To see the other types of publications on this topic, follow the link: Representations of Slavery.
Dissertations / Theses on the topic 'Representations of Slavery'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Representations of Slavery.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Altink, Henrice. "Representations of slave women in discourses of slavery and abolition, 1780-1838." Thesis, University of Hull, 2001. http://hydra.hull.ac.uk/resources/hull:3124.
Full text
2
Omuku, S. A. G. "Representations of slavery and the slave trade in the Francophone West African novel." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1397876/.
Full textAbstract:
Representations of domestic slavery and the trans-Saharan and transatlantic systems of the slave trade in Francophone West African literature incorporate remembering and forgetting through oral, corporeal and spatial narratives. With respect to the oral epic and the postcolonial novel, this thesis approaches the paucity of literature on slavery and the slave trade from the perspective of cultural memory and trauma theory. Through the presence of the slave voice in the West African oral epics of Segou, Macina, and the Songhay Empire and the use of this genre in the novels of Aminata Sow Fall and Yambo Ouologuem, this thesis explores the notion of the manipulation of oral memory through omission, invention, and fictionalisation, and examines the marginalisation of the slave past and the reclaiming of this record via an alternative slave narrative within the novel. Corporeal narratives of slavery and the slave trade in the novels of Timité Bassori, Ibrahima Ly, Yambo Ouologuem and Ali Zada depict the body both as a site and a memory of slavery. Through the body, slavery is re-enacted by the repetition of the corporeal wound as a manifestation of the physiological and psychological trauma of slavery, and the transmission of that memory through the reproductive capacity of the female body. The novels of M’Barek Ould Beyrouk and Ahmed Yedaly interrogate the concept of ex-slavery in the Sahara with reference to Mauritania, whilst Kangni Alem and Tierno Monénembo navigate transatlantic notions of departure and return within the context of Brazil, specifically Salvador de Bahia. By examining slavery from a geographical perspective, these authors highlight the significance of spatial remembering within a trans-Saharan and transatlantic memory of slavery and the slave trade.
3
Campbell, Tanya Lee Margaret. "Representations of slavery in French writing : from revolution to abolition." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602452.
Full textAbstract:
This thesis seeks to explore the ways in which anxieties and ambivalences surrounding slavery were constructed, reflected and challenged in French writing from the period between the French Revolution and the abolition of slavery in 1848. It draws on historical and literary analyses, and an informed understanding of the sociopolitical currents of the early nineteenth century, to highlight the important role literature and journalism have to play in helping us to understand the multifarious complexities of slavery. It offers close analysis of a selection of key literary and journalistic texts from the period, including work by Olympe de Gouges, Marceline Desbordes-Valmore, Gabrielle de Paban, Sophie Doin, Jean-Baptiste Picquenard, Victor Hugo, Cyrille Charles Auguste Bissetteand Adolphe Granier de Cassagnac. This thesis contributes to a growing body of academic work on slavery by developing three broad perspectives on the institution: it examines the metaphorization of slavery in women's writing, and takes issue with the view that women necessarily privilege entertainment in their narratives; it considers the usefulness of a transactional model of violence as a framework through which to read early nineteenth-century men's revolutionary writing, interrogates the use of 'proportionality' as justification for the (il)legitimacy of violent acts, and investigates the (non-)representation of violence in texts; finally, it offers the first in-depth analysis of the slavery polemic that emerged between Bissette and Granier, and highlights how polarizing debates around slavery were mobilized in the press. This thesis therefore expands current research by demonstrating how the post-Revolutionary social and political conflicts, and racial prejudice cultivated under slavery, suffused nineteenth-century writing in both France and the French Caribbean.
4
SOUZA, PATRICIA MARCH DE. "VISIBILITY OF SLAVERY: REPRESENTATIONS AND PRACTICES OF CLOTHING IN QUOTIDIAN OF SLAVES IN NINETEENTH-CENTURY RIO DE JANEIRO." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=17541@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROO presente trabalho tem como propósito rever o papel que tem sido atribuído ao vestuário no cotidiano dos escravos da cidade do Rio de Janeiro nos Oitocentos, introduzindo novos elementos para ampliar a compreensão de como escravos praticavam o vestir na experiência do cativeiro, tendo em vista duas funções do vestuário: alteração visual do corpo e meio de comunicação interpessoal. Essa investigação se desenvolve através de um exame crítico de fontes textuais e imagéticas, representações construídas acerca da aparência dos escravos observados através do olhar do outro, no qual a roupa é um fator significativo na caracterização da população negra e escrava. Na descrição da roupa, formas de vestir, associadas a demarcações sociais e culturas de origem, generalizam e estereotipam a visualidade de mulheres e homens negros, com a criação de tipos de alcance limitado, não condizente com o contexto social, cultural e econômico do Rio de Janeiro no século XIX. A tese percorre textos e imagens de relatos e narrativas de viajantes, fotografias e anúncios de fugas de escravos, dos quais podem ser extraídos elementos para um duplo e simultâneo intento: enxergar o escravo como objeto e como sujeito. Duas possibilidades de investigação que apontam para duas linhas de abordagem, a primeira relacionada a representações que mostram como seus autores observavam, apreendiam e interpretavam a existência cativa, e a segunda relacionada a possibilidades existentes utilizadas pelos escravos em busca de uma identidade própria com a criação de práticas no ato de vestir-se.
This work aims to review the role that has been attributed to the clothing in quotidian of the slaves of Rio de Janeiro in the nineteenth century, introducing new elements to broaden the understanding of how the slaves practiced dressing on the experience of captivity, in view of two clothing functions: visual change of the body and means of interpersonal communication. This research is developed through a critical examination of textual and image sources. Representations built on the appearance of slaves seen through the eyes of the other in which clothing is a significant factor in characterizing the black and the slave population. In the description of clothing, manners of dress, coupled with social distinctions and cultures of origin, generalize and stereotype the visibility of black men and women, with the creation of types of limited scope, inconsistent with the social, cultural and economic context of Rio de Janeiro in the nineteenth century. The thesis goes through texts and images and narrative reports of travelers, photos and advertisements of runaway slaves, of which elements can be extracted for a simultaneous dual purpose: to see the slave as object and as subject. Two possibilities of research pointing two different approaches, the first relates to the representations that show how the authors observed, assimilate and interpret the existence and the second related to captive possibilities used by slaves seeking their own identity by creating practices in the act of dressing up.
5
Geustyn, Maria Elizabeth. "Representations of slave subjectivity in post-apartheid fiction : the 'Sideways Glance'." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85854.
Full textAbstract:
Thesis (MA)-- Stellenbosch University, 2013.ENGLISH ABSTRACT: Over the past three decades in South Africa, the documentation of slave history at the Cape Colony by historians has burgeoned. Congruently, interest in the history of slavery has increased in South African letters and culture. Here, literature is often employed in order to imaginatively represent the subjective view-point and experiences of slaves, as official records contained in historiography and the archive often exclude such interiority. This thesis is a study of the representations of slave subjectivity in two novels: Rayda Jacobs’s The Slave Book (1998) and Unconfessed (2007) by Yvette Christiansë. Its task is to investigate and traverse the multitude of readings made possible in these literary representations, and then to challenge such readings by juxtaposing the representational strategies of the two novels. Both primary texts are works of historical fiction that, in different ways, draw on the archive and historiography in order to grant historical plausibility to their narratives. Engaging with the distinct methods with which they approach and interpret such historical information, I adopt the terms “glimpsing” and “reading sideways”. Throughout this study, I engage each of these methods in order to demonstrate the value, and limits, of each technique in its engagement with the complexities of representing slave subjectivity in the wake of its (predominant) occlusion from historical and official data. Chapter One presents a brief overview of the emergence of the slave past in historiography and public spaces. Following Pumla Gqola’s statement that “slave memory [has] increase[d] in visibility in post-apartheid South Africa”, I move to a discussion of the theoretical perspectives on (re)memory as employed by writers of fiction that exemplify “a higher, more fraught level of activity to the past than simply identifying and recording it ” (“Slaves” 8) . In turn, I identify the imperative archival silence places on authors to write about slaves, and the relevance of genre in this undertaking. Specifically, I consider the romantic and tragic historical fiction genres as they are utilised by Jacobs and Christiansë in approaching representations of slave subjectivity, and how this influences emplotment. Chapter One concludes with a brief exposition of the literary representations offered by Unconfessed and The Slave Book. Chapter Two presents a detailed study of Rayda Jacobs’s The Slave Book as a novel of historical fiction. Jacobs takes up a methodology of “glimpsing” at the slave past through the representations available in historiography. I trace the moments at which the text seeks to convey slave subjectivity, within and without historical discourses, through such “glimpses”, and show how they are employed to establish a focus on interiority and to humanise slave characters. Chapter Three focuses on Yvette Christiansë’s Unconfessed and explores its explicit engagement with silences surrounding the protagonist Sila van den Kaap’s historical presence in the Cape Town Archives. I read Christiansë’s representation of these silences as “acts of looking sideways” at the discursive practices inherent in the historical documentation of slave voices that enact her resistance to “filling” these silences with detailed narrative. I argue that the various forms of silence in the narrative allow for a deeper understanding of the injustices and oppression suffered by Sila van den Kaap, and that it is these silences, ironically, which grant her voice. Chapter Four presents a comparison of the novels and their respective representational techniques of “glimpsing” versus “looking sideways”. While the distinct efficacy and implication of each approach is critically evaluated, both are ultimately found to make an invaluable addition to the literary exploration of slave subjectivity as attention is drawn to the interiority of each text’s characters.
