This thesis, “Make-Believe: Uncertainty, Alterity, and Faith in Nineteenth-Century Supernatural Short Stories,” illustrates the confluence in nineteenth century America of a philosophical investment in uncertainty and the emergence of a genre suited to its expression. I argue that supernatural short story collections, characterized by stories with explicit fantastical elements or which leave open that possibility, helped voice and explore uncertainty as a critique of prevailing master narratives of both Enlightenment rationalism and religious orthodoxy. My study examines Nathaniel Hawthorne’s Mosses from an Old Manse (1846), Herman Melville’s The Piazza Tales (1856), Charles Chesnutt’s The Conjure Woman, and Other Conjure Tales (1899), and Mary Wilkins Freeman’s The Wind in the Rose-Bush (1903), whose fantastic elements question the confident subjectivity shored up by rationalism and the sense of totality it projects. The genre’s insistent uncertainty conditions a reader into an alternative posture of openness to possibilities—an openness which, at its most ethically effective, describes a means to approach alterity without the totalizing certainty which so often reduces the other. The terms of faith are crucial here, as a means to lend numinous or transcendent meaning to the world beyond the reach of, and therefore setting limits on, rational materialism. But faith also functions on an ethical and interpersonal level, in the act of believing the testimony of an other despite the assumptions of the self. As the century progresses, this genre was taken up by authors with identities more vulnerable to society’s master narratives and the power structures they uphold. My final two chapters demonstrate how the supernatural uncertainty in these collections provided not just a theoretical model for approaching otherness but a specific articulation of the oppressions which certainty enables and the openness which the supernatural helps to found.
Make-believe: uncertainty, alterity, and faith in nineteenth-century supernatural short stories
Abstract
Details
- Title: Subtitle
- Make-believe: uncertainty, alterity, and faith in nineteenth-century supernatural short stories
- Creators
- Justin David Cosner - University of Iowa
- Contributors
- Lori Branch (Advisor)Kathleen Diffley (Committee Member)Ed Folsom (Committee Member)Garrett Stewart (Committee Member)Kristy Nabhan-Warren (Committee Member)
- Resource Type
- Dissertation
- Degree Awarded
- Doctor of Philosophy (PhD), University of Iowa
- Degree in
- English
- Date degree season
- Summer 2017
- DOI
- 10.17077/etd.yt8awgcl
- Publisher
- University of Iowa
- Number of pages
- v, 267 pages
- Copyright
- Copyright © 2017 Justin David Cosner
- Language
- English
- Description bibliographic
- Includes bibliographical references (pages 255-267).
- Public Abstract (ETD)
This thesis illustrates the confluence in nineteenth century America of a philosophical investment in uncertainty and the emergence of a genre suited to its expression. I argue that supernatural short story collections helped voice and explore uncertainty as a critique of prevailing master narratives of both Enlightenment rationalism and religious orthodoxy. My study examines Mosses from an Old Manse (1846), The Piazza Tales (1856), The Conjure Woman, and Other Conjure Tales (1899), and The Wind in the Rose-Bush (1903), whose fantastic elements question the confident subjectivity shored up by rationalism and the sense of totality it projects. The genre’s uncertainty conditions a an alternative posture of openness to possibilities—an openness which, at its most ethically effective, describes a means to approach alterity without the totalizing certainty which so often reduces the other. The terms of faith are crucial here, as a means to lend numinous or transcendent meaning to the world beyond the reach of, and setting limits on, rational materialism. But faith also functions on an ethical, in the act of believing the testimony of an other despite the assumptions of the self. As the century progresses, this genre was taken up by authors with identities more vulnerable to society’s master narratives and the power structures they uphold. My final two chapters demonstrate how the supernatural uncertainty in these collections provided not just a theoretical model for approaching otherness but a specific articulation of the oppressions which certainty enables and the openness which the supernatural helps to found.
- Academic Unit
- English
- Record Identifier
- 9983776767102771