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Harriet beecher stowe
Harriet beecher stowe
Harriet beecher stowe
Harriet beecher stowe
Harriet beecher stowe
Harriet beecher stowe
Harriet beecher stowe
Harriet beecher stowe
Harriet beecher stowe
Harriet beecher stowe
Harriet beecher stowe
Harriet beecher stowe
Harriet beecher stowe
Harriet beecher stowe
Harriet beecher stowe
Harriet beecher stowe
Harriet beecher stowe
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Harriet beecher stowe

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  • Uncle Toms Cabin is a great Novel. When I read in Fredrick Douglass's writings that he read Uncle Toms Cabin, I tracked it down on Kindle and read it myself.
    It does much to show the many sides of Slavery, showing both kind slave owners and cruel slave owners.
    I am working on a novel called 'The Alternative' which explores further the conditions of the South during the slavery era.
    In this fictional work, slavery ends before the civil war happens so there is no civil war, no need for reconstruction and no race tension. http://alternative.fscpp.ca/ for more info.
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  • 1. Harriet Beecher Stowe (1811-1896)
  • 2. I. Occupation • Writer • Teacher • Reformer
  • 3. II. Known for • author of Uncle Tom's Cabin, a book which helped build antislavery sentiment in America and abroad
  • 4. III. Family: • Harriet Beecher Stowe was the seventh child of Lyman Beecher and his first wife Roxana. • Father: Lyman Beecher (famous Congregationalist minister; president, Lane Theological Seminary, Cincinnati, Ohio) • Mother: Roxana Foote Beecher (granddaughter of General Andrew Ward; "mill girl" before marriage; died when Harriet was four) • brothers William Beecher, Edward Beecher, George Beecher, Henry Ward Beecher, Charles Beecher and halfbrothers Thomas Beecher and James Beecher (five became ministers) • sisters Catherine Beecher and Mary Beecher, half-sister Isabella Beecher Hooker
  • 5. IV. Education: • Ma'am Kilbourne's School • Litchfield Academy • Hartford Female Seminary (run by Catherine Beecher)
  • 6. V. Summery • Harriet Beecher-Stowe is most famous for her controversial anti-slavery novel Uncle Tom's Cabin. Stowe was born in 1811 in Litchfield, Connecticut, the seventh of nine children. Her father was the well-known Congregational minister Lyman Beecher and his wife was Roxana Foote Beecher. Roxana Beecher died when her daughter was five years old, causing Beecher to feel great empathy, she felt, for slave mothers and children who were separated under slavery. The impact is summed up in a commonly quoted statement apocryphally attributed to Abraham Lincoln. When he met Stowe, it is claimed that he said, "So you're the little woman who wrote the book that made this great war!"
  • 7. VI. Uncle Tom's Cabin • Major characters • Major themes
  • 8. Major characters • • • • • Uncle Tom Eliza Eva Simon Legree Topsy
  • 9. Uncle Tom • Uncle Tom, the titular character, was initially seen as a noble long-suffering Christian slave. In more recent years, his name has become an epithet directed towards African-Americans who are accused of selling out to whites (for more on this, see the creation and popularization of stereotypes section). Stowe intended Tom to be a "noble hero"[20] and praiseworthy person. Throughout the book, far from allowing himself to be exploited, Tom stands up for his beliefs and is grudgingly admired even by his enemies.
  • 10. Eliza • A slave (personal maid to Mrs. Shelby), she escapes to the North with her five-year old son Harry after he is sold to Mr. Haley. Her husband, George, eventually finds Eliza and Harry in Ohio, and emigrates with them to Canada, then France and finally Liberia. • The character Eliza was inspired by an account given at Lane Theological Seminary in Cincinnati by John Rankin to Stowe's husband Calvin, a professor at the school. According to Rankin, in February, 1838 a young slave woman had escaped across the frozen Ohio River to the town of Ripley with her child in her arms and stayed at his house on her way further north.[21]
  • 11. Eva • Eva, whose real name is Evangeline St. Clare, is the daughter of Augustine St. Clare. Eva enters the narrative when Uncle Tom is traveling via steamship to New Orleans to be sold, and he rescues the 5 or 6 year-old girl from drowning. Eva begs her father to buy Tom, and he becomes the head coachman at the St. Clare plantation. He spends most of his time with the angelic Eva, however. • Eva constantly talks about love and forgiveness, even convincing the dour slave girl Topsy that she deserves love. She even manages to touch the heart of her sour aunt, Ophelia. Some consider Eva to be a prototype of the character archetype known as the Mary Sue. • Eventually Eva falls ill. Before dying, she gives a lock of her hair to each of the slaves, telling them that they must become Christians so that they may see each other in Heaven. On her deathbed, she convinces her father to free Tom, but because of circumstances the promise never materializes.
  • 12. Simon Legree • A villainous and cruel slave owner—a Northerner by birth—whose name has become synonymous with greed. His goal is to demoralize Tom and break him of his religious faith.
  • 13. Topsy • A "ragamuffin" young slave girl of unknown origin. When asked if she knows who made her, she professes ignorance of both God and a mother, saying "I s'pect I growed. Don't think nobody never made me." She was transformed by Little Eva's love. Topsy is often seen as the origin of the pickaninny stereotype of Black children and Black dolls. During the early-to-mid 1900s, several doll manufacturers created Topsy and Topsy-type dolls.
