Philipp Reisner, Kenyon Gradert, Alexander Lawrence Ames, Susanne Opfermann, Florian Freitag, Kirsten Sandrock, Caroline Rosenthal, René Dietrich, Svenja Hohenstein

Amerikastudien/American Studies, Jahrgang 63 (2019), Ausgabe 2,

Julia Straub, Juliane Braun, Glenn T. Eskew, Florian Zappe, Nassim W. Balestrini, Sebastian Huber, Cynthia Falk, Winfried Fluck, Klaus Fischer, Mousa Abu Haserah, Florian Freitag, Olaf Stieglitz, Deborah L. Madsen, Clemens Spahr, Timo Müller, Jochen Achilles, Jasper M. Trautsch

Amerikastudien/American Studies, Jahrgang 60 (2016), Ausgabe 2-3, Seite 233 - 234

Frank Obenland, Florian Freitag, Nadja Gernalzick, Jerry Varsava, Verena Keck, Kornelia Freitag, Martin Brückner, Christoph Lanzen, Waldemar Zacharasiewicz, Tim Lanzendörfer, Erik Redling, Carmen Birkle, Michael Basseler

Amerikastudien/American Studies, Jahrgang 61 (2016), Ausgabe 1, Seite 105 - 105

Florian Freitag

Amerikastudien/American Studies, Jahrgang 58 (2014), Ausgabe 3, Seite 409 - 426

This article uses a revisionist approach to American local-color fiction—one that combines historicist or ideological hegemonic readings of local color as imperialistic with feminist, counterhegemonic analyses of the genre as a literature of resistance—to examine the depiction of Anglo-American characters in Kate Chopin’s short fiction in general and of their encounters with French Americans (Creoles and Cajuns) in particular. I argue that Chopin’s stories rely solely on the category of cultural affiliation (as opposed to a combination of the categories of race, class, gender, age, and geographical origin) to distinguish between Anglo- and French Americans and thus construct members of both cultural groups as regional characters. However, the texts nevertheless consistently associate Anglo-Americans with metropolitan, hegemonic, and French Americans with provincial, resistant perspectives. This categorization of Anglo-Americans as agents of cultural imperialism and of French Americans as resistant provincials is further confirmed by the texts’ regionalist critiques of Anglo-Americans and their local-color depictions of French Americans, which are continuously played off against and most often also balance each other.