AFRIKAANSE OPSOMMING: Oor die afgelope drie dekades, het die dokumentasie wat opgelewer is deur historici in Suid- Afrika met betrekking tot die slawe in die Kaapkolonie floreer. Ooreenstemmend, het belangstelling in die geskiedenis van die slawe in die gebied van kultuur en letterkunde toegeneem. In hierdie konteks, word literatuur dikwels in diens geneem om op ‘n verbeeldingsryke manier die subjektiewe standpunt en die bestaan van die slawe te verteenwoording, wat vroeër in amptelike rekords dikwels sodanige innerlikheid uitsluit. Hierdie tesis is 'n studie van die voorstellings van slaaf subjektiwiteit in twee romans: Rayda Jacobs se The Slave Book (1998) en Unconfessed (2007) deur Yvette Christiansë. Dit beoog verder om ondersoek in te stel na die menigte lesings in literêre voorstellings en sodanige lesings uit te daag deur die vergelyking van die twee betrokke tekste. Ek neem die "skramse” en "sywaartse" sienings as metodiek vir die eien en interpretasie van argief-materiaal in die twee tekste. Deurgaans in hierdie studie gebruik ek hierdie metodieke op hulle beurt ten einde die waarde van elke tegniek te demonstreer, in terme van die voorstellingshandeling wat elk gebruik om slaaf subjektiwiteit te verteenwoordig. In Hoofstuk Een, word teoretiese perspektiewe oor ‘herinnering’ soos dit bestaan as gevolg van, en ten spyte van, die argief, beskryf en ontleed. In my oorsig van die rol en doel van die argief sowel as die onthou van 'n slaaf verlede in die hedendaagse Suid-Afrika, word benaderings wat in verskeie velde onderneem is om slawerny en sy slagoffers uit te beeld, ook in ag geneem. Ek identifiseer die noodsaaklikheid wat “stiltes” in die argief op skrywers plaas om oor slawe te skryf, asook die relevansie van die genre in hierdie onderneming. Ek kyk spesifiek na die romantiese en historiese fiksie genres soos hulle deur Jacobs en Christiansë gebruik word in hul voorstellings van slaaf subjektiwiteit, en hoe dit voorstellingshandeling beïnvloed. Hoofstuk Een word afgesluit met 'n kort uiteensetting van die literêre voorstellings, soos uitgebeeld in The Slave Book en Unconfessed. Hoofstuk Twee is 'n ondersoek na die funksie van Rayda Jacobs se The Slave Book as 'n historiese fiksie-roman. Jacobs se roman bepeins die geskiedenis van slawerny deur die voorstellingshandeling van ‘n "skramse kyk”. Ek ondersoek die waarde van die romanse wat in die roman opgeneem word, sowel as Jacobs se gebruik van historiografie om haar verhaal te ondersteun. Hoofstuk Drie fokus op Yvette Christiansë se Unconfessed en die wyse waarop die slaaf karakter as protagonis die stiltes as gemarginaliseerde aan die leser kommunikeer, en daaropvolgend, die wyse waarop die historiese figuur, ten spyte van die stiltes in die argief, kommunikeer. Hierdie metodiek bestempel ek as die "sywaartse kyk". Ek argumenteer dat die stiltes in die roman ‘n leemte laat vir 'n dieper begrip van die onreg en onderdrukking wat deur die protagonis gely word, en dat, ironies genoeg, dit hierdie stiltes is wat aan haar ‘n “stem” gee. Hoofstuk Vier is 'n vergelyking tussen die romans en hul doeltreffendheid. Altwee tekste, van ewe belang nagaande die bevordering van subjektiwiteit van slawe tydens die Kaapkolonie, beslaan elk 'n ander benadering tot die argief en geskiedenis self. Dit is met hierdie perspektiewe waarmee hierdie studie omgaan. Beide tekste vorm ‘n waardevolle toevoeging tot die literêre verkenning van slaaf subjektiwiteit deurdat aandag op die innerlikheid van elke teks se protagoniste gevestig word. Verder, deurdat die tekste met historiografie en die argief omgaan, spreek hulle diskursiewe kwessies rakende slaaf subjektiwiteit en die voorstellings daarvan aan.
6
Burrow, Janice. "History's ghosts : representations of slavery and the supernatural in selected North American literary works." Thesis, University of Newcastle Upon Tyne, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289090.
Full text
7
Cooper, Heather Lee. "Upstaging Uncle Tom's cabin: African American representations of slavery before and after the Civil War." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5444.
Full textAbstract:
This dissertation is a social and cultural history about the ways that African Americans contributed to national debates about race, slavery, and emancipation by constructing and performing their own representations of slavery for the public. Scholars often portray these larger debates as a contest of ideas among whites, but African Americans played an important and still understudied role in shaping the white public’s understandings of race and slavery throughout the nineteenth century, especially in the North. Moving from from the 1830s to the early 1900s, my dissertation identifies several critical moments when African Americans, especially former slaves, gained new access to the public stage and seized opportunities to represent their own identities, histories, and experiences in different forums.
Chapter One focuses on the unique contribution that fugitive slave activists made to the abolition movement. I place the published slave narratives in a larger performative context that includes public appearances and speeches; singing and dramatic readings; and oral testimony given in more private settings. In contrast to the sympathetic but frequently disempowering rhetoric of white abolitionists, fugitive activists used their performances to construct a positive representation of black manhood and womanhood that showed slaves not as benevolent objects in need of rescue but as strong men and women ready to enter freedom on equal terms.
Chapter Two focuses on the Civil War, when runaway slaves had new opportunities to communicate their understandings of slavery and freedom to the Northerners who sent south during the war, as soldiers, missionaries, and aid workers. “Contraband” slaves’ testimony revealed the prevalence of violence and family separation, as well as slaves’ willingness to endure great hardship in pursuit of freedom. Contraband men and women also worked to publicly assert their new identities as freedpeople when they preemptively claimed the rights of citizenship and power over their own bodies. Their testimony and actions challenged white Northerners to embrace emancipation as an explicit Union war aim.
Chapter Three of my dissertation examines black performance on the formal stage, 1865-1890s, by focusing on three groups of black performers: African American minstrels, the Hyers Sisters Dramatic Company, and the Fisk Jubilee Singers. Capitalizing on Northerners’ increased interest in slavery and “authentic” black performers, these groups offered their own representations of slavery and emancipation to the public, sometimes disrupting whites’ romanticized image of the “old plantation” in the process. During an era when the country moved toward reconciliation and reunion, these performances kept the issue of slavery before the public and, in some cases, contributed to an emancipationist memory of the war which challenged contemporary Northerners to protect the rights of freedpeople.
My final chapter focuses on the autobiographies written and published by formerly enslaved women post-1865. My analysis of the women’s narratives as a body of work challenges the prevailing notion that post-bellum slave narratives were focused on regional reconciliation and the writer’s successful life in freedom. Women writers continued to remember and represent slavery as a brutal institution and revealed the ways that it continued to shape their lives in freedom, challenging contemporary images of the “old plantation” and devoted, self-sacrificing “Mammy.” Through their writing, these women represented African American women as central actors in stories of resistance, survival, and self-emancipation.
With sustained attention to the deeply gendered nature of these representations, my dissertation sheds new light on the unique ways that African American women participated in these larger social debates and contributed to the public’s understanding of race and slavery before, during, and after the Civil War. Moving beyond the traditional periodization of U.S. slavery and emancipation and the typical focus on actors within a single, organized social movement, my project uncovers the breadth and diversity of African Americans’ public representations of slavery and freedom in contexts that were simultaneously social, cultural, and political. Using a broad range of published and unpublished archival materials, my work reveals African Americans’ distinct contribution to national debates regarding slavery’s place in the nation and the future of the men and women held within it.
8
Barron, Agnel Natasha. "Representations of Labor in the Slave Narrative." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_theses/62.
Full textAbstract:
This study examines the slave narratives The Interesting Narrative of the Life of Olaudah Equiano, The History of Mary Prince, A West Indian Slave, Related by Herself and The Bondwoman’s Narrative to determine the way in which these texts depict the economics of labor in slave society. Taking into account the specific socio-historical contexts in which these narratives were written, this study analyzes the way in which the representations of labor in these narratives interrogate slavery and address issues relating to the social relations and power dynamics of their respective societies. Emphasis is given to the way in which the gender complexities of slavery merge with the dynamics of labor thereby underscoring some of the peculiarities of the female slave experience.
9
Boulukos, George Eleftherios. "The grateful slave : representations of slave plantation reform in the British novel, 1720-1805 /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
Full text
10
Ko, Yeung Katherine. "From 'slavery' to 'girlhood'? age, gender and race in Chinese and western representations of the mui tsai phenomenon, 1879-1941." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/HKUTO/record/B39558381.
Full text
11
Murph, Karen S. "Negotiating the master narratives of prostitution, slavery, and rape in the testimonies by and representations of Korean sex slaves of the Japanese military (1932-1945)." Connect to Electronic Thesis (ProQuest) Connect to Electronic Thesis (CONTENTdm), 2008. http://worldcat.org/oclc/451026166/viewonline.
Full text
12
Salie, Shazia. "The representations of Sojourner Truth in The Narrative of Sojourner Truth." University of the Western Cape, 2020. http://hdl.handle.net/11394/7311.
