Gillian Brown's book probes the key relationship between domestic ideology and formulations of the self in nineteenth-century America. Arguing that domesticity institutes gender, class, and racial distinctions that govern masculine as well as feminine identity, Brown brilliantly alters, for literary critics, feminists, and cultural historians, the critical perspective from which nineteenth-century American literature and culture have been viewed. In this study of the domestic constitution of individualism, Brown traces how the values of interiority, order, privacy, and enclosure associated with the American home come to define selfhood in general. By analyzing writings by Stowe, Hawthorne, Melville, Fern, and Gilman, and by examining other contemporary cultural modes—abolitionism, consumerism, architecture, interior decorating, motherhood, mesmerism, hysteria, and agoraphobia—she reconfigures the parameters of both domesticity and the patterns of self it fashions. Unfolding a representational history of the domestic, Brown's work offers striking new readings of the literary texts as well as of the cultural contexts that they embody.

This book studies nineteenth-century American individualism and its relationship to the simultaneous rise of the market economy as articulated in the works of Ralph Waldo Emerson, Henry David Thoreau, and William Graham Sumner. The argument of the book is that these thinkers offer distinct visions of individualism that reflect their respective understandings of the market, and provide thoughtful and insightful perspectives upon the promise and peril of this economic and social order. Looking back to Emerson, Thoreau, and Sumner furnishes valuable insights about the history of American political and social thought, as well as about the complexity of one of the most basic and prevalent relationships of modern life: that between the individual and the institutional complex of the market.

The election of America’s first black president has led many to believe that race is no longer a real obstacle to success and that remaining racial inequality stems largely from the failure of minority groups to take personal responsibility for seeking out opportunities. Often this argument is made in the name of the long tradition of self-reliance and American individualism. In Awakening to Race, Jack Turner upends this view, arguing that it expresses not a deep commitment to the values of individualism, but a narrow understanding of them. Drawing on the works of Ralph Waldo Emerson, Henry David Thoreau, Frederick Douglass, Ralph Ellison, and James Baldwin, Turner offers an original reconstruction of democratic individualism in American thought. All these thinkers, he shows, held that personal responsibility entails a refusal to be complicit in injustice and a duty to combat the conditions and structures that support it. At a time when individualism is invoked as a reason for inaction, Turner makes the individualist tradition the basis of a bold and impassioned case for race consciousness—consciousness of the ways that race continues to constrain opportunity in America. Turner’s “new individualism” becomes the grounds for concerted public action against racial injustice.

The Myth of Empowerment surveys the ways in which women have been represented and influenced by the rapidly growing therapeutic culture—both popular and professional—from the mid-nineteenth century to the present. The middle-class woman concerned about her health and her ability to care for others in an uncertain world is not as different from her late nineteenth-century white middle-class predecessors as we might imagine. In the nineteenth century she was told that her moral virtue was her power; today, her power is said to reside in her ability to “relate” to others or to take better care of herself so that she can take care of others. Dana Becker argues that ideas like empowerment perpetuate the myth that many of the problems women have are medical rather than societal; personal rather than political. From mesmerism to psychotherapy to the Oprah Winfrey Show, women have gleaned ideas about who they are as psychological beings. Becker questions what women have had to gain from these ideas as she recounts the story of where they have been led and where the therapeutic culture is taking them.

Until now, Eugene O'Neill's psychological dramas have been analyzed mainly by critics who relied on obvious parallels between O'Neill's life, his family, and his plays. In this theoretically expansive and interdisciplinary book, Joel Pfister reassesses what was at stake ideologically in O'Neill's staging and modernizing of 'psychological' individualism for his social class. Pfister examines the history of the middle-class family and of Freudian pop psychology in the 1910s and 1920s to reconstruct the cultural conditions for the imagining and popularizing of 'depth,' a trope that was central to O'Neill's dramatic vision. He also recovers provocative critiques by contemporary critics on the Left who challenged O'Neill's preoccupation with dramatizing psychological, familial, and aesthetic 'depth.' One of the few sustained works on O'Neill in recent years, this wide-ranging book makes a major contribution to cultural studies, to the history of subjectivity, and to scholarship on the ideological origins of modernism and modern American drama. Originally published in 1995. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

"As a pioneering work, it is itself critical history."--Women's Review of Books. "Tate's book deserves an honored place in historical literature."--American Historical Review.