Geoffrey Sanborn
Biographic Data
| ID | 3584220 |
|---|---|
| NAME | Geoffrey Sanborn |
| GIVEN NAMES | Geoffrey |
| FAMILY NAME | Sanborn |
| SIGNATURE | SANBORN G |
| AFFILIATIONS | Bard College |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2005 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
The milieu of buried stimuli
In this series of reflections on the ways in which psychoanalytic theory has influenced his teaching, the author focuses on a change that began to take place around the time of his encounter with relational psychoanalytical theory. At the heart of that change was a shift in the direction of processual thinking and emotional presence, guided by several contemporary theorists but most importantly by Christopher Bollas. By showing how that shift alt…
James Fenimore Cooper and the Invention of the Passing Novel
Sanborn's essay seeks to demonstrate that The Headsman, an overlooked 1833 novel by James Fenimore Cooper, is an allegory of racial passing. After showing that the dominant aim of this melodrama about a Swiss executioner's family is to critique white American prejudice against African Americans, and that it does so by dramatizing the consequences of passing for three members of that family, Sanborn considers the implications of the fact that the …
People Will Pay to Hear the Drama
"People Will Pay to Hear the Drama":Plagiarism in Clotel Geoffrey Sanborn (bio) It is no secret that William Wells Brown did not write everything that appears under his name in Clotel; or, the President's Daughter, the first published novel by an African American. Since 1969, when William Edward Farrison published an edition of Clotel with extensive notes on Brown's sources, scholars have known that Brown lifted passages from Lydia Maria Child's …
Chapter Three
Whipscars and Tattoos
This book combines history, biography, and close reading to produce radically new interpretations of two of the most important novels in American history. After an introductory chapter on the early nineteenth-century image of the Maori, the book demonstrates, in a series of interlinked chapters, that Magua in The Last of the Mohicans and Queequeg in Moby-Dick were modeled on Maori chiefs. In a sharp reversal of the conventional understanding of M…
Paul Lyons, American Pacificism
Melville
For quite a while now, the questions we have asked about Melville's work have tended to come in two varieties: the first cultural/historical/political; the second philosophical/ethical/psychoanalytic. The idea behind this panel was not to displace either of these categories of questions but to stress a third category of question: the aesthetic. Aesthetic questions have been enjoying a revival in literary studies over the last decade or so; witnes…
Whence Come You, Queequeg
Research Article| June 01 2005 Whence Come You, Queequeg? Geoffrey Sanborn Geoffrey Sanborn Search for other works by this author on: This Site Google American Literature (2005) 77 (2): 227–257. https://doi.org/10.1215/00029831-77-2-227 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Geoff…
James Fenimore Cooper and the Invention of the Passing Novel
Sanborn's essay seeks to demonstrate that The Headsman, an overlooked 1833 novel by James Fenimore Cooper, is an allegory of racial passing. After showing that the dominant aim of this melodrama about a Swiss executioner's family is to critique white American prejudice against African Americans, and that it does so by dramatizing the consequences of passing for three members of that family, Sanborn considers the implications of the fact that the …
People Will Pay to Hear the Drama
"People Will Pay to Hear the Drama":Plagiarism in Clotel Geoffrey Sanborn (bio) It is no secret that William Wells Brown did not write everything that appears under his name in Clotel; or, the President's Daughter, the first published novel by an African American. Since 1969, when William Edward Farrison published an edition of Clotel with extensive notes on Brown's sources, scholars have known that Brown lifted passages from Lydia Maria Child's …
Whence Come You, Queequeg
Research Article| June 01 2005 Whence Come You, Queequeg? Geoffrey Sanborn Geoffrey Sanborn Search for other works by this author on: This Site Google American Literature (2005) 77 (2): 227–257. https://doi.org/10.1215/00029831-77-2-227 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Geoff…
Melville
For quite a while now, the questions we have asked about Melville's work have tended to come in two varieties: the first cultural/historical/political; the second philosophical/ethical/psychoanalytic. The idea behind this panel was not to displace either of these categories of questions but to stress a third category of question: the aesthetic. Aesthetic questions have been enjoying a revival in literary studies over the last decade or so; witnes…
Paul Lyons, American Pacificism
Chapter Three
Whipscars and Tattoos
This book combines history, biography, and close reading to produce radically new interpretations of two of the most important novels in American history. After an introductory chapter on the early nineteenth-century image of the Maori, the book demonstrates, in a series of interlinked chapters, that Magua in The Last of the Mohicans and Queequeg in Moby-Dick were modeled on Maori chiefs. In a sharp reversal of the conventional understanding of M…
James Fenimore Cooper and the Invention of the Passing Novel
Sanborn's essay seeks to demonstrate that The Headsman, an overlooked 1833 novel by James Fenimore Cooper, is an allegory of racial passing. After showing that the dominant aim of this melodrama about a Swiss executioner's family is to critique white American prejudice against African Americans, and that it does so by dramatizing the consequences of passing for three members of that family, Sanborn considers the implications of the fact that the …
People Will Pay to Hear the Drama
"People Will Pay to Hear the Drama":Plagiarism in Clotel Geoffrey Sanborn (bio) It is no secret that William Wells Brown did not write everything that appears under his name in Clotel; or, the President's Daughter, the first published novel by an African American. Since 1969, when William Edward Farrison published an edition of Clotel with extensive notes on Brown's sources, scholars have known that Brown lifted passages from Lydia Maria Child's …
The milieu of buried stimuli
In this series of reflections on the ways in which psychoanalytic theory has influenced his teaching, the author focuses on a change that began to take place around the time of his encounter with relational psychoanalytical theory. At the heart of that change was a shift in the direction of processual thinking and emotional presence, guided by several contemporary theorists but most importantly by Christopher Bollas. By showing how that shift alt…
Art (4 works) · Computer Science (4 works) · Literature: history, themes, analysis (4 works) · Art history (3 works) · History (3 works) · Law (3 works) · Literature (3 works) · Philosophy (3 works) · Political science (3 works) · Sociology (3 works)