Full textAbstract:
Magister Artium - MAI read representations of Sojourner Truth in her Spiritual Narrative, The Narrative of Sojourner Truth with a focus on the portrayal of her unconventional character, through a close analysis of language, structure, photographs and narrative voice. Truth’s editor Olive Gilbert’s raises questions about whether the daguerreotype offers a more accurate form of representation than text. I explore the similarities and differences between visual and written portraits in representations of Truth as a unique figure. I question critical readings of Sojourner Truth’s dress in photographs as conservative, reading instead for a combination of conservative and subversive elements. I suggest that her interest in aesthetic forms such as dress and décor is symbolic of her yearning for home, her heritage, her agency, and unique taste. Her many references to her family indicate that she was more than just an empowered figure, but also one who still grieved. I read Truth’s description of domestic space as representing ambivalently, both her sense of loss, and her attempts to acquire agency. I consider how Truth attempts to recreate a sense of family and belonging through fragments of memory. In my reading of how she questions and extends conventional notions of family and community, I explore how she adapts and includes song, and quotations from the Bible in her sermons, by drawing on elements of African folktale and music. Most critics focus on Truth’s strong voice as an activist, there is little attention to the significance of spiritual solitude for her reimagining of community. I suggest that Truth offers alternative ideas of community as fluid rather than as fixed in one place. I explore how her ideas challenge the notion of nation as exclusive. I consider the genre of The Narrative by analyzing Olive Gilbert’s role as editor and writer. I propose that her role in The Narrative is a more complex one than suggested by critics, as it challenges conventional concepts of autobiography creating a conversation between two voices and lives.
13
Silva, Régia Agostinho da. "A escravidão no Maranhão: Maria Firmina dos Reis e as representações sobre escravidão e mulheres no Maranhão na segunda metade do século XIX." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8137/tde-14032014-094659/.
Full textAbstract:
Esta pesquisa trata da escravidão no Maranhão e sobre as representações da escravidão e das mulheres no século XIX pela escritora maranhense Maria Firmina dos Reis. Trabalhando a partir dos textos literários da autora, o romance Úrsula de 1859, o conto Gupeva de 1861, o conto A Escrava de 1887, buscamos compreender como Maria Firmina dos Reis representou e compreendeu o mundo dos cativos e das mulheres da segunda metade do século XIX no Maranhão. Também utilizamos jornais do período para poder captar a atmosfera cultural na qual Maria Firmina dos Reis esteve inserida.This research aims to investigate the slavery in Maranhão Sate, moreover the representations of slavery and women in the nineteenth century by the writer that was born in that State, Maria Firmina of Reis. We are using the literary texts of the author, the novel Úrsula of 1859, the tale Gupeva of 1861 and the tale named Escrava, of 1887. We are interested to understand how Firmina Maria dos Reis represented and understood herself the world of captives and women of the second half of the century nineteenth in Maranhão State. Finally, we also use as source of research, the newspapers of the period in order to capture the cultural atmosphere in which was inserted Firmina Maria dos Reis.
14
Rogers, Susan Elizabeth. "Embodying slavery in contemporary American literature : representations of slavery's enduring influence on women's corporeal identity in novels by Paule Marshall, Ellen Gilchrist, Ellen Douglas and Gloria Naylor." Thesis, University of Hull, 1999. http://hydra.hull.ac.uk/resources/hull:8046.
Full text
15
Hurwitz, Benjamin Joseph. "An Outsider's View: British Travel Writers and Representations of Slavery in South Africa and the West Indies: 1795-1838." W&M ScholarWorks, 2009. https://scholarworks.wm.edu/etd/1539626592.
Full text
16
Ko, Yeung Katherine, and 高洋. "From 'slavery' to 'girlhood'? age, gender and race in Chinese and western representations of the mui tsai phenomenon, 1879-1941." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39558381.
Full text
17
Bowden, Ashley Camille. "Intersections of History, Memory, and “Rememory:” A Comparative Study of Elmina Castle and Williamsburg." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250174347.
Full text
18
Gooch, Catherine. "“I’VE KNOWN RIVERS:” REPRESENTATIONS OF THE MISSISSIPPI RIVER IN AFRICAN AMERICAN LITERATURE AND CULTURE." UKnowledge, 2019. https://uknowledge.uky.edu/english_etds/97.
Full textAbstract:
My dissertation, titled “I’ve Known Rivers”: Representations of the Mississippi River in African American Literature and Culture, uncovers the impact of the Mississippi River as a powerful, recurring geographical feature in twentieth-century African American literature that conveys the consequences of capitalist expansion on the individual and communal lives of Black Americans. Recent scholarship on the Mississippi River theorizes the relationship between capitalism, geography, and slavery. Walter Johnson’s River of Dark Dreams: Slavery and Empire in the Cotton Kingdom, Sven Beckert’s Empire of Cotton: A Global History, and Edward Baptist’s The Half Has Never Been Told: Slavery and the Making of American Capitalism examine how enslaved black labor contributed to the expansion of capitalism in the nineteenth century, but little is known about artistic representations of the Mississippi in the twentieth century. While scholars point primarily to the Mississippi River’s impact on slavery in the nineteenth century, I’ve Known Rivers reveals how black writers and artists capture the relationship between slavery, capitalism, and the Mississippi River. I consider a wide variety of texts in this study, from Richard Wright’s Uncle Tom’s Children and early 20th century Blues music, to late 20th century novels such as Toni Morrison’s Sula. This broad array of interdisciplinary texts illustrates a literary tradition in which the Mississippi’s representation in twentieth-century African American literature serves as both a reflection of the continuously changing economic landscape and a haunting reminder of slavery’s aftermath through the cotton empire. Furthermore, I’ve Known Rivers demonstrates how traumatic sites of slavery along the river are often reclaimed by black artists as source of empowerment, thereby contributing a long overdue analysis of the Mississippi River in African American literature as a potent symbol of racial progress.
19
Jay, Bethany. "The representation of slavery at historic house museums : 1853-2000." Thesis, Boston College, 2009. http://hdl.handle.net/2345/1365.
Full textAbstract:
Thesis advisor: James O'TooleThis dissertation examines the development of historic house museums in the United States from the mid-nineteenth century to the present to unravel the complex relationship between public presentations of slavery and popular perceptions of the institution. In conducting the research for this project, I examined the historic and contemporary public programming at nineteen separate museums. This sample of museums includes both publicly funded and private sites in both the North and South. By bringing together a diverse group of museums, this project examines national trends alongside regional traditions as well as the role of organizations such as the National Trust for Historic Preservation, the National Park Service, and a host of private institutions in determining different interpretive foci
Thesis (PhD) — Boston College, 2009
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: History
20
Diniz, Leudjane Michelle Viegas. "Nas linhas da literatura: um estudo sobre as representações da escravidão no romance O mulato, de Aluísio Azevedo." Universidade Federal de Uberlândia, 2008. https://repositorio.ufu.br/handle/123456789/16341.
Full textAbstract:
Throughout this paper, departing from the relation between history and literature, I
discuss the representations of slavery present in the novel O mulato, by Aluísio
Azevedo. I analyze how slavery and the subjects linked to it are represented in a
moment when the intellectuals, thinking of new bases for the nation, inquired the
society in which they lived, articulating in a complex way the positivist discussion,
which legitimated their discourses in a pattern that could no make it impossible the
development of a project of nation, considering the miscegenation of the population.
For this study, I dialog with different documentations: newspapers, memory books,
letters and mainly the very work O mulato. I evidence different editions of the text,
especially the first one, which presents fundamental elements for the understanding of
the book repercussion, particularly the critic to slavery in that edition, which assumes
different proportions in the subsequent editions.No decorrer deste trabalho, discuto, a partir da relação história / literatura, as representações da escravidão presentes no romance O mulato, de Aluísio Azevedo. Analiso como a escravidão e os sujeitos a ela ligados são representados num momento em que os intelectuais, pensando em novas bases para a nação, problematizavam a sociedade em que viviam, articulando de modo complexo a discussão positivista, que legitimava seus discursos num padrão que não inviabilizasse o desenvolvimento de um projeto de nação, tendo em vista a miscigenação da população. Para esse estudo, dialogo com diferentes documentações: jornais, livros de memórias, cartas e principalmente a própria obra O mulato. Evidencio diferentes edições do texto, em especial a primeira, por apresentar elementos fundamentais para o entendimento da repercussão causada pelo livro, sobretudo a crítica à escravidão contida nessa edição e que assume proporções diversas nas edições posteriores
Mestre em História
21
Morgan, Candice Deanne Marie. "'Modern slavery' : protecting victims and prosecuting culprits : how is 'modern slavery' represented in the Modern Slavery Act 2015, and what are the implications of this representation?" Thesis, University of Bristol, 2018. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.743032.
Full text
22
Fogarty, Peter John. "The Constitutional Convention of 1787 : the issues of representation, slavery and economics /." Full-text of dissertation on the Internet (423 KB), 2009. http://www.lib.jmu.edu/general/etd/2009/Honors/Fogarty_Peter/fogartpj_honors_11-11-2009_01.pdf.
Full text
23
Rupprecht, Anita Jacqueline. "Civilised sentience and the colonial subject : 'The interesting narrative of Oloudah Equiano or Gustavus Vassa, the African' and 'Wonderful adventures of Mrs. Seacole in many lands'." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324153.
Full text
24
El, Vilaly Audra Elisabeth, and Vilaly Audra Elisabeth El. "Reassembling the Subject: The Politics of Memory, Emotion, and Representation in Abolitionist Mauritania." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/625676.
