York:Oxford University Press,1984, p.152.
①Nancy A. Walker, Fanny Fern, New York: Twayne,1993, p.115.
②Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: CornellUniversity Press,1978, p.252.
③Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.220.
④转引自金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第184页。
⑤Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxi.
⑥Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.318.
①Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxxv.
①Thomas F. Gossett, Uncle Tom's Cabin and American Culture, Dallas, Tex.: Southern Methodist UniversityPress,1985, p.164.
②Susan Coultrap-Mcquin,“The Impact of Dometic Feminism: Harriet Beecher Stowe’s Mature Career,” DoingLiterary Business: American Women Writers in the Nineteenth Century, Chapel Hill: University of NorthCarolina Press,1990, p.91.
③Elizabeth Ammons,“Heroines in Uncle Tom’s Cabin,” American Literature, Vol.49, No.2(May,1977), p.165.
④Susan Coultrap-Mcquin,“The Impact of Dometic Feminism: Harriet Beecher Stowe’s Mature Career,” DoingLiterary Business: American Women Writers in the Nineteenth Century, Chapel Hill: University of NorthCarolina Press,1990, p.81.
①斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第11页。
①Barbara Welter,“The Cult of True Womanhood:1820-1860,” American Quarterly, Vol.18, No.2, Part1,(Summer,1966), p.152.
②斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第155页。
①Jane Tompkins,“Sentimental Power: Uncle Tom's Cabin and the Politics of Literary History,” SensationalDesigns: The Cultural Work of American Fiction1790-1860, New York: Oxford University Press,1986, p.125.
②Gillian Brown,“Getting in the Kitchen with Dinah: Domestic Politics in Uncle Tom’s Cabin,” AmericanQuarterly, Vol.36, No.4(Autumn,1984), p.507.
④Lori Askeland,“Remodeling the Model Home in Uncle Tom’s Cabin and Beloved,” American Literature, Vol.64,No.4(Dec.,1992) p.787.
①斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第158-159页。
②Catharine Beecher, A Treatise on Domestic Economy,1841; rpt. New York: Schocken Books,1977.
③Gillian Brown,“Getting in the Kitchen with Dinah: Domestic Politics in Uncle Tom’s Cabin,” AmericanQuarterly, Vol.36, No.4(Autumn,1984), p.508.
④斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第209页。
⑥Gillian Brown,“Getting in the Kitchen with Dinah: Domestic Politics in Uncle Tom’s Cabin,” AmericanQuarterly, Vol.36, No.4(Autumn,1984), p.511.
②斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第136页。
③Gillian Brown,“Getting in the Kitchen with Dinah: Domestic Politics in Uncle Tom’s Cabin,” AmericanQuarterly, Vol.36, No.4(Autumn,1984), p.513.
①斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第114页。
①Gillian Brown,“Getting in the Kitchen with Dinah: Domestic Politics in Uncle Tom’s Cabin,” AmericanQuarterly, Vol.36, No.4(Autumn,1984), p.520.
②Ibid., p.503.
③斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第212页。
②Gillian Brown,“Getting in the Kitchen with Dinah: Domestic Politics in Uncle Tom’s Cabin,” AmericanQuarterly, Vol.36, No.4(Autumn,1984), p.504.
①斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第354页。
②Theodore Hovet, The Master Narrative: Harriet Beecher Stowe’s Subversive Story of Master and Slave in“Uncle Tom’s Cabin” and “Dred”, Boston: University Press of America,1989, p.23.
③Elizabeth Ammons,“Heroines in Uncle Tom’s Cabin,” American Literature, Vol.49, No.2(May,1977), p.161.
⑤Elizabeth Ammons,“Stowe’s Dream of the Mother-Savior: Uncle Tom’s Cabin and American Women WritersBefore the1920s,” New Essays on Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge: Cambridge UniversityPress,1986, p.164.
①斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第268页。
③Jane Tompkins,“Sentimental Power: Uncle Tom's Cabin and the Politics of Literary History,” SensationalDesigns: The Cultural Work of American Fiction1790-1860, New York: Oxford University Press,1986, p.134.
④转引自金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第49页。
①Elizabeth Ammons,“Stowe’s Dream of the Mother-Savior: Uncle Tom’s Cabin and American Women WritersBefore the1920s,” New Essays on Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge: Cambridge UniversityPress,1986, p.157.
①斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第6页。
④Quot. from Elizabeth Ammons,“Stowe’s Dream of the Mother-Savior: Uncle Tom’s Cabin and AmericanWomen Writers Before the1920s,” New Essays on Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge:Cambridge University Press,1986, p.162.
⑤Elizabeth Ammons,“Stowe’s Dream of the Mother-Savior: Uncle Tom’s Cabin and American Women Writers
④Elizabeth Ammons,“Heroines in Uncle Tom’s Cabin,” American Literature, Vol.49, No.2(May,1977), pp.161-179.
①Elizabeth Ammons,“Stowe’s Dream of the Mother-Savior: Uncle Tom’s Cabin and American Women WritersBefore the1920s,” New Essays on Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge: Cambridge UniversityPress,1986, p.167.
②斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第136页。
③Elizabeth Ammons,“Stowe’s Dream of the Mother-Savior: Uncle Tom’s Cabin and American Women WritersBefore the1920s,” New Essays on Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge: Cambridge UniversityPress,1986, p.168.
④斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第137页。
⑦Elizabeth Ammons,“Stowe’s Dream of the Mother-Savior: Uncle Tom’s Cabin and American Women Writers
②Jean Fagan Yellin,“Doing It Herself: Uncle Tom’s Cabin and Woman’s Role in the Slavery Crisis,” New Essayson Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge: Cambridge University Press,1986, p.101.
③Jane Tompkins,“Sentimental Power: Uncle Tom's Cabin and the Politics of Literary History,” SensationalDesigns: The Cultural Work of American Fiction1790-1860, New York: Oxford University Press,1986, pp.124-126.
④Jean Fagan Yellin,“Doing It Herself: Uncle Tom’s Cabin and Woman’s Role in the Slavery Crisis,” New Essayson Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge: Cambridge University Press,1986, p.91.
①Richard Yarborough,“Strategies of Black Characterization in Uncle Tom’s Cabin and the Early Afro-AmericanNovel,” New Essays on Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge: Cambridge University Press,1986, p.50.
③Robert S. Levine,“Uncle Tom’s Cabin in Frederick Douglass’s Paper: An Analysis of Reception,” Uncle Tom’sCabin, by Harriet Beecher Stowe, ed. Elizabeth Ammons, A Norton Critical Edition, New York: Norton,1994, p.539.
①Elaine Showalter,“Little Women: The American Female Myth,” Sister’s Choice: Tradition and Change inAmerican Women’s Writing, Oxford: Oxford University Press,1994, pp.50-51.
②Hope Stoddard,“Louisa May Alcott,” Famous American Women, New York: Thomas Y. Crowell,1970, p.21.
③Ednah D. Cheney, Louisa May Alcott: Her Life, Letters, and Journals, Boston: Little,1990, p.190.
