Lexington Books
Pages: 374
•
Trim: 6½ x 9½
978-0-7391-2284-6 • Hardback • December 2009 • $128.00 • (£98.00)
Angela Michele Leonard is tenured professor of history at Loyola College in Maryland
Chapter 1 Introduction
Chapter 2 Theoretical Overview
Chapter 3 Discourse of the British Anti-Corn Law Movement in the Sheffield Independent, 1825-1835
Chapter 4 From Newstexts to Poetry: The Sheffield Independent & Ebenezer Eliott's Protest Poems
Chapter 5 "Mining a Small Town Newspaper Unearthing Negro Colonizationist Ideology in the Haverhill Gazette and Essex Patriot (MA), 1824-1827"
Chapter 6 The Topography of Violence in John Greenleaf Whittier's "Antislavery Poems"
Chapter 7 Hijacking and Pro-creating Signifiers: Extending Discourse Analysis to Pedagogy and the Value of Hiphopology
Chapter 8 Conclusion
Angela Leonard's Political Poetry as Discourse confronts the past for the purposes of the present with an account of the discourse networks which political poetry engages and seeks to reconfigure. Leonard analyzes the poetry of Ebenezer Elliott (the English Corn Law Rhymer) and John Greenleaf Whittier (the American abolitionist) to identify the semiotic dynamics that created a class position for the working poor of nineteenth-century England and that ignored differences among black Americans and amalgamated them under the category of slave in nineteenth-century America. Drawing on Elliott and Whittier's examples for subverting established codes, Leonard advocates teaching that analyzes hip-hop and embraces service learning to help students identify and transform their society. This is a work of seriously engaged scholarship.
— Frances Ferguson, Johns Hopkins University
Angela Leonard has written a new sort of book that combines a sophisticated analysis of nineteenth century protest literature in Britain and the United States with a method for making it meaningful to students today. She examines the language used by anti-Corn Law writer Ebenezer Elliott and anti-slavery poet John Greenleaf Whittier in contrast to two more conservative newspapers that dealt with the same themes. She then applies her textual method to the hip-hop lyrics of contemporary rap artists to locate them as worthy followers of radical writers who transformed language as a tool in their struggle to transform society. Using the present to understand the past reverses the usual formula, but then Leonard herself is engaged in creatively subverting, and thereby enhancing, both our knowledge of the texts she studies and our ability to make them live again for a generation that can be empowered by learning it has powerful allies in history.
— William A. Pencak, professor of history and Jewish studies at Penn State University