Full textAbstract:
This study explores an emancipatory politics of being human by asking what is at stake for a world predicated on the human being as subject. I commence with a critique of modernity and its tenet of human exceptionalism as the logical basis for our separation from social, ecological, and material others. Inextricable from these others, humans, I argue, are assemblages that merit representation as such. I demonstrate this by recruiting two human faculties conventionally considered evidence for both our human exceptionalism, or separation from perceived others, and its correlate of subjectivity: memory and emotion. I then demonstrate how even emotion and memory, as supposed wellsprings of subjectivity, in effect undermine the very premise of it in light of their assemblaged nature. I situate this study in Mauritania, where I investigate the politics and spatialities of slavery and abolition. There, I demonstrate how memories, emotions, and the humans that experience them are both consituents and products of human-environment assemblages. I then reveal both the discursive and material repercussions of remembering, feeling, and representing the world as subjects separate from this world. Finally, I suggest alternative avenues for geographic research in pursuit of a politics of being human beyond the human being as subject.
25
Joss, Kelly. "Re-constructing the slave : an examination of slave representation in the Greek polis." Thesis, University of St Andrews, 2006. http://hdl.handle.net/10023/3843.
Full textAbstract:
This thesis examines the ways in which slaves are represented in classical Greek sources. The aim of this study is to examine the ideology which informed Greek depictions of slaves. Through such an analysis, we can learn a great deal not only about important issues such as Greek perceptions of barbarians and manual labour, but also wider issues, such as the nature of our sources and the ways in which Greeks defined themselves through their use of the antithetical image of the slave - the quintessential "Other" to the Greek ideal. Since slaves are depicted in a range of material, this thesis draws upon representations of slaves from sources as varied as art, drama, oratory, and philosophy. In short, this study examines representations of slaves in their own right. It highlights the cross-generic pervasiveness of slave representation and examines how representation functioned to naturalise and perpetuate the institution of slavery in ancient Greece.
26
Jayananthan, Diantha. "Digital Memory of a Neglected Colonial Past: Visual Representation of Danish Colonialism and Slavery in the U.S. Virgin Islands." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21609.
Full textAbstract:
This thesis examines how digital mediations of art and performances can contribute to shaping new memories and perceptions about the Danish colonization of the U.S. Virgin Islands. By analyzing six pieces of art and performances that engage critically with Danish colonialism and slavery, this study aims to expand the limits of how Danish colonization is traditionally perceived in Danish authoritative representations. Based on theory about visual art, mediatization and digital memory, this study has found that art as an aesthetic tool can revise and challenge traditional ways of engaging with the past and representing it. Art and performances can promote new ways of understanding the complexity of colonialism and bring attention to underrepresented views and voices. Contemporary media plays a key role in how we socially construct memory, as processes of mediatization have changed traditional methods of retrieving and storing knowledge. It is found that digitizing art and publishing it on the archive of the Internet, creates a foundation for potential dialogue, reflection and reconsideration of Denmark’s former role as a colonial power. The Internet allows for access to various, manifold perspectives and memories of the Danish past. Thus digitizing and publishing works of art and performance online, adds a dimension of shaping a ‘social network memory’ where viewers and artists are involved in processes of sharing and reflection that allow for discussions about Denmark’s colonial past.
27
Strydom, Carlyn. "The role of national museums in South Africa: A critical investigation into Iziko Museums of South Africa focusing on the representation of slavery." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/27288.
Full textAbstract:
This thesis is concerned with the ways in which museums have been used as vehicles to convey notions of the nation. It looks specifically at the Iziko Museums of South Africa's social history sites that deal with the subject of slavery. It is concerned with the absence of a narrative of slavery at Iziko museums before the demise of Apartheid and looks the historical and socio-political changes that lead to its emergence in South African historical consciousness. It is a study of the history of museums as well as the ways in which history has been used in museums. It looks at the ways Iziko, as a national museum, has guarded and promoted ideas of the nation as decided by the state. The thesis examines with the ways in which the museum has transformed since its inception in the colonial period up to the present day. The time period investigated is 1855 to 2016. Guiding questions for the thesis are: for what purpose were museums created in South Africa; what are the implications of colonial practice on the ways in which they functioned; why has the history of slavery has been disavowed in South African historical consciousness; what led to the rise of the study of slavery in South Africa; what has the emergence of the new museology meant for museum practice; how have heritage studies transformed the South African historical landscape. The thesis begins with a theoretical literature overview of museums more generally and its links with power and representation and the colonial regime. It then moves on to investigate the origin and history of Iziko museums by working through published literature on the subject, unpublished materials, other institutional materials found in the Iziko archive and interviews conducted with past and current employees. It then looks takes an historical survey of South African historiography and its exclusion of the history of slavery and later the emergence of such a narrative. Lastly it looks at how the nation has been narrated by the state after Apartheid and how the museum responded to the new dispensation. The thesis concludes that Iziko museums have transformed over the last two centuries in terms of the subject matter it studies. Museological activity has been diversified to include a range of subjects hitherto ignored in South African public consciousness due to the legacy of both colonialism and Apartheid. Most importantly it shows that the museum has continually responded to concepts of the South African nation and that national museums are inextricably tied to the nation-state.
28
Carson, Karen Michelle. "The function and failure of plantation government: interpreting spaces of power and discipline in representations of slave plantations." FIU Digital Commons, 2000. http://digitalcommons.fiu.edu/etd/2060.
Full textAbstract:
This investigation focuses on representations of the physical construction and landscape of Southern slave plantations in order to explore the power relationships among inhabitants of those plantations and how those power relationships attempted to function and failed to establish a system of discipline and governance. While every plantation functioned violently in some form, many plantations appear to have attempted to instill a sense of place and permanence of status in slaves with more than just physical violence or obvious and overt forms of mental coercion and abuse. As a supplement to the strategic (and oftentimes random) physical violence inflicted on slaves in the attempts to control their behaviors, owners seem to have also attempted to discipline their slaves through strategic constructions of the plantation landscapes. While concluding that this strategy ultimately failed, this thesis examines attempts by owners to implement particular strategies in regulating and disciplining the behavior of slaves which can be compared with the strategies implemented in a panoptic system as described by Michel Foucault.
29
Mosley, Matthew. "The Feminine Representation of Booker T. Washington and W.E.B. DuBois in Langston Hughes' Not Without Laughter." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1176.
Full textAbstract:
Langston Hughes' novel Not Without Laughter works within the historically narrow framework of African American uplift ideology. Hughes implies Booker T. Washington's racial uplift ideology from Up From Slavery within Aunt Hager Williams. In addition, Hughes implies W.E.B. DuBois' racial uplift ideology from Souls of Black Folk within Tempy Siles. In both characters, he criticizes the ideologies. In addition, the ideologies work toward an initial construction of masculinity for Sandy, the protagonist, and ultimately undermine an argument for gender equality.
30
Mayo-Bobee, Dinah. "A Superior Form of Republicanism: James Elliot's Articulation of Free Labor Ideology and the Inequity of Slave Representation." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/729.
Full text
31
Cartaya, Jorge E. "Listening/Reading for Disremembered Voices: Additive Archival Representation and the Zong Massacre of 1781." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3187.
Full textAbstract:
This thesis grapples with questions surrounding representation, mourning, and responsibility in relation to two literary representations of the ZONG massacre of 1781. These texts are M. NourbeSe Philip’s ZONG! and Fred D’Aguiar’s FEEDING THE GHOSTS. The only extant archival document—a record of the insurance dispute which ensued as a consequence of the massacre—does not represent the drowned as victims, nor can it represent the magnitude of the atrocity. As such, this thesis posits that the archival gaps or silences from which the captives’ voices are missing become spaces of possibility for additive representation. This thesis also examines the role voice and sound play in these literary texts and the deconstructive-ethical philosophies of Jean-Luc Nancy and Jacques Derrida. This thesis argues that these texts invoke the sonic materiality of voice in the service of responding to the disremembered dead through mourning and acknowledgment.
32
Deiab, Rafaela de Andrade. "A mãe-preta na literatura brasileira: a ambigüidade como construção social (1880-1950)." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-04092007-123741/.
Full textAbstract:
Esta pesquisa tem como objetivo estudar a memória coletiva que se consolida em torno da figura da mãe-preta. Para a realização dessa empreitada, tomei como objeto de estudo as representações literárias da mãe-preta no período de 1880 a 1950. É nesse intervalo de tempo que se estabiliza uma interpretação mais alentada sobre a escravidão. Nessa medida, as representações da mãe-preta são tomadas como vias de acesso a interpretações paradoxais sobre a escravidão brasileira e seu legado. Tenho como hipótese que, se essa instituição violenta e arbitrária não podia ser esquecida; ela, ao menos, poderia ser lembrada em sua faceta mais íntima, afetiva e \"produtora de uma cultura mestiça\". Contudo, ainda assim, afeto e intimidade parecem não conseguir romper com a diferença e a hierarquia social: é justamente nessa tensão que se constroem representações ambíguas da mãe-preta na literatura brasileira.The main purpose of this research is to study the collective memory formed around the figure of \"mãe-preta\" (Black-Mom). For this purpose, I have taken as object of study the literary representations of \"mãe-preta\" (black-mom) between 1880 and 1950. This is the main period in which an interpretation of slavery was established. Therefore, the representations of \"mãe-preta\" (black-mom) are a way of having access to the paradoxical interpretations of Brazilian slavery and its legacy. My hypothesis is that, although this violent and arbitrary institution could not be forgotten, it could at least be remembered in its more intimate and affective ways or as a \"producer of a mixed culture\". Nevertheless, it seems that intimacy and affection are not capable of breaking up with social difference and hierarchy. Ambiguous representations of \"mãe-preta\"? (black-mom) in Brazilian literature are built exactly on this tension.