②Martha Saxton, Louisa May: A Modern Biography of Louisa May Alcott, Boston: Houghton Mifflin,1977, p.300.
③Ednah D. Cheney, Louisa May Alcott: Her Life, Letters, and Journals, Boston: Little,1990, p.256.
④Madeleine B. Stern,“Introduction,” Louisa May Alcott: A Biography, Boston: Northeastern University Press,1999, p. xxiii.
⑤Janice M. Alberghene and Beverly Lyon Clark, ed.,“Introduction,” Little Women and The Feminist Imagination:Criticism, Controversy, Personal Essays, New York: Garland,1999, p. xxix.
⑥Elizabeth Langland,“Female Stories of Experience: Alcott’s Little Women in Light of Work,” The Voyage in:Fictions of Female Development, eds. Elizabeth Abel et al. Hanover: University Press of New England,1983, p.113.
⑦Elaine Showalter,“Little Women: The American Female Myth,” Sister’s Choice: Tradition and Change inAmerican Women’s Writing, Oxford: Oxford University Press,1994, p.53.“天路历程”和“女巫的咒语”是马奇家四姐妹表演的两个家庭表演剧。
⑧Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):370.
①路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第1页。
③Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):372.
④路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第12页。
⑥Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):372.
①路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第283页。
⑥Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):376.
①路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第310页。
②同上，第311页。
③同上。
④同上，第312页。
⑤同上，第313页。
⑥同上，第315页。
⑦同上。
⑧同上，第316页。
⑨同上，第317页。
⑩同上。
④Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):380.
①路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第80-81页。
②Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):381.
③路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第360-361页。
⑦Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):374.
②路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第17页。
⑤“面具背后”（Behind a Mask）是奥尔科特创作的惊险故事中最有代表性的一篇，主要表现了女性对父权文化的反抗。
⑥路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第243页。
⑦Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):374-375.
①路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第247-248页。
④Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):379.
①路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第4页。
②Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):380.
③Sandra M. Gilbert, Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth-CenturyLiterary Imagination, Second Edition, New Haven and London: Yale University Press,2000, p.25.
④Elaine Showalter,“Little Women: The American Female Myth,” Sister’s Choice: Tradition and Change inAmerican Women’s Writing, Oxford: Oxford University Press,1994, p.48.
⑥Susan Naomi Berstein,“Writing and Little Women: Alcott’s Rhetoric of Subversion,” American TranscendentalQuarterly7.1(March1993):39.
⑦路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第363页。
④Elaine Showalter,“Little Women: The American Female Myth,” Sister’s Choice: Tradition and Change inAmerican Women’s Writing, Oxford: Oxford University Press,1994, p.62.
⑤路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第504页。
②Elaine Showalter,“Little Women: The American Female Myth,” Sister’s Choice: Tradition and Change inAmerican Women’s Writing, Oxford: Oxford University Press,1994, p.44.
③Martha Saxton, Louisa May: A Modern Biography of Louisa May Alcott, Boston: Houghton Mifflin,1977, p.9.
④Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: CornellUniversity Press,1978, p.23.
①Susan Naomi Berstein,“Writing and Little Women: Alcott’s Rhetoric of Subversion,” American TranscendentalQuarterly7.1(March1993):25.
②Sarah Elbert, A Hunger for Home: Louisa May Alcott and Little Women, Philadelphia: Temple University Press,p, xiii.
③Madeleine B. Stern,“Introduction,” The Feminist Alcott: Stories of a Woman’s Power, ed. Madeleine B. Stern,Boston: Northeastern University Press,1996, p. vii.
④Sarah Elbert, A Hunger for Home: Louisa May Alcott and Little Women, Philadelphia: Temple University Press,p, xiiv.
⑥Elaine Showalter,“Little Women: The American Female Myth,” Sister’s Choice: Tradition and Change inAmerican Women’s Writing, Oxford: Oxford University Press,1994, p.50.
⑦Martha Saxton,“The Secret Imaginings of Louisa Alcott,” Critical Essays on Louisa May Alcott, Ed. MadeleineB. Stern, Boston: G. K. Hall,1984, p.254.
⑧Elaine Showalter,“Introduction,” Alternative Alcott, Louisa May Alcott, Elaine Showalter ed., New Brunswick:Rutgers University Press,1988, p. xiii.
①Elaine Showalter,“Little Women: The American Female Myth,” Sister’s Choice: Tradition and Change inAmerican Women’s Writing, Oxford: Oxford University Press,1994, pp.56-57.
②Hope Stoddard,“Louisa May Alcott,” Famous American Women, New York: Thomas Y. Crowell,1970, p.22.
①Talia Schaffer,“‘Nothing but Foolscap and Ink’: Inventing the New Woman,” The New Woman in Fiction and inFact: Fin-de-Siecle Feminism. Eds. Angelique Richerdson and Chris Wills. New York: Palgrave Publishers,2001, p.40.
②Carolyn Forrey,“The New Woman Revisited,” Women’s Studies2(1974):38.
①Joyce W. Warren, Fanny Fern: An Independent Woman, New Brunswick: Rutgers University Press,1992, p.4
②Edmund Wilson, Patriotic Gore: Studies in the Literature of the American Civil War, New York: OxfordUniversity Press,1962, p.31.
③Thomas F. Gossett, Uncle Tom's Cabin and American Culture, Dallas, Tex.: Southern Methodist UniversityPress,1985, p.97.
④转引自金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第39页。
①参见Susan Coultrap-Mcquin,“The Impact of Dometic Feminism: Harriet Beecher Stowe’s Mature Career,”Doing Literary Business: American Women Writers in the Nineteenth Century, Chapel Hill: University of NorthCarolina Press,1990, p.91.
