Annotated Bibliography
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Title
Annotated Bibliography
Description
Wadsworth, Sarah A. “Innocence Abroad: Henry James and the Re-Invention of the American Woman Abroad.” The Henry James Review, vol. 22, no. 2, 2001, pp. 107-127. Project MUSE, doi:10.1353/hjr.2001.0021
Sarah Wadsworth argues that Henry James did not invent the “international American girl” archetype, but rather revitalized the genre as the vision of this character became ordinary in the decade preceding Daisy Miller. She credits a female author named Mary Murdoch Mason with the invention of the American woman abroad, and accredits James with the Re-invention. In a comparison of Mason’s Mae Madden and James’ Daisy Miller, Wadsworth indicates a difference in perspective as it relates to the authorship of “women abroad” narratives. While Wadsworth acknowledges how James’ taking up the genre contributed to the expansion of its audience, to males and upper-class readers, she notes that in doing so he simultaneously refashioned the definition of the American woman abroad in such a way that it hindered the progress of female writers. Wadsworth claimed that in publishing his own version of the American woman abroad narrative he “masculinized it] . . . in order to reclaim literature as a gentlemanly pursuit.” By eliminating the varying perspectives Mason included in her story, which she utilized in ways that allowed her to defend the female protagonist, James was subjecting Daisy Miller to becoming a product of the male gaze, by limiting the perspective on Daisy’s character to the thoughts of Winterbourne. Wadsworth also utilizes Alfred Habegger’s argument that James was indecisive in his attitude toward contemporary women writers. That female writers receive less credit for depicting the American woman abroad in more impartial ways than James, speaks to the atmosphere of misogyny surrounding the literary world of the 19th century. Wadsworth’s claim is useful because it may provide evidence that suggests that the subliminally sexist illustrations by Harry McVickar, in An International Episode, may conflict with the kind of woman James presents in the story, yet be more closely aligned to his personal views.
Sonstegard, Adam. "Discreetly Depicting "an outrage": Graphic Illustration and "Daisy Miller"'s Reputation." The Henry James Review, vol. 29, no. 1, 2008, pp. 65-79. Project MUSE, doi:10.1353/hjr.2008.0002
Adam Sonstegard comments on Daisy Miller’s scandalous public perception in relation to the images in it’s first illustrated version in 1892. Although Daisy Miller preceded An International Episode, the illustrated versions of each novel were published the same year, and both had the same illustrator, Harry W. McVickar. Sonstegard seems to defend McVickar in his illustration of the novel, seeming to think he had a lot working against him, as it was his job to depict—or merely not depict at all— Daisy in a way that downplays her character as a mischievous American flirt. He argues that in McVickar The Evolution of Woman he was able to portray this “New Woman” with ease, pointing out how he refrains from using caricature. Just like in An International Episode, McVickar frequently depicts women with their backs turned, the only such image of Daisy being portrayed in this way. He argues that “Daisy's first illustrator probably knew her as ‘ outrage on American girlhood’"when he staged her visual-arts debut,” and points out that Daisy is omitted almost entirely from the illustrations. He also indicates the parallel between Daisy being shunned by high-class society, and by the illustrator himself. Furthermore, Sonstegard says that Winterbourne makes the mistake of engaging with Daisy, and the illustrations in the novel, or lackthereof, ensure that readers will not make the same mistake, and prevents the possibility altogether. These claims are useful because McVickar illustrates both Daisy Miller and An International Episode in almost identical fashions. Both of these novels portray a New Woman, one which McVickar struggles to illustrate, due to apprehension when depicting a female character that defies social norms. How can one illustrate a character, and yet subdue their very essence in an effort to mitigate readers’ discomfort? By looking at An International Episode, alongside Daisy Miller, and The Evolution of Woman, McVickar seems to offer his own solution, as well as an extension of the problematic notions which perpetuates this discomfort.
Sarah Wadsworth argues that Henry James did not invent the “international American girl” archetype, but rather revitalized the genre as the vision of this character became ordinary in the decade preceding Daisy Miller. She credits a female author named Mary Murdoch Mason with the invention of the American woman abroad, and accredits James with the Re-invention. In a comparison of Mason’s Mae Madden and James’ Daisy Miller, Wadsworth indicates a difference in perspective as it relates to the authorship of “women abroad” narratives. While Wadsworth acknowledges how James’ taking up the genre contributed to the expansion of its audience, to males and upper-class readers, she notes that in doing so he simultaneously refashioned the definition of the American woman abroad in such a way that it hindered the progress of female writers. Wadsworth claimed that in publishing his own version of the American woman abroad narrative he “masculinized it] . . . in order to reclaim literature as a gentlemanly pursuit.” By eliminating the varying perspectives Mason included in her story, which she utilized in ways that allowed her to defend the female protagonist, James was subjecting Daisy Miller to becoming a product of the male gaze, by limiting the perspective on Daisy’s character to the thoughts of Winterbourne. Wadsworth also utilizes Alfred Habegger’s argument that James was indecisive in his attitude toward contemporary women writers. That female writers receive less credit for depicting the American woman abroad in more impartial ways than James, speaks to the atmosphere of misogyny surrounding the literary world of the 19th century. Wadsworth’s claim is useful because it may provide evidence that suggests that the subliminally sexist illustrations by Harry McVickar, in An International Episode, may conflict with the kind of woman James presents in the story, yet be more closely aligned to his personal views.
Sonstegard, Adam. "Discreetly Depicting "an outrage": Graphic Illustration and "Daisy Miller"'s Reputation." The Henry James Review, vol. 29, no. 1, 2008, pp. 65-79. Project MUSE, doi:10.1353/hjr.2008.0002
Adam Sonstegard comments on Daisy Miller’s scandalous public perception in relation to the images in it’s first illustrated version in 1892. Although Daisy Miller preceded An International Episode, the illustrated versions of each novel were published the same year, and both had the same illustrator, Harry W. McVickar. Sonstegard seems to defend McVickar in his illustration of the novel, seeming to think he had a lot working against him, as it was his job to depict—or merely not depict at all— Daisy in a way that downplays her character as a mischievous American flirt. He argues that in McVickar The Evolution of Woman he was able to portray this “New Woman” with ease, pointing out how he refrains from using caricature. Just like in An International Episode, McVickar frequently depicts women with their backs turned, the only such image of Daisy being portrayed in this way. He argues that “Daisy's first illustrator probably knew her as ‘ outrage on American girlhood’"when he staged her visual-arts debut,” and points out that Daisy is omitted almost entirely from the illustrations. He also indicates the parallel between Daisy being shunned by high-class society, and by the illustrator himself. Furthermore, Sonstegard says that Winterbourne makes the mistake of engaging with Daisy, and the illustrations in the novel, or lackthereof, ensure that readers will not make the same mistake, and prevents the possibility altogether. These claims are useful because McVickar illustrates both Daisy Miller and An International Episode in almost identical fashions. Both of these novels portray a New Woman, one which McVickar struggles to illustrate, due to apprehension when depicting a female character that defies social norms. How can one illustrate a character, and yet subdue their very essence in an effort to mitigate readers’ discomfort? By looking at An International Episode, alongside Daisy Miller, and The Evolution of Woman, McVickar seems to offer his own solution, as well as an extension of the problematic notions which perpetuates this discomfort.
Citation
“Annotated Bibliography,” Manhattan College Omeka , accessed September 20, 2024, https://omeka-pilot.manhattan.edu/items/show/136.