33
REIS, Maria Regina Alves dos. "Memória e história do pós-escravidão: o cotidiano do engenho Buraco d’Água na cidade - Alagoa Nova – PB (1918-1950)." Universidade Federal de Campina Grande, 2018. http://dspace.sti.ufcg.edu.br:8080/jspui/handle/riufcg/1382.
Full textAbstract:
Submitted by Maria Medeiros (maria.dilva1@ufcg.edu.br) on 2018-08-08T11:21:53Z
No. of bitstreams: 1
MARIA REGINA ALVES DOS REIS - DISSERTAÇÃO (PPGH) 2018.pdf: 2501478 bytes, checksum: 5dedfc4c025bf672942f792d7fcc9519 (MD5)Made available in DSpace on 2018-08-08T11:21:53Z (GMT). No. of bitstreams: 1 MARIA REGINA ALVES DOS REIS - DISSERTAÇÃO (PPGH) 2018.pdf: 2501478 bytes, checksum: 5dedfc4c025bf672942f792d7fcc9519 (MD5) Previous issue date: 2018-02
Esta dissertação problematiza, por meio das narrativas de trabalhadores, o cotidiano do Engenho Buraco d‟Água na cidade de Alagoa Nova-PB, no período compreendido de (1918-1950). Nesse sentido, o objetivo é compreender como os trabalhadores do engenho construíram suas experiências de vida, luta e trabalho nessa localidade no pós-escravidão. Desse modo, analisei quais os sinais e indícios de permanências e descontinuidades de práticas escravistas eram trazidos à tona pela memória dessas mulheres. Neste estudo, dialogo com teóricos que trazem uma grande contribuição sobre Memória e História, como Bosi (1994) e Halbwachs (2006). Essa abordagem se insere nas concepções de práticas e representações de Chartier (1991) e Certeau (2007), com os conceitos de estratégias e táticas. Como abordagem metodológica, conto com a contribuição de Alberti (2005) sobre História Oral, na sua concepção de história de vida, para trabalhar com a memória de mulheres e homens que nasceram e viveram sua infância e juventude no Engenho Buraco d‟Água. Assim, procurei demonstrar, por meio do diálogo entre as fontes orais, escritas e fotográficas, as experiências de trabalhadoras do Engenho no pós-escravidão. Dessa forma, evidenciaram-se os rearranjos das relações, as alianças e negociações estabelecidas no cotidiano do Engenho entre os trabalhadores e o dono da propriedade para garantir trabalho e moradia.
This dissertation raises questions through workers narratives, the daily life in Engenho Buraco d‟Água in the city of Alagoa Nova – PB between 1918 and 1950. This way, the goal is to understand how these sugar mill workers built their life experiences, fight and work in this place in the post slavery period. Thus, it was analyzed which signals and indications of permanence and discontinuities of slave practices that the memory of these women brought to light. In this study, we dialogue with theorists who bring a big contribution about Memory and History, such as Bosi (1994) and Halbwachs (2006). Therefore, this approach fits in the practice and representation conceptions of Chartier (1991) and Certeau (2007) with strategy and tactics. As methodological approach, we could count with Alberti‟s (2005) contribution about Oral History, in her conception of life story, to work with the memory of women who were born and lived their childhood and youth in Engenho Buaco d‟Água. Thus, we tried to demonstrate through the dialogue between the oral, written and photographic sources; and the experiences of workers of the sugar mill in the post-slavery. Thus, it was evident the rearrangements of the relations, the alliances and negotiations established in the daily life of the sugar mill between the workers and the owner of the property to guarantee work and housing.
34
Smith, Victoria Ellen. "If walls had mouths : representations of the Anglo-Fante household and the domestic slave in nineteenth-century Cape Coast (Ghana)." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/49487/.
Full textAbstract:
The existence of indigenous slavery in the Gold Coast’s British settlements and the Fante wives of British officials were inconvenient truths of mid-nineteenth century Cape Coast. As such, they were marginalised within contemporary documents in favour of heroic narratives of thwarting the efforts of pirate slavers and outlawing the custom of human sacrifice. However, evidence reached London in 1839 that forced the British government to respond to rumours that merchants tasked to enforce British law were continuing to aid the slave trade. In 1841 Dr Madden was sent to the Gold Coast as Commissioner of Inquiry to investigate the claims. He found merchant magistrates engaging in domestic slavery and wrote a report to expose them in the hope of bringing about its abolition. In the absence of sufficient documentary evidence and with the aim of offering a voice to the marginalised historical residents of Cape Coast’s Anglo-Fante households, an interdisciplinary approach incorporating literary, historical and anthropological research has been developed. Previously undocumented family histories have been recorded and interpreted in the context provided by historiography, archival documents and literary works including plays, poetry, novels, and nineteenth-century memoirs. Having critically evaluated these sources in terms of the authorial motive, verifiable data and historical instability that are identifiable within oral and written memory, the accumulated evidence is employed to create an imaginative representation of Madden’s time on the Gold Coast. Within the narrative Madden visits the Fante wives of British officials - collectively referred to as the Principal Mulatto Females of the Gold Coast - to explore the existence of domestic slavery. This creative piece forms part of a wider historical and theoretical consideration of a slave-holding community that is publicly forgotten and privately remembered in Cape Coast society, and of the function of memory within the relationship between history and literature.
35
Oliveira, Lilian Aparecida. "Antiqu?rio, cole??es particulares e religiosa na origem da institui??o do Museu do Diamante, Diamantina, MG." UFVJM, 2015. http://acervo.ufvjm.edu.br/jspui/handle/1/996.
Full textAbstract:
?rea de concentra??o: Pol?tica, sociedade e cultura.Submitted by M?rden L?les (marden.inacio@ufvjm.edu.br) on 2016-07-12T01:10:12Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) lilian_aparecida_oliveira.pdf: 4173415 bytes, checksum: f95bdec358607f768ed8db76bff7e901 (MD5)
Approved for entry into archive by Rodrigo Martins Cruz (rodrigo.cruz@ufvjm.edu.br) on 2016-07-18T12:22:29Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) lilian_aparecida_oliveira.pdf: 4173415 bytes, checksum: f95bdec358607f768ed8db76bff7e901 (MD5)
Made available in DSpace on 2016-07-18T12:22:29Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) lilian_aparecida_oliveira.pdf: 4173415 bytes, checksum: f95bdec358607f768ed8db76bff7e901 (MD5) Previous issue date: 2015
RESUMO A pesquisa que resultou na reda??o desta disserta??o buscou identificar a trajet?ria hist?rica do Museu do Diamante na cidade de Diamantina, Minas Gerais, institu?do em 1954 pelo modernista Rodrigo Mello Franco de Andrade, primeiro diretor do Sphan. Por meio de suas cole??es, documenta??o museol?gica e arquivo permanente entre os anos de 1947 a 1957, buscou-se compreender os crit?rios que nortearam as primeiras aquisi??es de seu acervo e a concep??o estabelecida por seus ide?logos. Oportunidade que propiciou a identifica??o e problematiza??o das primeiras cole??es adquiridas e expostas, bem como os sentidos de um museu p?blico cuja origem tem suas ra?zes fundadas em cole??es oriundas de antiqu?rio e cole??es particulares e religiosa institucionalizadas no MD, em um museu p?blico.
Disserta??o (Mestrado Profissional) ? Programa de P?s-Gradua??o em Ci?ncias Humanas, Universidade Federal dos Vales do Jequitinhonha e Mucuri, 2015.
ABSTRACT The research that resulted in the writing of this thesis was to identify the historical trajectory of Diamond Museum in the city of Diamantina, Minas Gerais, established in 1954 by modernist Rodrigo Mello Franco de Andrade, first director of Sphan. Through its collections, museological documentation and permanent file between the years 1947-1957, he sought to understand the criteria that guided the first acquisitions for its collection and the design established by its ideologues. Opportunity that led to the identification and questioning of the first acquired and exhibited collections, as well as the senses of a public museum whose origin has its roots founded in collections coming from antiquarian and private and religious collections institutionalized in MD, in a public museum.
36
Kruger, Carla Maxine. "The cuff and the collar : a contemporary representation of seventeenth century symbols of power and oppression at the Cape of Good Hope." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86543.