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4.黄禄善：《美国通俗小说史》[M]，南京：译林出版社，2003年。
5.黄梅：《推敲“自我”：小说在18世纪的英国》[M]，北京：三联书店，2003年。
6.金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》[M]，北京：外语教学与研究出版社，2004。
7.刘海平、王守仁主编，朱刚主撰：《新编美国文学史》第二卷[C]，上海：上海外语教育出版社，2002年。
8.卢敏：《美国浪漫主义时期小说类型研究》[M]，上海：上海人民出版社，2008年。
9.殷企平：《推敲“进步”话语——新型小说在19世纪的英国》[M]，北京：商务印书馆，2009年。
1.崔娃：《<汤姆叔叔的小屋>的家庭伦理解读》[J]，《社会科学战线》，2012年第3期。
2.代显梅：《霍桑的女性观》[J]，《外国文学评论》，2010年第2期。
3.宫玉波，梁亚平：《殉难、复仇、融合——试评美国文学中黑人形象的嬗变》[J]，《外国文学研究》，2003年第5期。
4.胡振明：《道德说教与18世纪英国小说的流变》[J]，《国外文学》，2010年第2期。
5.金衡山：《经典以外的世界——19世纪美国通俗小说的文化解读》[J]，《英美文学研究论丛》，2001年。
6.金莉：《玛利亚的传统价值和夏娃的独立意识：十九世纪中叶美国妇女作家及其笔下的女性形象》[J]，《美国研究》，1996年第1期。
7.金莉：《美国女权运动·女性文学·女权批评》[J]，《美国研究》，2009年第1期。
8.金莉：《美国女性文学史的开山之作——论肖沃尔特的<她的同性陪审团：从安妮·布雷兹特利特至安妮·普鲁克斯的美国女性作家>》[J]，《外国文学》，2010年第3期。
9.金万锋，李增：《论英国19世纪女性小说家创作的道德关怀》[J]，《东北师大学报》（哲学社会科学版），2009年第2期。
10.刘笑元：《19世纪美国家庭小说的女性观和慈善观》[J]，《学术探索》，2011年第8期。
11.卢敏：《19世纪美国家庭小说与现代社会价值建构》[J]，《外国文学评论》，2009年第2期。
12.陆扬，赵新宇：《种族和性别的神话——费德勒读斯托夫人》[J]，《外国文学研究》，2011年第2期。
13.梅丽：《女性主义类型小说》[J]，《外国文学》，2011年第2期。
14.王恩铭：《美国女性与宗教和政治》[J]，《妇女研究论丛》，2011年第5期。
15.王楠：《“缝被”的文化隐喻与美国女性主义文学传统的建构》[J]，《妇女研究论丛》，2012年第6期。
16.王小梅：《十九世纪女性文学的革命之作——<露丝·霍尔>》[J]，《天津外国语学院学报》，1999年第4期。
17.温爱玲：《重新结构十九世纪美国文学史——来自女作家的挑战》[J]，《殷都学刊》，1996年第2期。
18.杨春：《<汤姆叔叔的小屋>的新历史主义解读》[J]，《湘南学院学报》，2006年第1期。
19.杨金才：《美国文艺复兴时期的文学意识》[J]，《深圳大学学报》（人文社会科学版），2007年第1期。
20.于倩：《道德伦理与人生选择：论<小妇人>中乔的爱情与婚姻》[J]，《世界文学评论》，2011年第1期。
21.张生珍，金莉：《当代美国戏剧中的家庭伦理关系探析》[J]，《外国文学》，2011年第5期。
22.周铭，金莉：《从道德天使到实践先锋——美国女性的环保角色嬗变》[J]，《妇女研究论丛》，2010年第4期。
②Richd Gray, A History of American Literature, Second Edition, Chichester: Wiley-Blackwell,2012, p.92.
③萨克文·伯克维奇主编：《剑桥美国文学史》第二卷，散文作品，1820-1865年，史志康等译，北京：中央编译出版社，2008年，第81页。
④Susan Castillo, American Literature in Context to1865, Chichester: Wiley-Blackwell,2011, p.161.
①Susan Coultrap-McQuin, Doing Literary Business: American Women Writers in the Nineteenth Century, ChapelHill, NC: University of North Carolina Press,1990, pp.1-2.
②Jane Tompkins,“The Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, pp.147-185.
③David S. Reynolds, Beneath the American Renaissance: The Subversive Imagination in the Age of Emerson andMelville, New York: Oxford University Press,1988, p.387.
④Ibid..
⑤参见Herbert Ross Brown, The Sentimental Novel in America,1788-1860, Drubam: Duke University Press,1940.
⑥参见Helen Waite Papashvily, All the Happy Endings: A Study of the Domestic Novel in America, the WomenWho Wrote it, the Women Who Read it in the Nineteenth Century, New York: Harper,1956.
⑦参见Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca:Cornell University Press,1978.
⑧参见Susan K. Harris,19th-Century American Women’s Novels: Interpretive Strategies, New York: CambridgeUnversity Press,1990.
⑨Sacvan Bercovitch, Cyrus R. K. Patell, ed.“Women’s Fiction and the Literary Maketplace,” The CambridgeHistory of American Literature: Volume2, Prose Writing1820-1865, Cambridge: Cambridge University Press,1995, p.89.
⑩James D. Wallace,“Hawthorne and the Scribbling Women Reconsidered,” American Literature, Vol.62, No.2,
(Jun.,1990):204.
①F. O. Matthiessen, American Renaissance: Art and Expression in the Age of Emerson and Whitman, New York:Oxford Unversity Press,1941, p. xi.
②Elaine Showalter,“Masterpieces and Mass Markets,” A Jury of Her Peers: American Women Writers from AnneBradstreet to Annie Proulx, New York: Alfred A. Knopf.2009, p.71.
③Paul Lauter,“Race and Gendr in the Shaping of the American Literary Canon,” Feminist Studies9(1983):449.
④金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第4页。
⑥Nina Baym,“Melodramas of Beset Manhood: How Theories of American Fiction Exclude Women Authors,”American Quarterly, Vol.33, No.22(Summer,1981):125-126.
①Jane Tompkins,“Sentimental Power: Uncle Tom's Cabin and the Politics of Literary History,” SensationalDesigns: The Cultural Work of American Fiction,1790-1860, New York: Oxford University Press,1986, p.123.
③Elaine Showalter, A Jury of Her Peers: American Women Writers from Anne Bradstreet to Annie Proulx, NewYork: Alfred A. Knopf.2009, p. xiii.
④Sacvan Bercovitch, Cyrus R. K. Patell, ed.“Women’s Fiction and the Literary Marketplace,” The CambridgeHistory of American Literature: Volume2, Prose Writing1820-1865, Cambridge: Cambridge University Press,1995.中译本参见萨克文·伯克维奇主编：“女性小说和19世纪50年代的文学市场”，《剑桥美国文学史》第二卷，散文作品，1820-1865年，史志康等译，北京：中央编译出版社，2008年。Nina Baym,“the Riseof Woman Author,” The Columbia Literary History of the United States, Emory Elliott ed. New York: ColumbiaUniversity Press,1988.中译本参见埃默里·埃利奥特主编：“妇女作家的崛起”，《哥伦比亚美国文学史》，朱通伯等译，成都：四川辞书出版社，1994年。Lora Romero,“Domesticity and Fiction,” The Columbia Historyof American Novel, Emory Elliott, Cathy N. Davidson, ed. New York: Columbia University Press,1991.
⑤萨克文·伯克维奇主编：《剑桥美国文学史》第二卷，散文作品，1820-1865年，史志康等译，北京：中央编译出版社，2008年，第76页。
①周铭，金莉：《从道德天使到实践先锋——美国女性的环保角色嬗变》，载《妇女研究论丛》，2010年第4期，第88页。
②Jane Tompkins,“Sentimental Power: Uncle Tom's Cabin and the Politics of Literary History,” SensationalDesigns: The Cultural Work of American Fiction,1790-1860, New York: Oxford University Press,1986, p.124.
③Jane Weiss,“Susan Warner,” Nineteenth Century American Women Writers: A Bio-Bibliographical CriticalSourcebook, Denise d. Knight ed. WestPort: Greenwood Press,1997, p.458.
①Susan K. Harris,“‘But is it Any Good?’: Evaluating Nineteenth-Century American Women’s Fiction,”American Literature, Vol.63, No.1(Mar.,1991):43.
②Fred Lewis Pattee, The Feminine Fifties, New York: D. Appleton-Century Company,1940.
③Ibid., p.92.