  • 14. Major themes • The Evil of Slavery • The Incompatibility of Slavery & Christian Values • The Moral Power of Women
  • 15. The Evil of Slavery • • • Uncle Tom's Cabin was written after the passage of the Fugitive Slave Act of 1850, which made it illegal for anyone in the United States to offer aid or assistance to a runaway slave. The novel seeks to attack this law and the institution it protected, ceaselessly advocating the immediate emancipation of the slaves and freedom for all people. Each of Stowe's scenes, while serving to further character and plot, also serves, without exception, to persuade the reader—especially the Northern reader of Stowe's time—that slavery is evil, un-Christian, and intolerable in a civil society. For most of the novel, Stowe explores the question of slavery in a fairly mild setting, in which slaves and masters have seemingly positive relationships. At the Shelbys' house, and again at the St. Clares', the slaves have kindly masters who do not abuse or mistreat them. Stowe does not offer these settings in order to show slavery's evil as conditional. She seeks to expose the vices of slavery even in its bestcase scenario. Though Shelby and St. Clare possess kindness and intelligence, their ability to tolerate slavery renders them hypocritical and morally weak. Even under kind masters, slaves suffer, as we see when a financially struggling Shelby guiltily destroys Tom's family by selling Tom, and when the fiercely selfish Marie, by demanding attention be given to herself, prevents the St. Clare slaves from mourning the death of her own angelic daughter, Eva. A common contemporary defense of slavery claimed that the institution benefited the slaves because most masters acted in their slaves' best interest. Stowe refutes this argument with her biting portrayals, insisting that the slave's best interest can lie only in obtaining freedom. In the final third of the book, Stowe leaves behind the pleasant veneer of life at the Shelby and St. Clare houses and takes her reader into the Legree plantation, where the evil of slavery appears in its most naked and hideous form. This harsh and barbaric setting, in which slaves suffer beatings, sexual abuse, and even murder, introduces the power of shock into Stowe's argument. If slavery is wrong in the best of cases, in the worst of cases it is nightmarish and inhuman. In the book's structural progression between “pleasant” and hellish plantations, we can detect Stowe's rhetorical methods. First she deflates the defense of the pro-slavery reader by showing the evil of the “best” kind of slavery. She then presents her own case against slavery by showing the shocking wickedness of slavery at its worst.
  • 16. The Incompatibility of Slavery & Christian Values • • Writing for a predominantly religious, predominantly Protestant audience, Stowe takes great pains to illustrate the fact that the system of slavery and the moral code of Christianity oppose each other. No Christian, she insists, should be able to tolerate slavery. Throughout the novel, the more religious a character is, the more he or she objects to slavery. Eva, the most morally perfect white character in the novel, fails to understand why anyone would see a difference between blacks and whites. In contrast, the morally revolting, nonreligious Legree practices slavery almost as a policy of deliberate blasphemy and evil. Christianity, in Stowe's novel, rests on a principle of universal love. If all people were to put this principle into practice, Stowe insists, it would be impossible for one segment of humanity to oppress and enslave another. Thus, not only are Christianity and slavery incompatible, but Christianity can actually be used to fight slavery. The slave hunter Tom Loker learns this lesson after his life is spared by the slaves he tried to capture, and after being healed by the generous-hearted and deeply religious Quakers. He becomes a changed man. Moreover, Uncle Tom ultimately triumphs over slavery in his adherence to Christ's command to “love thine enemy.” He refuses to compromise his Christian faith in the face of the many trials he undergoes at Legree's plantation. When he is beaten to death by Legree and his men, he dies forgiving them. In this way, Tom becomes a Christian martyr, a model for the behavior of both whites and blacks. The story of his life both exposes the evil of slavery—its incompatibility with Christian virtue—and points the way to its transformation through Christian love.
  • 17. The Moral Power of Women • • Although Stowe wrote Uncle Tom's Cabin before the widespread growth of the women's rights movement of the late 1800s, the reader can nevertheless regard the book as a specimen of early feminism. The text portrays women as morally conscientious, committed, and courageous—indeed, often as more morally conscientious, committed, and courageous than men. Stowe implies a parallel between the oppression of blacks and the oppression of women, yet she expresses hope for the oppressed in her presentation of women as effectively influencing their husbands. Moreover, she shows how this show of strength by one oppressed group can help to alleviate the oppression of the other. White women can use their influence to convince their husbands—the people with voting rights —of the evil of slavery Throughout the novel, the reader sees many examples of idealized womanhood, of perfect mothers and wives who attempt to find salvation for their morally inferior husbands or sons. Examples include Mrs. Bird, St. Clare's mother, Legree's mother, and, to a lesser extent, Mrs. Shelby. The text also portrays black women in a very positive light. Black women generally prove strong, brave, and capable, as seen especially in the character of Eliza. In the cases where women do not act morally—such as Prue in her drunkenness or Cassy with her infanticide, the women's sins are presented as illustrating slavery's evil influence rather than the women's own immorality. Not all women appear as bolsters to the book's moral code: Marie acts petty and mean, and Ophelia begins the novel with many prejudices. Nonetheless, the book seems to argue the existence of a natural female sense of good and evil, pointing to an inherent moral wisdom in the gender as a whole and encouraging the use of this wisdom as a force for social change.

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