@article{oai:rissho.repo.nii.ac.jp:00006707,
 author = {増田, 久美子 and MASUDA, Kumiko},
 issue = {36},
 journal = {大学院紀要, Bulletin of the Graduate School of Humanities and Sociology Rissho University},
 month = {Mar},
 note = {Sarah Josepha Hale （1788-1879） was one of the foremost women engaged in literary
print culture in the middle of nineteenth-century America. As a writer, she published novels,
poetry, books on cooking and housekeeping, children’s books, anthologies, and an ambitious
nine-hundred-page encyclopedia of prominent women in history. As an editor of
Godey’s Lady’s Book, the most widely circulated woman’s magazine especially in the
1860s, she wrote monthly editorials and book reviews, regularly contributed fiction and
poetry to the magazines, and published the work of such writers as Edgar Allan Poe, Harriet
Beecher Stowe, Oliver Wendell Holmes, and Lydia Sigourney. Hale and her magazine
were “the arbiter of the parlor, the textbook of the kitchen —— the last word of authority
in every home.”
　In the anti-professional climate of magazine publishing world in the 1820s, Hale condemned
many magazine editors for relying on pirated material, declaring candidly that her
“periodical is not a compilation, ［…］. The work is to be wholly original articles.” But in
spite of her condemnation of the so-called “scissors editors,” Hale herself was what might
be called a “scissors autobiographer.” Her sketches “memorialize” the events of her literary
life, and repeatedly tell the story of how she was involved in the public sphere of print culture.
　In antebellum America, Hale advocated her domestic ideology based on the philosophies
of the republican Enlightenment and the ideas of Victorian gendered morality. She has long
been considered as a conservative who formented a sentimental culture predominantly of
white middle-class women, and as an “anti-feminist” who promoted the “separate spheres”
ideology which called for women’s retreat into the private home. I believe, however, that
Hale’s domesticity was a discourse that could justify women’s public presence, against the
predominant doctrine of the “woman’s sphere”: the domestic discourse that a woman could
be a “citizeness” in the civil society. How does the domestic ideology function in her autobiographic
sketches, then? These texts carefully create the self-image of Sarah Josepha
Hale, a Godey’s “venerable authoress and editoress.” This image is of a respectable woman,
performing privacy even as she is undertaking public work; she appears pious and moralistically
submissive while enacting public agency. This paper, therefore, explores the ways in
which she strategically negotiated the domestic discourse in her sketches, and provided her
young readers with a template for the discursive construction of a private woman in public.
　In her autobiographic sketches, Hale tells only about her literary history: （1） her
mother’s influence on Hale’s reading habits, （2） a formative reading experience in her
childhood, （3） academic tutelage of her brother and her husband, （4） widowhood with five
fatherless children, and （5） her decision to accept the editorship to support and educate
her children. Through the domestic discourse in her sketches, Hale scrupulously produced
her public image that embodied the magazine’s unchanging ideal of womanhood. She thus
attempted to provide a vocabulary of how women could achieve a public presence without
being too controversial in nineteenth-century America. She hoped that there would be
more female citizens who would be responsible for and contribute to the moral development
of civil society, as herself who featured on the pages of her own autobiographic texts.},
 pages = {25--44},
 title = {切り貼りされる自己語り―セアラ・ヘイルの自伝的記述における家庭性―},
 year = {2020}
}