④Herbert Ross Brown, The Sentimental Novel in America,1789-1860, Durbam, N. C.: Duke University Press,1940.
⑤Alexander Cowie,“The Vogue of the Domestic Novel,1850-1870,” South Atlantic Quarterly41(Oct.,1942):420.
⑥Leslie A. Fiedler, Love and Death in the American Novel, New York: Criterion Books,1960, p.257.
⑦Helen Waite Papashvily, All the Happy Endings: A Study of the Domestic Novel in America, the Women WhoWrote it, the Women Who Read it in the Nineteenth Century, New York: Harper,1956.
②Ann Douglas, The Feminization of American Culture, New York: Avon Books,1977.
③Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: CornellUniversity Press,1978.
①Marry Kelley, Private Woman, Public Stage: Literary Domesticity in Nineteenth-Century America, New York:Oxford University Press,1984.
②Susan K. Harris,19th-Century American Women's Novels: Interpretative Strategies, New York: CambridgeUniversity Press,1990.
⑤Elaine Showalter,“Trdition and the Female Talent: The Awakening as a Solitary Book,” New Essays on TheAwakening, ed. Wendy Martin, Cambridge: Cambridge University Press,1988, pp.33-57.
⑥Jane Tompkins, Sensational Designs: The Cultural Work of American Fiction,1790-1860, New York: OxfordUniversity Press,1986.
⑦Nina Baym, Novels, Readers, and Reviewers: Responses to Fiction in Antebellm America, Ithaca: CornellUniversity Press,1984.
⑧Alfred Habegger, Gender, Fantasy, and Realism in American Literature, New York: Columbia University Press,1982.
①Elizabeth Ammons, Conflicting Stories: American Women Writers at the Turn into the Twentieth Century, NewYork: Oxford University Press,1991.
②Dale M. Bauer, Philip Gould, ed. The Cambridge Companion to Nineteenth-Century American Women's Writing,Cambridge: Cambridge University Press,2001.
③Greil Marcus, Werner Sollors, ed. A New Literary History of America, Cambridge: Harvard University Press,2009.
④Elaine Showalter, A Jury of Her Peers: American Women Writers from Anne Bradstreet to Annie Proulx, NewYork: Alfred A. Knopf.2009.
⑤Ibid., p. xvi.
⑥Laura Laffrado, Uncommon Women: Gender and Representation in Nineteenth-Century U.S. Women's Writing,Columbus: Ohio State University Press,2009.
⑦Charlotte J. Rich, Transcending the New Woman: Multiethnic Narratives in the Progressive Era, Columbia:
①Nancy Schong,“Inside the Sentimental: The Psychological Work of The Wide, Wide World,” Genders4(Spring1989):23.
②Jane Tompkins,“The Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.175.
③Emory Elliott,“The Rise of Woman Author,” Columbia Literary History of the United States, New York:Columbia University Press,1988, p.292.
④Joe Sutliff Sanders, Disciplining Girls: Understanding the Origins of the Classic Orphan Girl Story, Baltimore:Johns Hopkins University Press,2011, p.24.
⑤Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.584.
①Emory Elliott,“The Rise of Woman Author,” Columbia Literary History of the United States, New York:Columbia University Press,1988, p.299.
②Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.598.
③Ibid., p.584.
④Joyce W. Warren, Fanny Fern: An Independent Woman, New Brunswick: Rutgers University Press,1992, p.2.
⑤Ibid..
⑥Elizabeth Ammons,“Introduction,” Harriet Beecher Stowe's Uncle Tom's Cabin: A Casebook, ElizabethAmmons, ed. New York: Oxford University Press,2007, p.8.
⑦Jan Pilditch,“Uncle Tom’s Cabin (1852),” Slavery in the United States: A Social, Political, and HistoricalEncyclopedia, Vol.2, Junius P Rodriguez, ed. Santa Barbara: ABC-CLIO, Inc.,2007, p.486.
⑧Thomas F. Gossett, Uncle Tom's Cabin and American Culture, Dallas, Tex.: Southern Methodist UniversityPress,1985, p.164.
⑨Jane Tompkins, Sensational Designs: The Cultural Work of American Fiction,1790-1860, New York: OxfordUniversity Press,1986, p.122.
①Sarah Elbert, A Hunger for Home: Louisa May Alcott and Little Women, Philadelphia: Temple University Press,p, xiiv.
②Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-CenturyAmerican Women’s Novels,” American Quarlerly38(Summer1986):239.
①Ann A. Wood,“The Scribbling Women and Fanny Fern: Why Women Wroter,” American Quarterly23(Spring1971):13.
②Susan Coultrap-Mcquin,“The Impact of Dometic Feminism: Harriet Beecher Stowe’s Mature Career,” DoingLiterary Business: American Women Writers in the Nineteenth Century, Chapel Hill: University of NorthCarolina Press,1990, p.81.
③Elizabeth Ammons,“Stowe’s Dream of the Mother-Savior: Uncle Tom’s Cabin and American Women WritersBefore the1920s,” New Essays on Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge: Cambridge UniversityPress,1986, p.157.
④Elizabeth Ammons,“Heroines in Uncle Tom’s Cabin,” American Literature, Vol.49, No.2(May,1977), p.165.
⑤Janice M. Alberghene and Beverly Lyon Clark, ed.,“Introduction,” Little Women and The Feminist Imagination:Criticism, Controversy, Personal Essays, New York: Garland,1999, p. xxix.
①Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: CornellUniversity Press,1978, p.22.
③Jane Tompkins,“Sentimental Power: Uncle Tom's Cabin and the Politics of Literary History,” SensationalDesigns: The Cultural Work of American Fiction,1790-1860, New York: Oxford University Press,1986, p.124.
④参见Fred Lewis Pattee, The Feminine Fifties, New York: D. Appleton Century Company,1940.
①Margaret Lynch-Brennan, The Irish Bridget: Irish Immigrant Women in Domestic Service in America,1840-1930, New York: Syracuse University Press,2009, pp.60-62.
②Bret E. Carroll, American Masculinities: A Historical Encyclopedia, Thousand Oaks: Sage Publications,2003,p.120.
③Francis D. Cogliano, Revolutionary America,1763-1815: Political History, London: Taylor&Francis e-Library,2005, p.186.
④王政：《女性的崛起：当代美国的女权运动》，北京：当代中国出版社，1995年，第5页。
①王恩铭：《20世纪美国妇女研究》，上海：上海外语教育出版社，2002年，第10页。
②转引自王恩铭：《20世纪美国妇女研究》，上海：上海外语教育出版社，2002年，第10页。
③王恩铭：《20世纪美国妇女研究》，上海：上海外语教育出版社，2002年，第12页。
①Barbara Welter,“The Cult of True Womanhood,1820-1860,” American Quarterly, Vol.18, No.2,(Summer,1966):151-174.
①王恩铭：《20世纪美国妇女研究》，上海：上海外语教育出版社，2002年，第17页。
③萨克文·伯克维奇主编：《剑桥美国文学史》第二卷，1820-1865年，史志康等译，北京：中央编译出版社，2008年，第14页。
④转引自金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第14页。
①Mary Kelley,“The Sentimentalists: Promise and Betrayal in the Home,” Signs4.3(Spring1979), p.438.
