Abstract:

Anne bradstreet, early modern poet, was probably not an arsonist. She is more famous for her ardor, which she preserved in poems, paradigmatic artifacts of the literary. These artifacts, however, also preserve her intellectual labor discerning the conditions that might have led her or other women in an early modern settler colony to consider flaming destruction. Nevertheless, her poems also embody rather than simply communicate the reasoning that would have kept her from it; they materialize the imbrication of domestic felicity and settler colonial power. Bradstreet was frankly interested in empires, colonies, and conquest, even though literary history tends to remember her more intimately relatable desires. Her most frequently anthologized poems showcase these wants: she wanted her husband, the well-being of her offspring, her father’s approval, (at least an authorial) equality with men, and above all, to represent these desires in writing. But, considered more comprehensively, her writing shows desire for more than these things. It shows thoughtful reflection on the artificiality of wanting, what Ann Stoler has called “the education of desire.”1 Brad-street’s writing expresses desire and it disciplines it too. That writing evinces, quietly but powerfully, a secondary desire for reprieve from being unrelentingly perceived as a wanting subject. Verse composition was one possible reprieve, and so was arson. Bradstreet’s use of the latter may be ultimately unverifiable, yet its possibility suggests the attractions of the former. In turn, these together shed light on the subtler disciplines of settler colonialism, that style of governance concerned to make conquest ordinary. Bradstreet’s oeuvre affirms that literature can be complicit with political power, yet it also shows how an individual deeply entangled in projects of conquest might also engage in practices of detection, unmasking, and ideological critique—and that she might do so despite her best, most sincere, intentions.

摘要：

早期现代诗人安妮·布拉德斯特（Ann Bradstreet）可能不是纵火犯。她以她的热情而闻名，她的热情被保存在诗歌中，这是文学的典范。然而，这些文物还保留了她的智力劳动，以辨别可能导致她或其他女性在早期现代定居者殖民地中进行火烧毁灭的情况。然而，她的诗也体现了而不是简单地传达出使她无法理解的推理。它们使家庭享乐和定居者的殖民权力化为现实。布拉德斯特（Bradstreet）坦率地对帝国，殖民地和征服感兴趣，尽管文学史倾向于记住她更亲密相关的欲望。她最常作诗的诗歌体现了这些愿望：她想要丈夫，后代的幸福，父亲的认可，（至少是作者）与人平等，最重要的是，以书面形式表达这些愿望。但是，从更全面的角度来看，她的作品表现出了对这些事物的渴望。它反映了对匮乏的虚假性的深思熟虑，这就是安·斯托勒（Ann Stoler）所谓的“欲望的教育”。1布拉德·斯特雷特（Brad-street）的著作表达了欲望，并且对欲望进行了纪律化。那种写作悄悄而有力地表明了一种第二次的渴望，即从无情地被视为一个想要的主题而获得缓和。诗歌创作是一种可能的缓刑，纵火也是如此。Bradstreet对后者的使用可能最终无法验证，但是它的可能性表明了前者的吸引力。反过来，这些共同揭示了定居者殖民主义的微妙纪律，这种统治风格使征服变得平凡。