Full textAbstract:
Thesis (MA(VA))--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis examines the extent to which the cuff and the collar as semiotic entities played a significant role in the symbolic expression of power and oppression in the seventeenth century Cape of Good Hope. These entities were visually naturalised by the Eurocentric imperialist hegemony at the Cape and offered as undisputed ‘truth’. These symbols permeated the collective consciousness of the society at the Cape on both a physical and cognitive level. The white ruff and cuffs, and the shackles of the slaves represented physical restraints, whilst mentally the slaves were confronted with identity construction and deconstruction. ‘The self’ was pitted against ‘the Other’, and these European values and hierarchies were enforced on the society at the Cape by creating dualistic relationships. An identity implies a certain amount of power. For this reason, the Europeans stripped the slaves of their identities in order to gain control over them. This theory, together with the investigation into the hybrid characteristic of culture as a product of colonialism and slavery at the Cape, will be established concurrently with the aim of my practical work — The Ruff/Rough Collection, The Shackle Collection, and The Soft Steel Collection. This body of work aims to deconstruct the boundaries and hierarchies established by the cuff and the collar (as symbols of the power and oppression paradigm) at the Cape.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die mate waarin die mouboordjie (‘cuff’) en die kraag (‘collar’) as semiotiese entiteite ’n beduidende rol gespeel het in die simboliese uitdrukking van mag en onderdrukking aan die Kaap de Goede Hoop in die sewentiende eeu. Hierdie simbole is visueel deur die Eurosentriese imperialistiese leierskap ingevoer en as onbetwisbare waarheid van hul mag en heerskappy voorgehou. Dié simbole het die kollektiewe bewussyn van die samelewing aan die Kaap op ’n fisieke en geestelike vlak geïnfiltreer. Die wit plooikraag (‘ruff’) wat die Europeërs gedra het om hulself as ‘meesters’ te vestig, en die boeie van die slawe het fisieke beperkings verteenwoordig, terwyl die slawe geestelik gekonfronteer is met die opbou en afbreek van hulle identiteit. ‘Die ek’ is teen ‘die Ander’gestel en Europese waardes is op grond van die Eurosentriese ingesteldheid van die ‘meesters’ op die samelewing afgedwing as ‘n dualistiese verhouding. ’n Identiteit impliseer ’n sekere graad van mag. Daarom het die Europeërs die slawe van hulle identiteit gestroop om sodoende mag oor hulle te verkry. Hierdie teorie, asook die ondersoek na die hibridiese eienskap van kultuur as ’n produk van kolonialisme en slawerny aan die Kaap, sal konkurrent met die doel van my praktiese werk — The Ruff/Rough Collection, The Shackle Collection en The Soft Steel Collection — gevestig word. Die doel van hierdie versameling kontemporêre juweliersware is om die grense en hiërargieë te dekonstrueer, wat deur die mouboordjie (‘cuff’) en die kraag (‘collar’) (as simbole van die mag- en onderdrukkingsparadigma) tot stand gebring is aan die Kaap de Goede Hoop.
37
Alves, Simao Joana Luis. "The Villancicos de Negro in Manuscript 50 of the Biblioteca Geral da Universidade de Coimbra: A Case Study of Black Cultural Agency and Racial Representation in 17th-Century Portugal." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1483636386001958.
Full text
38
Schneider, Leann G. "Capturing Otherness on Canvas: 16th - 18th century European Representation of Amerindians and Africans." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437430892.
Full text
39
Pemangoyi, Leyika Aubain. "Discours et représentations de l’esclavage au siècle des Lumières dans les textes juridiques, encyclopédiques et littéraires." Thesis, Université de Lorraine, 2021. http://docnum.univ-lorraine.fr/ulprive/DDOC_T_2021_0027_PEMANGOYI_LEYIKA.pdf.
Full textAbstract:
Les œuvres littéraires du dix-huitième siècle élaborent des représentations singulières qui dépassent le dogmatisme et combattent les revers de la société européenne. Les discours philosophiques, juridiques ou littéraires s’intéressent à l’Homme et à son cadre social. De ce fait notre travail qui s’articule autour du thème « Discours et représentation de l’esclavage dans les textes juridiques, encyclopédiques et littéraires, au Siècle des Lumières » explore les types de discours élaborés autour de la question de l’esclavage au XVIIIe siècle, afin d’étudier les énoncés et les modalités de représentations de l’Autre. Ce travail permet non seulement de faire émerger de nouvelles voix jusqu’ici très peu ou pas étudiées mais il nous invite aussi à réinterroger le Siècle des Lumières dans sa relation à la question de l’esclavage et d’éclairer la part d’ombre d’un sujet en plein renouvellement. D’abord, nous examinons la nature juridique de l’esclave noir et son statut anthropologique. Ensuite nous nous intéressons aux représentations, aux positions et aux controverses du discours des Lumières sur la question de l’esclavage. Enfin nous étudions l’abolition de l’esclavage, l’héritage des Lumières et le discours politique et anthropologique, car l’abolition de l’esclavage a réinstauré un discours philanthropique dont la dynamique transcende le convenu et ouvre davantage la perspective du respect de la condition humaine et de l’égalité. Notre étude propose de rendre aux Lumières leur complexité historique et de repenser ce que nous leur devons : un ensemble de questions et de problèmes. Elle questionne dans une perspective historique, l’origine, le développement, la rupture et la continuité d’un type de discours fondé sur les postulats d’une ségrégation raciale et d’une incertitude sur la valeur anthropologique de l’Africain et de son rapport à l’AutreThe literary work of the 18th century elaborates the singular representation which overtakes the dogmatism and disputes the regression of the European society. The discussion whether philosophic, literary or judicial concern themselves with man and his social frame. On the basis of this, our work which articulates around the theme “Discussion and representation of slavery in literary, judicial and encyclopidic texts in the age of enlightenment” explores and elaborates the different types of discussion around the question of slavery in the 18th century with the aim to study the statements and the modalities of representation of the other. This work allows not only the emergence of a new voice, which was previously seldom heard or studied but it also invites us to reinterrogate the age of enlightenment with relation to the question of slavery and to bring to light a subject that is in the middle of transformation. Firstly, we shall be examining the judicial nature of the black slave and his anthropological status, moving forward we’ll concern ourselves with the representation, position and the controversies of discussions of the eminent people over the question of slavery. We’ll be concluding the study with the study of abolition of slavery, heritage of the eminent people and political and their anthropological discussions. The abolition of slavery has reinstated a philanthropic discussion whose dynamics transcend the previous convictions around it and open the perspective of equality and humanity. Our study proposes to bring to the light their historic complexity and to rethink our responsibility to them, an ensemble of questions and problems. The study further questions with respect to a historic perspective, the origin, the development and the rupture in the continuity of a particular type of discussion based on the premise of racial discrimination and an incertitude about the anthropological values of the Africans and their relations with others
40
Hirszman, Maria Lafayette Aureliano. "Entre o tipo e o sujeito: os retratos de escravos de Christiano Jr." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-13032013-114903/.
Full textAbstract:
A dissertação examina, a partir de um enfoque multidisciplinar que contempla aspectos estéticos, históricos e antropológicos, as imagens de negros de ganho realizadas por Christiano Jr. em cerca de 1865 no Rio de Janeiro. O objetivo é sublinhar seu caráter contraditório quando colocadas em perspectiva de longa duração. Mesmo sem romper com os padrões estéticos da época, as fotografias de Christiano Jr. introduzem elementos que representam uma diferenciação, uma vez que subvertem certos elementos estruturais da imagem do negro, temáticos e compositivos, quebrando o código de silêncio, ocultamento e disfarce que marca a relação da sociedade brasileira com o tema da escravidão. O trabalho desdobra-se em três movimentos. O primeiro capítulo apresenta uma análise detalhada do trabalho de Christiano Jr., ressaltando sua trajetória e o sistema de consumo e circulação em que suas fotografias se inserem. O segundo caracteriza os padrões tradicionais de representação da figura do negro e das camadas populares estabelecendo relações entre esses gêneros consolidados e as fotografias de Christiano Jr. O último capítulo sublinha uma espécie de fissura no rígido código de representação iconográfica do escravo e propõe que o trabalho do fotógrafo açoriano seja lido não mais como um documento neutro sobre os usos e costumes da época ou apenas como reiteração de um olhar preconceituoso, mas como registro de uma relação complexa entre o fotógrafo e seus modelos, como um elemento constitutivo - e, portanto, carregado de sentidos, mesmo que paradoxais - daquela sociedade que se via às voltas com a crise aguda do regime escravagista.The aim of this work is to examine, from a multidisciplinary approach (aesthetic, historical and anthropological), images of black slaves and black wage earners made by the Azorean photographer Christiano Jr. in mid of the 1860\'s in Rio de Janeiro. The purpose is to emphasize their contradictory character when placed in a long-term perspective. Even without breaking with the aesthetic standards of the period, the pictures of Christiano Jr. introduce elements that represent a differentiation as they subvert certain thematic and compositional structural aspects of images of black labors, thus breaking the code of silence, concealment and disguise that characterizes the relationship between the Brazilian society and the system of slavery. The work develops in three movements. The first chapter presents a detailed analysis of the work of Christiano Jr. highlighting his career and the system of consumption and circulation of his images. The second features the traditional patterns of representation of the figure of the black working classes relating them with the pictures of Christiano Jr. The last chapter stresses a kind of fissure in the strict code of the iconographic representation of the slaves and proposes that the work of the azorean photographer be read not as a neutral document about the uses and customs of the time or only as a reiteration of a biased look, but as a record of a complex relationship between the photographer and his models as a constituent component - therefore charged with meaning - of a society that was itself grappling in an acute crisis of the slavery regime.
41
Barbuy, Victor Emanuel Vilela. "Idéias jurídicas de José de Alencar." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/2/2131/tde-13022015-134909/.