②萨克文·伯克维奇主编：《剑桥美国文学史》第二卷，1820-1865年，史志康等译，北京：中央编译出版社，2008年，第82页。
①金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第17页。
③Saul D. Feldman, Escape from the Doll’s House: Women in Graduate and Professional School Education, NewYork: Megraw,1974, p.22.
④金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第18页。
⑤Mary P. Ryan, The Empire of the Mother: American Writing about Domesticity,1830-1860, New York: HaworthPress,1982, p.116.
⑥Nina Baym, Novels, Reader, and Reviewers: Responser to Fiction in Antebellum America, Ithaca: CornellUniversity Press,1984, p.31.22
②金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第20页。
③Susan K. Harris,19th-Century American Women’s Novels: Interpretive Strategies, New York: CambridgeUnversity Press,1990, p.27.
④金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第21页。
⑤Cathy N. Davidson, Revolution and the Word: the Rise of the Novel in America, New York: Oxford UniversityPress,1986, p.123.
①埃默里·埃利奥特主编：哥伦比亚美国文学史，朱通伯等译，成都：四川辞书出版社，1994年，第234页。
②萨克文·伯科维奇主编：剑桥美国文学史（第二卷），史志康等译，北京：中央编译出版社，2008年，第113-117页。
③Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: Cornell24
①Mary Kelley,“The Sentimentalists: Promise and Betrayal in the Home,” Signs4.3(Spring1979), p.437.26
①参见Herbert Ross Brown, The Sentimental Novel in America,1788-1860, Drubam: Duke University Press,1940.
②Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-Century
American Women’s Novels,” American Quarterly, Vol.38, No.2,(Summer,1986):223-242.
③Gregg Crane, The Cambridge Introduction to the Nineteenth-Century Amrican Novel, New York: Cambridge
University Press,2007, p.104.
②斯陀夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第289页。
④Gregg Crane, The Cambridge Introduction to the Nineteenth-Century Amrican Novel, New York: CambridgeUniversity Press,2007, p.104.
①Joe Sutliff Sanders, Disciplining Girls: Understanding the Origins of the Classic Orphan Girl Story, Baltimore:Johns Hopkins University Press,2011, p.24.
②Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-CenturyAmerican Women’s Novels,” American Quarlerly38(Summer1986):227.
③Ibid., p.228.
④Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.584.
⑤Nina Baym,“the Rise of Woman Author,” The Columbia Literary History of the United States, Emory Elliott ed.New York: Columbia University Press,1988, p.299.
⑥Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.584.
⑦埃默里·埃利奥特主编：《哥伦比亚美国文学史》，朱通伯等译，成都：四川辞书出版社，1994年，第244页。
①Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: CornellUniversity Press,1978, pp.11-12.
②Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.9.
①Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: CornellUniversity Press,1978, p.144.
②Nancy Schnog,“Inside the Sentimental: the Psychological Work of The Wide, Wide World,” Genders4(Spring1989):12.
③Grace Ann Hovet, Theodore R. Hovet,“Identity Development in Susan Warner’s The Wide, Wide World:Relationship, Performance and Construction,” Legacy8.1(Spring1991):6.
①Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.510.
②Ibid., p.525.
③Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.163.
④Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.603.
①Anna Warner, Susan Warner [Elizabeth Wethrell], New York: G. P. Putnam’s Sons,1909, p.200.
①Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.10.
①Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.175.
②Ibid., p.176.
③Gregg Crane, The Cambridge Introduction to the Nineteenth-Century Amrican Novel, New York: CambridgeUniversity Press,2007, p.115.
①Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.553.
②Gregg Crane, The Cambridge Introduction to the Nineteenth-Century Amrican Novel, New York: CambridgeUniversity Press,2007, p.114.
④Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.166.
②Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.161.
④Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.12.
⑤Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.598.
⑥Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of American
①Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.18.
③Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.164.
④Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.42.
⑤Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.165.
②Mary P. Hiatt,“Susan Warner’s Subtext: The Other Side of Piety,” Journal of Evolutionary Psychology8(August1987):253.
①Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.193.
⑤Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.168.
②Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.13.
③Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.169.
④Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-CenturyAmerican Women’s Novels,” American Quarlerly38(Summer1986):226.
②Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.176.
③Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-CenturyAmerican Women’s Novels,” American Quarlerly38(Summer1986):230.
①Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-CenturyAmerican Women’s Novels,” American Quarlerly38(Summer1986):231.
②Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.326.
④Catharine O’Connell,“‘We Must Sorrow’: Silence, Suffering, and Sentimentality in Susan Warner’s The Wide,Wide World,” Studies in American Fiction,25:1(1997: Spring), p.23.
⑤Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.9.
①Catharine O’Connell,“‘We Must Sorrow’: Silence, Suffering, and Sentimentality in Susan Warner’s The Wide,Wide World,” Studies in American Fiction,25:1(1997: Spring), p.23.
②Susan Warner, The Wide, Wide World, New York: Feminist Press,1987, p.541.
①Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-CenturyAmerican Women’s Novels,” American Quarlerly38(Summer1986):232.
④Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.598.
⑤Jane Tompkins, Sensational Design: The Culture Work of American Fiction,1790-1860, New York: OxfordUniversity Press,1986, p.200.
①Veronica Stewart,“Mothering a Female Saint: Susan Warner’s Dialogue Role in The Wide, Wide World,” EssaysIn Literature22.1(Spring1995):59.
②Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.584.
④Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-CenturyAmerican Women’s Novels,” American Quarlerly38(Summer1986):232.
⑤Jane Tompkins,“the Other American Renaissance,” Sensational Designs: The Cultural Work of AmericanFiction,1790-1860, New York: Oxford University Press,1986, p.172.
①Nancy Schong,“Inside the Sentimental: The Psychological Work of The Wide, Wide World,” Genders4(Spring1989):17-18.
②转引自金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第152页。
③金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第152页。
④Nancy Schong,“Inside the Sentimental: The Psychological Work of The Wide, Wide World,” Genders4(Spring1989):23.
⑤Joanne Dobson,“The Hidden Hand: Subversion of Cultural Ideology in Three Mid-Nineteenth-CenturyAmerican Women’s Novels,” American Quarlerly38(Summer1986):239.
⑥Jane Weiss,“Susan Warner,” Nineteenth Century American Women Writers: A Bio-Bibliographical CriticalSourcebook, p.459.
⑦Jane Tompkins,“Afterword,” The Wide, Wide World, By Susan Warner, New York: Feminist Press,1987, p.585.
①Susan S. Williams,“Widening The World: Susan Warner, Her Readers, and the Assumption of Authorship,”American Quarterly42(December1990):565.
②Fred Lewis Pattee, The Feminine Fifties, New York: D. Appleton-Century Company,1940, p.57.
③D. G. Myers,“The Canonization of Susan Warner,” The New Criterion7.4(December1988):78.
①Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxxv.
②Joyce W. Warren, Fanny Fern: An Independent Woman, New Brunswick: Rutgers University Press,1992, p.3.
