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A personal recount on the issue of expectations being different from reality

Popular belief of the period suggested that Africans were a tainted race since Biblical times -- the darkness of their skin was the mark of Cain, and the entire race was presumed descendants of the original fratricide. Africans did not look exactly like European Americans; thus they were considered a different species - not quite human, but slightly above the animal because a personal recount on the issue of expectations being different from reality could be taught language.

The purpose of the slave narrative was to arouse the sympathy of white, Christian readers in the hopes of encouraging abolition of slavery as a result of the humanizing effect of humanitarian characterization of the slaves. Although all slave narratives shared the same primary goals, female narratives had a more specific target audience: Female slave narratives appealed to women by highlighting the uniquely female issues of slavery: In a time when upper class, educated women were protected from the unpleasantries of slavery and lifefrank discussions of sexual exploitation were especially intriguing to the sheltered female population.

Although fear of sexual predators was completely outside of their personal experience, these women understood the implications of powerlessness both sexual and social. Motherhood was a woman's primary role in this period and was firmly entrenched in the feminine sense of self worth. The logic that connected mothers of different social classes was hard to dispute. White women are mothers and motherhood is sacred; therefore, white women should be protected and revered.

Slave women are mothers, and motherhood is sacred; therefore, slave women should be protected and revered. Female slave narratives tried to overcome the belief that black women were without normal "white" maternal sensibilities by presenting heartbreaking images of motherhood besmirched by abuse and enforced separation.

While male slaves who achieved their freedom were heroic and often physically aggressive, their female counterparts are very much women of the period: Characterization of a heroic female slave who broke all of the standards of female behavior would have been a risky choice because the roles of men and women were so firmly engrained in the psyches of the target audience.

And because an alienated audience would be unwilling to take the necessary steps toward changing the attitudes of a nation, risky characterization of female slaves was avoided.

Superadded to the burden common to all, they have wrongs, and sufferings, and mortifications peculiarly their own. Determined that Flint would not "succeed at last in trampling his victim under his feet," she informs the reader that chapter 10 relates a part of her life that has caused great pain and shame.

She only tells this story because she promised her audience the truth, and she begs her female audience of "happy women, whose purity has been sheltered. I wanted to keep myself pure; and under the most adverse circumstances, I tried hard to preserve my self-respect; but I was struggling alone in the powerful grasp of the demon Slavery; and the monster proved too strong for me" 1726.

For the piously unrelenting audience who might be less inclined to forgive Jacobs for her a personal recount on the issue of expectations being different from reality, the slave girl is punished by her loss of self-respect and temporary estrangement from her beloved grandmother. The recurrent theme of female chastity reflects not only the imposed values of a white society that offered Jacobs no protection but also a common thematic element in the widely popular sentimental novel.

My children and I are now free! Although it is clear that Jacobs does not want to have children outside of marriage, her feminine instincts create a strong bond with her son: The little vine was taking deep root in my existence, though its clinging fondness excited a mixture of love and pain. When I was most sorely oppressed I found a solace in his smiles.

I loved to watch his infant slumbers. Sands has purchased Benny and Ellen and granted their freedom, her immediate reaction is complete and utter happiness: Whatever slavery might do to me, it could not shackle my children. If I fell a sacrifice, my little ones were saved. Flint's pursuit in reality, a tiny garret over her grandmother's shedshe is "not comfortless.

Through [her] peeping hole [she] could watch the children, and when they were near enough, [she] could hear their talk. She respects her grandmother and feels that all else in her life can be made right as long as she has her love and understanding: Flint because of her desire to follow in her mother's footsteps as a married woman who "had never violated" her vows of chastity 1731.

Her love for her children overwhelms all concern for herself. As she waits patiently in the garret for seven years an example of feminine enduranceJacobs reads and sews, accepted female pursuits.

The contrast between kind whites and cruel slave owners is less overt in this reading only because of the limitation of the Norton excerpt. In "Sketches of Neighboring Slaveholders," the narrator catalogs the cruelty of Mr. Wade as "not exceptions to the general rule" and also tells of a young white woman who "was very pious and.

Her religion was not a garb put on for Sunday, and laid aside till Sunday returned.

  1. Family stories are accepted and held onto based on how the "shape" the group, not based on each story's individual merit or the storytelling skill. In mimesis2, you are in the phase of dictating your autobiography.
  2. Through my words and deeds I begin to actualise this picture of me, which I have more or less intentionally created. Competing paradigms in qualitative research.
  3. Key Takeaways A dramaturgical approach likens social interaction to a dramatic production.
  4. As long as the piece deals with something real, or something based on the real, the writer is allowed to take the piece in any direction he or she wishes.

Bruce who allow her to believe in her worth as a person, not as a slave. He refuses to allow her to marry off his plantation and even eventually threatens her children by Mr.

Sands because he is so determined to have her. He claims that he thought she "felt above the insults of such puppies" and strikes her when she remarks that she and her young man should love one another because they "are both of the negro race" 1723.

Why allow the tendrils of the heart to twine around objects which may at any moment be wrenched away by the hand of violence? Although these questions are intended to focus the reader on romantic love, the same question can be asked about familial love because as Jacobs takes comfort in her close relationship with her younger brother, she realizes that "he might be torn from [her] at any moment, by some sudden freak of [her] master" 1725.

The threat of separation exists in both types of relationship because slave owners disregarded slaves' emotions as part of the dehumanizing process.

  1. When a paradigm is articulated the progress of a paradigm more accurately, this coherence begins to crack and more anomalies begin to emerge. Secondly, we take a Foucaultian view on truth as power.
  2. Although he spent his life in one of the finest ages of human history, the so-called Pax Romana "the Roman peace" lasting from 31 BCE to 180 CE , a period which saw fewer wars, social unrest and economic burdens than the vast majority of times, Tacitus was, at least to judge from his writings, a fairly unhappy fellow.
  3. As Jerome Bruner , 13 has put it.

After she was freed upon his death, her small family was captured and sold back into slavery which would have been illegal if slaves had any rights at all. These God-breathing machines are no more, in the sight of their masters, than the cotton they plant, or the horses they tend" 1721.

Jacobs' knowledge of the biological connections between slave and owner is illustrated as she laments the lack of family connection: And Jacobs knows exactly how to appeal to her feminine audience. She hopes that her readers never experience the horrors that she has seen: I never did but once; and I trust I never shall again.

Most telling of all her addresses are those that remind the reader that she or he is so far removed from her experiences that they cannot be expected to understand her plight fully - notice the sections that begin with comments like "if you have never been a slave" 1735.

This new prison is described as being the most physically uncomfortable place we can imagine, but Jacobs chose to live in the garret for seven years rather than live another day as a slave, and although her account of slavery focuses on her personal experience rather than introducing numerous other character "types," she does provide the reader with the expected list of slavery-related atrocities in chapter 21 as she recounts all of the things not done to her: She was never treated thus, but others were.

Vivid physical details of abuse rarely failed to move the sympathetic audience. As her freedom is threatened by Dr. This sense that she deserves freedom is new to Jacobs; until her "enlightenment" she railed against her circumstance when it threatened her family but otherwise accepted that she was property.

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This newfound pride in her humanity leads her to decline Mrs. Bruce purchases Jacobs from her persecutors, Jacobs is alternately astonished that such a transaction could occur "in the free city of New York. The following pictures might be of interest.