Full textAbstract:
No presente trabalho, analisaremos as ideias jurídicas de José de Alencar (1829-1877), procurando demonstrar que este não foi somente um dos mais proeminentes vultos das letras pátrias e um dos mais destacados publicistas, políticos e oradores do Brasil de seu tempo, mas também um importante jurista. Embora o jurisconsulto José de Alencar seja inegavelmente menor do que o literato e mesmo que o homem de Estado, não deixa ele de ter sua relevância, merecendo, pois, ser mais conhecido e reconhecido do que tem sido. Em nossa exposição de suas ideias em diversos campos do Direito, nos concentramos mais naquelas que reputamos mais importantes social, política e historicamente, particularmente naquelas referentes à relação entre a Lei Natural e a Lei Positiva, à Constituição Imperial, ao Poder Moderador, à representação política, à abolição da escravatura, à codificação civil e à propriedade.In this work we will analyse the juridical ideas of José de Alencar (1829-1877), seeking to demonstrate that he was not only one of the most prominent figures of the Brazilian literature and one of the most distinguished journalists, political writers, politicians and orators of the Brazil of his time but also an important jurist. Although the jurisconsult José de Alencar is unquestionably smaller in importance than the writer and even the man of State he does not lack relevance, thus deserving to be more known and recognised. In our exposition of his ideas in different fields of law we will concentrate more on those that we consider more important socially, politically and historically, particularly on the ones which refer to the relation between Natural Law and Positive Law, the Imperial Constitution, the Moderator Power, the political representation, the abolition of slavery, the civil codification and the property.
42
Nganga, Massengo Arnaud. "Les revendications afro-antillaises à la télévision publique française (1998-2008) : des contentieux postcoloniaux à la re-légitimation d’un modèle d’intégration." Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30060.
Full textAbstract:
A partir d’un corpus télévisé issu des chaînes publiques hertziennes, cette recherche analyse les modalités discursives de traitement télévisuel des contentieux postcoloniaux,- au cœur des mobilisations afro-antillaises articulées autour de trois pôles de luttes (visibilité, discriminations et reconnaissance mémorielle),- réapparus sous la forme d’une nouvelle «Question noire» française durant les années 2000. Il est question plus précisément d’identifier les régimes de monstration de ces mobilisations dont la mise en débat public révèle leur problématisation éristique, à travers un mode d’accès essentiellement polémique à l’agenda médiatique. Ce mode d’admission télévisuel a pour effet l’exhumation en permanence d’un clivage ethno-racial dans les discours publics et médiatiques. En outre, la monstration se déploie à travers le registre d’une mise en scène symbolique de l’opposition entre deux types de figures médiatiques : d’un côté, les Ultra-républicains, dans le rôle des défenseurs autoproclamés de la république et de l’autre, les figures minoritaires engagées dans les actions de contestation de leur statut en son sein. Enfin, cette étude met au jour le déploiement, d’un côté, des procédures discursives de disqualification du minoritaire et de l’autre, celles liées à la re-légitimation du modèle républicain d’intégration dans le processus de prise en charge publique des contentieux postcoloniaux. Cette thèse est structurée autour de deux parties. La première partie s’ouvre sur l’histoire de la présence afro-antillaise en France. Elle met en exergue, dans un premier chapitre, les fondements historiques de la présence noire hexagonale. La deuxième partie concerne notre enquête sur la monstration des revendications afro-antillaises. Charpentée autour de cinq chapitres, cette partie est consacrée à l’analyse des 38 émissions de notre corpus reparties sur une période de dix ans entre 1998 et 2008From a French public channels corpus, this study aims to analize Tv representions of postcolonial contentious issues, in the heart of French Blacks mobilisations which are structured around three mean claims (visibility, discriminations and memory recognition). Describing the will of French Blacks to exist on public sphere, these claims make the historic debate of the “Question noire” reappeared from the 2000s. The research, which intends to question the way in which Afro carribean mobilisations were told and represented on French public television, identifies following major trends. Fisrtly, the television debates analysis underlines an “eristic problematisation” of “Question noire” related issues with essentially polemical media coverage. The result of this type of access to the media agenda is a constant exhumation of an ethnoracial split in media and public discourses. Secondly, Tv coverage analysis reveals a symbolic production of an opposition between two dominant media figures. In one side, the “Ultra-républicains” playing the rôle of self-proclaimed defenders of French republic, and, on the other side, a coalition of minoriy claims defenders. The study, at last, reveals both discourses of disqualification of the minorities, and, discourses of re-legitimation of the French model of integration. This thesis consists of two parts. The first one deals with French Black history. It presents historic reasons of their presence from slavery up to decolonization. The second part explores the representation of postcolonial contentious issues in French public televisions. Structured on five chapters, it proposes a content analysis of our corpus based on 38 broadcasts between 1998 and 2008
43
Silva, Matheus Pelegrino da. "Hegel e a formação para a liberdade." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/26734.
Full textAbstract:
A presente dissertação analisa o modo como Hegel concebe e defende um modelo de formação do indivíduo para a liberdade. Com tal propósito em vista, a dialética do senhor e do escravo é analisada, inicialmente em um estudo sobre as circunstâncias em que tal situação ocorre, e, posteriormente, com o propósito de apontar de que modo este tema da filosofia hegeliana contribui para a caracterização de sua perspectiva no que diz respeito à questão da formação de um indivíduo livre. Em um segundo estágio, são apresentadas as diferentes instâncias pelas quais passa o indivíduo em seu percurso de formação, e é analisado em que medida tais instâncias cumprem os objetivos a elas atribuídos. Nesse contexto, o trabalho é objeto de especial atenção, sendo apresentado como meio de libertar o indivíduo de suas necessidades. São expostas as relações existentes entre as necessidades e os meios para a satisfação das mesmas, assim como um dos impedimentos à satisfação das necessidades, a pobreza. Em seguida, as soluções propostas por Hegel são apresentadas, e igualmente o são as críticas que lhe podem ser interpostas. Como desenvolvimento subseqüente, estuda-se o surgimento da plebe como resultado da pobreza, e, vinculado a este tema, como seria possível combater o comportamento egoísta que se apresenta tanto entre os membros da plebe quanto entre os membros de diferentes grupos da sociedade. Também são avaliados os motivos apresentados para justificar a punição dos criminosos e a possibilidade de que a punição esteja vinculada à formação do indivíduo para a liberdade. Por fim, na conclusão são reunidos os resultados parciais para elaborar uma análise conjunta do projeto de Hegel e igualmente da cogência dos argumentos que o apóiam.The present dissertation analyzes how Hegel conceives and defends a model of formation for freedom of the individual. Taking this purpose in view, the master-slave dialectic is analyzed, initially in a study about the circumstances in which this situation takes place, and, posteriorly, with the purpose of pointing out how this issue of Hegelian’s philosophy contributes for a characterization of his perspective regarding the question of the formation of a free individual. In a second stage, are presented the many instances through which the individual goes in his or her journey of formation, and it is analyzed in which extent such instances fulfill the objectives ascribed to them. In this context, the work is an object of especial attention, being presented as a means of freeing the individual from his or her needs. The existing relations between the needs and the means for satisfying them are exposed, as well as one of the impediments to the satisfaction of the needs, poverty. On the sequence, the solutions proposed by Hegel are presented, as well as the critiques that can be interposed to them. As a subsequent development, the emergence of the rabble, as a result of poverty, is studied, and, connected to this issue, how it would be possible to fight the selfish behavior that is presented either in the members of the rabble or in the members of the many groups of the society. Also the reasons presented in order to justify the punishment of the criminals are evaluated, as well as the possibility that the punishment is bonded to a formation of the individual for freedom. At last, in the conclusion the partial results are assembled, in order to elaborate a complete analysis of Hegel’s project, as well as of the cogency of the arguments that support it.
44
Roume, Stéphane. "La notion de progrès à travers une distinction entre éthique et morale." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0389.
Full textAbstract:
Toute économie ainsi que toute science a pour mission d’atteindre un certain progrès dans son domaine. Or si nous pouvons tous être d’accord sur ce point, nous ne partageons pas forcément la même définition du progrès. Pour élucider cette divergence de compréhension, nous avons pris le parti d’adhérer à une distinction entre éthique et morale : là où tout ordre moral consiste à ordonner les éléments d’un cadre déterminé pour une fin donnée, une posture éthique consiste à adopter et à adapter un principe faisant autorité pour découvrir un environnement alors inconnu. Nous avançons alors que le domaine de l’économie ainsi que toute idée de progrès ne peuvent être rattachés qu’à un ordre moral et non à une posture éthique. Pour illustrer ces propos, nous menons une réflexion sur la question de l’identité, notion certes vide et idéologique mais qui permet tout de même, couplée avec la distinction entre éthique et morale, de nous concentrer notamment sur les notions d’Etat, de personne ou encore de pouvoir. Ces réflexions nous éclairent sur certains fondements de l’économie et sur la philosophie utilitariste, philosophie avant tout liée au langage et de ce fait à la notion d’identité une fois encore ; utilitarisme et économie seraient en un sens déterministes, nous permettant d’accéder à un bonheur identifiable et vers lequel nous pourrions progresser. Ainsi nous avançons que le progrès ne peut qu’être conçu à partir d’un ordre moral et qu’il faille plutôt rechercher un certain équilibre pour que la dimension éthique puisse être elle aussi cultivée, au même titre que la catallaxie puisse être encouragée au côté de l’économieEvery economics or science has to reach some progress in its field. But, if we can agree on this point, we do not necessarily share the same definition of progress. To clarify this divergence of understanding, we have chosen to distinguish between ethics and morals: if a moral order permits to order elements in a determined frame for a specific goal, an ethical posture means to adopt and to adapt an authoritative principle for the discovery of an unknown environment. We advance that the economic field and the idea of progress can only be associated with a moral order and not with an ethical posture. To illustrate that, we conduct a reflection about identity, which is an empty and ideological notion but which allows us, along the distinction between ethics and morals, to focus especially on notions like State, person or power. These reflections can enlighten us about some foundations of economics and utilitarianism which is a philosophy deeply related to language and then with the notion of identity once again; utilitarianism and economics are in a certain way playing a defining role, allowing us to reach a well-being which we can identify and to which we can progress. Thereby, we are advancing that the progress can only be conceived from a moral order and that we should search a kind of equilibrium to let the ethical dimension be cultivated, as well as to encourage catallaxy outre economics
45
Dzanouni, Lamia. "Le dessin journalistique au service du dessein politique des Noirs aux Etats-Unis et en France (1861-1965) : moments-clés et regards croisés." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA121.