②Marry Kelley, Private Woman, Public Stage:Literary Domesticity in Nineteenth-Century America, New York:Oxford University Press,1984, p.138.
③Joyce W. Warren, Fanny Fern: An Independent Woman, New Brunswick: Rutgers University Press,1992, p.2.
①Joyce W. Warren, Fanny Fern: An Independent Woman, New Brunswick: Rutgers University Press,1992, p.130.
②Nancy A. Walker, Fanny Fern, New York: Twayne,1993, p.51.
③Joyce W. Warren,“Text and Context in Fanny Fern's Ruth Hall: From Widowhood to Independence,” Joiningsand Disjoinings: The Significance of Marital Status in Literature, ed. Joanna Stephens Mink, Janet DoublerWard, Bowling Green, Ohio: Bowling Green State University Popular Press,1991, p.74.
④转引自金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第167页。
⑤Joyce W. Warren, Fanny Fern: An Independent Woman, New Brunswick: Rutgers University Press,1992, pp.124-125.
⑥Ann A. Wood,“The Scribbling Women and Fanny Fern: Why Women Wroter,” American Quarterly23(Spring1971):13.
⑦Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.290.
①Joyce W. Warren,“Text and Context in Fanny Fern's Ruth Hall: From Widowhood to Independence,” Joiningsand Disjoinings: The Significance of Marital Status in Literature, ed. Joanna Stephens Mink, Janet DoublerWard, Bowling Green, Ohio: Bowling Green State University Popular Press,1991, p.68.
⑤Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.175.
①Joyce W. Warren, Fanny Fern: An Independent Woman, New Brunswick: Rutgers University Press,1992, p.69.
②Ann D. Wood,“The Scribbling Women and Fanny Fern: Why Women Wroter,” American Quarterly23(Spring1971):23.
③Marry Kelley, Private Woman, Public Stage: Literary Domesticity in Nineteenth-Century America, New York:Oxford University Press,1984, p.139.
④Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.115.
③Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxxi.
①Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.146.
②Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: CornellUniversity Press,1978, p.253.
③Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxii.
④Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.173.
⑤Susan K. Harris,“Inscribing and Defining: The Many Voices of Fanny Fern’s Ruth Hall,”19th-CenturyAmerican Women’s Novels: Interpretive Strategies, New York: Cambridge University Press,1990, p.332.
①Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.332.
②Linda Huf, A Portrait of the Artist as a Young Woman: The Writer as Heroine in American Literature, New York:Frederick Ungar,1983, p.30.
①Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, pp.125-126.
②Linda Huf, A Portrait of the Artist as a Young Woman: The Writer as Heroine in American Literature, New York:Frederick Ungar,1983, p.32.
③Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.156.
④Joyce W. Warren,“Introduction,” Fanny fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxii.
⑤金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第173页。
⑥Linda Huf, A Portrait of the Artist as a Young Woman: The Writer as Heroine in American Literature, New York:Frederick Ungar,1983, p.24.
①Joyce W. Warren,“Introduction,” Fanny fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxiii.
②Nancy A. Walker, Fanny Fern, New York: Twayne,1993, pp.45-46.
③Susan K. Harris,“Inscribing and Defining: The Many Voices of Fanny Fern’s Ruth Hall,”19th-CenturyAmerican Women’s Novels: Interpretive Strategies, New York: Cambridge University Press,1990, pp.112-113.
④Elaine Showalter,"American Gynocriticism," American Literary History, Vol.5, No.1(Spring,1993), p.116.
⑤Joyce W. Warren,“Legacy Profile: Fanny Fern (1811-1872),” Legacy2.2(1985), p.56.
①Joyce W. Warren,“Text and Context in Fanny Fern's Ruth Hall: From Widowhood to Independence,” Joiningsand Disjoinings: The Significance of Marital Status in Literature, ed. JoAnna Stephens Mink, Janet DoublerWard, Bowling Green State University Popular Press,1991, p.73.
①John Seely Hart, The Female Prose Writers of America, Philadelphia: E. H. Butler&Co.,1866, p.470.
②Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.126.
④Joyce W. Warren,“Text and Context in Fanny Fern's Ruth Hall: From Widowhood to Independence,” Joiningsand Disjoinings: The Significance of Marital Status in Literature, ed. JoAnna Stephens Mink, Janet DoublerWard, Bowling Green, Ohio: Bowling Green State University Popular Press,1991, p.74.
①Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxi.
③Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.109.
④Joyce W. Warren,“Text and Context in Fanny Fern's Ruth Hall: From Widowhood to Independence,” Joiningsand Disjoinings: The Significance of Marital Status in Literature, ed. JoAnna Stephens Mink, Janet DoublerWard, Bowling Green, Ohio: Bowling Green State University Popular Press,1991, p.73.
⑤Joyce W. Warren,“Introduction,” Fanny fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxii.
④Joyce W. Warren, The (Other) American Traditions: Nineteenth-Century Women Writers, New Brunswick:Rutgers University Press,1993, p.80.
①Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxi.
④Joyce W. Warren,“The Gender of American Individualism: Fanny Fern, the Novel, and the American Dream,”Politics, Gender, and the Arts, ed. Ronald Dotterer, Susan Bowers, Selingsgrove,PA: Susguehanna UniversityPress,1991, pp.153-155.
①Gregg Crane, The Cambridge Introduction to the Nineteenth-Century Amrican Novel, New York: CambridgeUniversity Press,2007, p.125.
①Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxiii.
④Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: CornellUniversity Press,1978, p.35.
⑤Ibid., pp.48-49.
⑥Jane Tompkins, Sensational Designs: The Cultural Work of American Fiction,1790-1860, New York: OxfordUniversity Press,1986, p.125.
①Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxiv.
①转引自金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第180页。
②转引自金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第181页。
③Joyce W. Warren, Fanny Fern: An Independent Woman, New Brunswick: Rutgers University Press,1992, p.9.
④Marry Kelley, Private Woman, Public Stage: Literary Domesticity in Nineteenth-Century America, New York:Oxford University Press,1984, p.152.
①Nancy A. Walker, Fanny Fern, New York: Twayne,1993, p.115.
②Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: CornellUniversity Press,1978, p.252.
③Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.220.
④转引自金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第184页。
⑤Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxi.
⑥Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, New Brunswick: Rutgers University Press,1992, p.318.
①Joyce W. Warren,“Introduction,” Fanny Fern, Ruth Hall and Other Writings, ed. Joyce W. Warren, NewBrunswick: Rutgers University Press,1992, p. xxxv.
①Thomas F. Gossett, Uncle Tom's Cabin and American Culture, Dallas, Tex.: Southern Methodist UniversityPress,1985, p.164.
②Susan Coultrap-Mcquin,“The Impact of Dometic Feminism: Harriet Beecher Stowe’s Mature Career,” DoingLiterary Business: American Women Writers in the Nineteenth Century, Chapel Hill: University of NorthCarolina Press,1990, p.91.
③Elizabeth Ammons,“Heroines in Uncle Tom’s Cabin,” American Literature, Vol.49, No.2(May,1977), p.165.
