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Community and Critique: The Rhetorical Activism of Black American Women’s Memory Work: List of Illustrations

Community and Critique: The Rhetorical Activism of Black American Women’s Memory Work
List of Illustrations
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table of contents
  1. Cover Page
  2. Title Page
  3. Copyright Page
  4. Dedication
  5. Contents
  6. List of Illustrations
  7. Series Editor’s Preface
  8. One: “To Embalm Her Memory in Song and Story”: Charting Black Women’s Community and Critical Memory Work
    1. Public Memory and Black Women’s Memory Work
    2. Situating Black Memory Work
    3. Agency, Collaboration, and Memory in Black Feminist Frameworks
    4. Contextualizing Black American Women’s Community and Critical Memory Work
    5. Black Women’s Memory Work between Reconstruction and the New Negro Movement
    6. Contributions
  9. Two: “To Strive by Their Example”: Invoking Exemplary Women in Public Speech
    1. Exemplars as a Black Feminist Rhetorical Strategy
    2. Exemplars in Black Women’s Public Speech
      1. Biblical Women
      2. Historical Women
      3. White Contemporaries
      4. Black Women
    3. Rhetorical Strategy and Memory Storehouse
  10. Three: “Self-Emancipating Women”: Commemorative Critique by Black Women Speakers at the 1893 World’s Congress of Representative Women
    1. African-American Women at the WCRW
    2. Commemorating Emancipation as the “Zero Point” for Black Women’s Progress
    3. Remembering Enslavement
    4. Enacting and Projecting Black Women’s Agency
    5. Commemorative Critique Past and Present
  11. Four: “The Shadows of the Past”: Black Women’s Commemorative Stewardship and the Demise of the “Black Mammy” Monument
    1. “Mammy’s” Memorial Moment
    2. Black Women and the Rhetoric of Commemorative Stewardship
      1. Public Responsibility as Goodwill
      2. Memories as Sacred and Valuable
      3. Loyalty to Stakeholders
      4. Commemoration for Future Generations
    3. Viewing Black Women’s Anti-“Mammy” Discourse as Critical Memory Work
  12. Five: “Planting Good and Joy Instead”: Cultivating Community Feelings in Homespun Heroines and Other Women of Distinction
    1. Homespun Heroines and Black Biography at the Turn of the Twentieth Century
    2. Black Women’s Multibiography as Memory in Reserve
    3. Cultivating Community Feelings of Gratitude and Joy
    4. Facing Memories of Struggle
    5. Remembering the Ordinary and the Extraordinary through Inclusive Gratitude
    6. Remembering and Rejoicing in Black Female Excellence
    7. Collected Memories, Collective Feelings
  13. Epilogue: Abundance, Memory, Risk
    1. Rhetoric’s Abundance
    2. Memory’s Meanings
    3. A Critic’s Risks
  14. Acknowledgments
  15. Notes
  16. Works Cited
  17. Index

Page ix →List of Illustrations

  1. FIGURE 1. A photograph of Fannie Barrier Williams taken in 1885 by Paul Tralles
  2. FIGURE 2. A photograph of Anna Julia Cooper, seated, with a book on her lap, taken by C. M. Bell between 1901 and 1903
  3. FIGURE 3. A photograph of Fanny Jackson Coppin from the frontispiece of her 1913 book Reminiscences of School Life, and Hints on Teaching
  4. FIGURE 4. A photograph of Sarah Jane Woodson Early, taken between 1885 and 1889 by Thuss Photographers
  5. FIGURE 5. A photograph of Hallie Quinn Brown, taken between 1875 and 1888 by Fred S. Biddle for Brown’s cabinet card
  6. FIGURE 6. Frances Ellen Watkins Harper, pictured in the frontispiece of her 1898 collection of poetry
  7. FIGURE 7. Sculptor Ulric Stonewall Jackson Dunbar with his sculpture model for a possible monument to the “Black Mammies of the South,” June 27, 1923

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