④Susan Coultrap-Mcquin,“The Impact of Dometic Feminism: Harriet Beecher Stowe’s Mature Career,” DoingLiterary Business: American Women Writers in the Nineteenth Century, Chapel Hill: University of NorthCarolina Press,1990, p.81.
①斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第11页。
①Barbara Welter,“The Cult of True Womanhood:1820-1860,” American Quarterly, Vol.18, No.2, Part1,(Summer,1966), p.152.
②斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第155页。
①Jane Tompkins,“Sentimental Power: Uncle Tom's Cabin and the Politics of Literary History,” SensationalDesigns: The Cultural Work of American Fiction1790-1860, New York: Oxford University Press,1986, p.125.
②Gillian Brown,“Getting in the Kitchen with Dinah: Domestic Politics in Uncle Tom’s Cabin,” AmericanQuarterly, Vol.36, No.4(Autumn,1984), p.507.
④Lori Askeland,“Remodeling the Model Home in Uncle Tom’s Cabin and Beloved,” American Literature, Vol.64,No.4(Dec.,1992) p.787.
①斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第158-159页。
②Catharine Beecher, A Treatise on Domestic Economy,1841; rpt. New York: Schocken Books,1977.
③Gillian Brown,“Getting in the Kitchen with Dinah: Domestic Politics in Uncle Tom’s Cabin,” AmericanQuarterly, Vol.36, No.4(Autumn,1984), p.508.
④斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第209页。
⑥Gillian Brown,“Getting in the Kitchen with Dinah: Domestic Politics in Uncle Tom’s Cabin,” AmericanQuarterly, Vol.36, No.4(Autumn,1984), p.511.
②斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第136页。
③Gillian Brown,“Getting in the Kitchen with Dinah: Domestic Politics in Uncle Tom’s Cabin,” AmericanQuarterly, Vol.36, No.4(Autumn,1984), p.513.
①斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第114页。
①Gillian Brown,“Getting in the Kitchen with Dinah: Domestic Politics in Uncle Tom’s Cabin,” AmericanQuarterly, Vol.36, No.4(Autumn,1984), p.520.
②Ibid., p.503.
③斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第212页。
②Gillian Brown,“Getting in the Kitchen with Dinah: Domestic Politics in Uncle Tom’s Cabin,” AmericanQuarterly, Vol.36, No.4(Autumn,1984), p.504.
①斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第354页。
②Theodore Hovet, The Master Narrative: Harriet Beecher Stowe’s Subversive Story of Master and Slave in“Uncle Tom’s Cabin” and “Dred”, Boston: University Press of America,1989, p.23.
③Elizabeth Ammons,“Heroines in Uncle Tom’s Cabin,” American Literature, Vol.49, No.2(May,1977), p.161.
⑤Elizabeth Ammons,“Stowe’s Dream of the Mother-Savior: Uncle Tom’s Cabin and American Women WritersBefore the1920s,” New Essays on Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge: Cambridge UniversityPress,1986, p.164.
①斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第268页。
③Jane Tompkins,“Sentimental Power: Uncle Tom's Cabin and the Politics of Literary History,” SensationalDesigns: The Cultural Work of American Fiction1790-1860, New York: Oxford University Press,1986, p.134.
④转引自金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第49页。
①Elizabeth Ammons,“Stowe’s Dream of the Mother-Savior: Uncle Tom’s Cabin and American Women WritersBefore the1920s,” New Essays on Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge: Cambridge UniversityPress,1986, p.157.
①斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第6页。
④Quot. from Elizabeth Ammons,“Stowe’s Dream of the Mother-Savior: Uncle Tom’s Cabin and AmericanWomen Writers Before the1920s,” New Essays on Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge:Cambridge University Press,1986, p.162.
⑤Elizabeth Ammons,“Stowe’s Dream of the Mother-Savior: Uncle Tom’s Cabin and American Women Writers
④Elizabeth Ammons,“Heroines in Uncle Tom’s Cabin,” American Literature, Vol.49, No.2(May,1977), pp.161-179.
①Elizabeth Ammons,“Stowe’s Dream of the Mother-Savior: Uncle Tom’s Cabin and American Women WritersBefore the1920s,” New Essays on Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge: Cambridge UniversityPress,1986, p.167.
②斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第136页。
③Elizabeth Ammons,“Stowe’s Dream of the Mother-Savior: Uncle Tom’s Cabin and American Women WritersBefore the1920s,” New Essays on Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge: Cambridge UniversityPress,1986, p.168.
④斯托夫人：《汤姆叔叔的小屋》，王家湘译，北京：人民文学出版社，1998年，第137页。
⑦Elizabeth Ammons,“Stowe’s Dream of the Mother-Savior: Uncle Tom’s Cabin and American Women Writers
②Jean Fagan Yellin,“Doing It Herself: Uncle Tom’s Cabin and Woman’s Role in the Slavery Crisis,” New Essayson Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge: Cambridge University Press,1986, p.101.
③Jane Tompkins,“Sentimental Power: Uncle Tom's Cabin and the Politics of Literary History,” SensationalDesigns: The Cultural Work of American Fiction1790-1860, New York: Oxford University Press,1986, pp.124-126.
④Jean Fagan Yellin,“Doing It Herself: Uncle Tom’s Cabin and Woman’s Role in the Slavery Crisis,” New Essayson Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge: Cambridge University Press,1986, p.91.
①Richard Yarborough,“Strategies of Black Characterization in Uncle Tom’s Cabin and the Early Afro-AmericanNovel,” New Essays on Uncle Tom’s Cabin, ed. Eric J. Sundquist, Cambridge: Cambridge University Press,1986, p.50.
③Robert S. Levine,“Uncle Tom’s Cabin in Frederick Douglass’s Paper: An Analysis of Reception,” Uncle Tom’sCabin, by Harriet Beecher Stowe, ed. Elizabeth Ammons, A Norton Critical Edition, New York: Norton,1994, p.539.
①Elaine Showalter,“Little Women: The American Female Myth,” Sister’s Choice: Tradition and Change inAmerican Women’s Writing, Oxford: Oxford University Press,1994, pp.50-51.
②Hope Stoddard,“Louisa May Alcott,” Famous American Women, New York: Thomas Y. Crowell,1970, p.21.
③Ednah D. Cheney, Louisa May Alcott: Her Life, Letters, and Journals, Boston: Little,1990, p.190.
②Martha Saxton, Louisa May: A Modern Biography of Louisa May Alcott, Boston: Houghton Mifflin,1977, p.300.
③Ednah D. Cheney, Louisa May Alcott: Her Life, Letters, and Journals, Boston: Little,1990, p.256.
④Madeleine B. Stern,“Introduction,” Louisa May Alcott: A Biography, Boston: Northeastern University Press,1999, p. xxiii.
⑤Janice M. Alberghene and Beverly Lyon Clark, ed.,“Introduction,” Little Women and The Feminist Imagination:Criticism, Controversy, Personal Essays, New York: Garland,1999, p. xxix.
⑥Elizabeth Langland,“Female Stories of Experience: Alcott’s Little Women in Light of Work,” The Voyage in:Fictions of Female Development, eds. Elizabeth Abel et al. Hanover: University Press of New England,1983, p.113.
⑦Elaine Showalter,“Little Women: The American Female Myth,” Sister’s Choice: Tradition and Change inAmerican Women’s Writing, Oxford: Oxford University Press,1994, p.53.“天路历程”和“女巫的咒语”是马奇家四姐妹表演的两个家庭表演剧。
⑧Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):370.
①路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第1页。
③Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):372.
④路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第12页。
⑥Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):372.
①路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第283页。
⑥Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):376.
①路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第310页。
②同上，第311页。
③同上。
④同上，第312页。
⑤同上，第313页。
⑥同上，第315页。
⑦同上。
⑧同上，第316页。
⑨同上，第317页。
⑩同上。
④Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):380.
①路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第80-81页。
②Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):381.
③路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第360-361页。
⑦Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):374.
②路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第17页。
⑤“面具背后”（Behind a Mask）是奥尔科特创作的惊险故事中最有代表性的一篇，主要表现了女性对父权文化的反抗。
⑥路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第243页。
⑦Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):374-375.
①路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第247-248页。
④Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):379.
①路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第4页。
②Judith Fetterley,“‘Little Women’: Alcott’s Civil War,” Feminist Studies, Vol.5. No.2(Summer,1979):380.
③Sandra M. Gilbert, Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth-CenturyLiterary Imagination, Second Edition, New Haven and London: Yale University Press,2000, p.25.
④Elaine Showalter,“Little Women: The American Female Myth,” Sister’s Choice: Tradition and Change inAmerican Women’s Writing, Oxford: Oxford University Press,1994, p.48.
⑥Susan Naomi Berstein,“Writing and Little Women: Alcott’s Rhetoric of Subversion,” American TranscendentalQuarterly7.1(March1993):39.
⑦路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第363页。
④Elaine Showalter,“Little Women: The American Female Myth,” Sister’s Choice: Tradition and Change inAmerican Women’s Writing, Oxford: Oxford University Press,1994, p.62.
⑤路易莎·梅·奥尔科特：《小妇人》，刘春英，陈玉立译，南京：译林出版社，1998年，第504页。
②Elaine Showalter,“Little Women: The American Female Myth,” Sister’s Choice: Tradition and Change inAmerican Women’s Writing, Oxford: Oxford University Press,1994, p.44.
③Martha Saxton, Louisa May: A Modern Biography of Louisa May Alcott, Boston: Houghton Mifflin,1977, p.9.
④Nina Baym, Woman’s Fiction: A Guide of Novels by and about Women in America,1820-1870, Itaca: CornellUniversity Press,1978, p.23.
①Susan Naomi Berstein,“Writing and Little Women: Alcott’s Rhetoric of Subversion,” American TranscendentalQuarterly7.1(March1993):25.
②Sarah Elbert, A Hunger for Home: Louisa May Alcott and Little Women, Philadelphia: Temple University Press,p, xiii.
③Madeleine B. Stern,“Introduction,” The Feminist Alcott: Stories of a Woman’s Power, ed. Madeleine B. Stern,Boston: Northeastern University Press,1996, p. vii.
④Sarah Elbert, A Hunger for Home: Louisa May Alcott and Little Women, Philadelphia: Temple University Press,p, xiiv.
⑥Elaine Showalter,“Little Women: The American Female Myth,” Sister’s Choice: Tradition and Change inAmerican Women’s Writing, Oxford: Oxford University Press,1994, p.50.
⑦Martha Saxton,“The Secret Imaginings of Louisa Alcott,” Critical Essays on Louisa May Alcott, Ed. MadeleineB. Stern, Boston: G. K. Hall,1984, p.254.
⑧Elaine Showalter,“Introduction,” Alternative Alcott, Louisa May Alcott, Elaine Showalter ed., New Brunswick:Rutgers University Press,1988, p. xiii.
①Elaine Showalter,“Little Women: The American Female Myth,” Sister’s Choice: Tradition and Change inAmerican Women’s Writing, Oxford: Oxford University Press,1994, pp.56-57.
②Hope Stoddard,“Louisa May Alcott,” Famous American Women, New York: Thomas Y. Crowell,1970, p.22.
①Talia Schaffer,“‘Nothing but Foolscap and Ink’: Inventing the New Woman,” The New Woman in Fiction and inFact: Fin-de-Siecle Feminism. Eds. Angelique Richerdson and Chris Wills. New York: Palgrave Publishers,2001, p.40.
②Carolyn Forrey,“The New Woman Revisited,” Women’s Studies2(1974):38.
①Joyce W. Warren, Fanny Fern: An Independent Woman, New Brunswick: Rutgers University Press,1992, p.4
②Edmund Wilson, Patriotic Gore: Studies in the Literature of the American Civil War, New York: OxfordUniversity Press,1962, p.31.
③Thomas F. Gossett, Uncle Tom's Cabin and American Culture, Dallas, Tex.: Southern Methodist UniversityPress,1985, p.97.
④转引自金莉：《文学女性与女性文学：19世纪美国女性小说家及作品》，北京：外语教学与研究出版社，2004年，第39页。
①参见Susan Coultrap-Mcquin,“The Impact of Dometic Feminism: Harriet Beecher Stowe’s Mature Career,”Doing Literary Business: American Women Writers in the Nineteenth Century, Chapel Hill: University of NorthCarolina Press,1990, p.91.
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1.埃利奥特，埃默里主编：《哥伦比亚美国文学史》[C]，朱通伯等译，成都：四川辞书出版社，1994年。
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4.黄禄善：《美国通俗小说史》[M]，南京：译林出版社，2003年。
5.黄梅：《推敲“自我”：小说在18世纪的英国》[M]，北京：三联书店，2003年。
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7.刘海平、王守仁主编，朱刚主撰：《新编美国文学史》第二卷[C]，上海：上海外语教育出版社，2002年。
8.卢敏：《美国浪漫主义时期小说类型研究》[M]，上海：上海人民出版社，2008年。
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8.金莉：《美国女性文学史的开山之作——论肖沃尔特的<她的同性陪审团：从安妮·布雷兹特利特至安妮·普鲁克斯的美国女性作家>》[J]，《外国文学》，2010年第3期。
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15.王楠：《“缝被”的文化隐喻与美国女性主义文学传统的建构》[J]，《妇女研究论丛》，2012年第6期。
16.王小梅：《十九世纪女性文学的革命之作——<露丝·霍尔>》[J]，《天津外国语学院学报》，1999年第4期。
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18.杨春：《<汤姆叔叔的小屋>的新历史主义解读》[J]，《湘南学院学报》，2006年第1期。
19.杨金才：《美国文艺复兴时期的文学意识》[J]，《深圳大学学报》（人文社会科学版），2007年第1期。
20.于倩：《道德伦理与人生选择：论<小妇人>中乔的爱情与婚姻》[J]，《世界文学评论》，2011年第1期。
21.张生珍，金莉：《当代美国戏剧中的家庭伦理关系探析》[J]，《外国文学》，2011年第5期。
22.周铭，金莉：《从道德天使到实践先锋——美国女性的环保角色嬗变》[J]，《妇女研究论丛》，2010年第4期。