Full textAbstract:
Cette thèse porte sur l’impact du dessin de presse dans le combat des Noirs pour l’obtention de leurs droits, aux États-Unis et en France à des moments-clés entre 1861 et 1965, et ce dans une perspective d’histoire croisée. Suite à leur reddition lors de la guerre de Sécession aux Etats-Unis, les Sudistes dotèrent leur idéologie raciste d’une nouvelle arme de diffusion : le dessin de presse – atout majeur dans la victoire de l’Union. Au XX siècle, les Africains-Américains réagirent à la propagande sudiste : ème la guerre des images éclata. A la même époque, certains artistes noirs s’exilèrent en France pour mieux riposter. En effet Paris, moins hostile, facilitait leur expression artistique. Leur succès à l’étranger démontrait alors la responsabilité et la complicité des institutions américaines dans la discrimination raciale. Pourtant, l’attitude française n’était pas plus enviable vis-à-vis de ses colonies, notamment en Afrique noire. Si le racisme et la discrimination étaient clairement affichés aux Etats-Unis, il s’insinuait de manière plus pernicieuse dans la société française, dont les journaux contribuèrent très largement à cette émulation picturale. L'analyse croisée entre ces deux pays révèle des analogies singulières dans la représentation des Noirs dans les journaux de l’époque, tant dans le système ségrégationniste américain que dans l'empire colonial français. Les stéréotypes développés par la presse raciste archétypes dans l’inconscient collectif. Les partisans de s’imprégnèrent en l'émancipation y opposèrent leur image à différentes phases de leur combat – entre la guerre de Sécession et le mouvement des droits civiques d’un côté, de la France coloniale aux guerres de décolonisation de l'autre. Cette analyse de l’histoire de la presse et des illustrations se propose d’éclairer la convergence progressive des lois américaine et française aspirant à tendre vers une société sans préjugé racial. Elle souligne également l'idée que l'image est porteuse de sens, constitue un langage à part entière et a pleinement contribué, à l’époque, à construire et déconstruire les inégalités racialesWithin the framework of Histoire croisée, this thesis focuses on the impact of press drawings, in France and in the USA, on the black population’s fight to obtain rights at key moments between 1861 and 1965. Following their surrender at the end of the US Civil War, the Confederates bolstered their racist ideology with a new ideological weapon, the political cartoon, a major asset in the Union’s victory. In the XX century, th the African Americans reacted to the confederate propaganda and a war of images ensued. Simultaneously, some black artists went into exile in France in order to fight back more adequately. France provided an ideal environment for artistic expression due to hostility against them in Paris being lower than in the USA. Their success abroad thus demonstrated the responsibility and the complicity on the part of American institutions in terms of racial discrimination. That said, the French attitude was far from admirable when it came to its colonies, particularly those of black Africa. Though racism and discrimination were clearly visible within the USA, these mindsets were insinuated more perniciously within French society, the country’s newspapers contributing substantially to this pictorial emulation. A focus on the inter-crossings between these two countries reveals unique analogies in the representation of black people in the newspapers of the time, both within the segregationist system of the USA as well as within France’s colonial empire. The stereotypes developed by the racist press pervaded the collective subconscious as archetypes. The partisans of emancipation protested against this propagation through the use of their own image in different phases of their fight – between the Civil War and the Civil Rights Movement in the United States; and from colonial France to the African independence movements. This analysis of the history of the press and of its illustrations seeks to shed light on the progressive convergence of American and French laws aiming at a society free from racial prejudice. It also underlines the idea that the image bears meaning, constituting a language in its own right, and that it plays a significant role in the construction and the deconstruction of racial inequality
46
Monbeig, Fanny. "Représentation et performance de genre et de « race » dans la littérature féminine noire (africaine-américaine, caribéenne, française)." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30038.
Full textAbstract:
L'esclavage constitue le chronotope de "Tituba" de M. Condé et de "Beloved" de T. Morrison. Il est un héritage paradigmatique dans les autres œuvres de ces auteures, ainsi que chez Alice Walker et Gisèle Pineau, déterminant les rapports raciaux contemporains. La fragmentation du corps esclave convoque le motif de la couture, entre tissage conteur, re-membrement du corps social, et reconfiguration d'une tâche traditionnellement féminine. La mise en exergue du pouvoir performatif des mots des maîtres rappelle l’historicité et la dimension politique de l'invention du racisme dans le régime plantocratique. L'exemple de la beauté féminine et de sa racialisation illustre l'intrication complexe de la construction du genre et de la race. Mais le récit du passé esclavagiste, s'il peut éclairer et expliquer le présent, n'est fait qu'au prix d'un combat douloureux contre divers processus de refoulements, individuels et collectifs. Si "Beloved" et "La couleur Pourpre" rappellent le rôle essentiel de la réminiscence, "Paradis", "Morne Câpresse" et "Heremakhonon" mettent en scène des hypertrophies mémorielles problématiques ou drolatiques. La critique de la prétention historienne à l'objectivité y participe d'une remise en cause globale de la scientificité et de l'héritage des Lumières. Les ambivalences de la postmémoire s'opposent à la sacralisation contemporaine de la littérature mémorielle ou testimoniale, et la hantise postcoloniale se donne à voir sous un jour nouveau, ironique. L'analyse des maternités dialectiques dans "Beloved", "Tituba" ou "Rosie Carpe" permet de réfléchir le lien entre narration de la nation, racialisation de la maternité et contrôle du corps des femmes. Une lecture des œuvres du corpus à l'aune du concept d'intersectionnalité permet d'envisager une déconstruction globale de la féminité libérée de l'injonction à la sexualité reproductive. Au croisement du pouvoir de donner la vie et de son refus, le personnage de la sage-femme est récurrent. Souvent accusée de sorcellerie, elle nourrit une mythologie féminine qui peut retourner le stigmate magique. Fruit de rivalités dans les champs médicaux et religieux, la figure de la sorcière chez Toni Morrison, Maryse Condé ou Marie NDiaye est une invention interculturelle dont la force performative et parodique ébranle les catégories littéraires. Issus du traumatisme de l'esclavage, les romans étudiés esquissent les contours d'utopies concrètes. Leur dimension totalitaire et séparatiste cependant se révèle dans le visage grimaçant de l'espérance eschatologie contemporaine : la secte. Si la projection dans le futur semble ainsi dérisoire, le retour en un espace premier, refuge utérin et remontée dans le temps, s'abîme dans l'impossibilité du retour en Afrique. La Négritude césairienne est ainsi mise à distance, tandis que les espoirs de la Créolité semblent battus en brèche par une littérature récusant l'utopie post-raciale. Les migrations contemporaines et les douleurs de la condition exilique sont narrées sans idéalisation de la mobilité, tandis que les stratégies narratives des auteures diffèrent, tout en se retrouvant dans un désir de révéler en même temps que de dépasser la ligne de couleurSlavery is the chronotope of "Tituba" by M. Condé and "Beloved" by T. Morrison. Slavery is a paradigmatic heritage in other novels by these authors, as well as in Alice Walker's and Gisèle Pineau's art ; it determines the contemporary racial relationships. The splitting up of the slave's body calls to mind the pattern of sewing, narrative weaving, re-membering of the social body, and reinventing a traditionally feminine work. The highlighting of performative power of the master's words reminds us the historicity and the politic aspect of the invention of racism in the plantation system. The example of women's beauty and its racialization illustrates the complicated co-construction of gender and race. The writing of past history of slavery points out and explains the present time, but it requires a painful fight against various processes of individual and collective repression. "Beloved" and "The Color Purple" remind us of the importance of rememory, while "Paradise", "Morne Câpresse" and "Heremakhonon" tell about memory in excess. The criticism of historian claim for objectivity belongs to a global questioning of science on the one hand, and of the heritage of Enlightenment on the other. The ambivalences of postmemory confront the contemporary sacralization of memorial and testimonial literature. Postcolonial haunting is seen in a nex light, quite ironic. The analysis of dialectic motherhood in "Beloved", "Tituba" or "Rosie Carpe" allows us to conceptualise the link between national storytelling, racialization of motherhood and political control of women's bodies. Reading and analysing the novels with the concept of intersectionality shows a global deconstruction of womanhood, freed from the stress of reproductive sexuality. At the crossroad of women's power to give birth and death, the midwife is a recurring character. The midwife is often accused of being a witch, and she belongs to a feminine mythology that can turn the stigma around. The witch is born from rivalry in both religious and medical fields. In Toni Morrison's, Maryse Condé's or Marie Ndiaye's novels, the witch is an intercultural invention ; her parodic and performative strength undermines literary categories. Born from the trauma of slavery, the novels outline the pattern of concrete utopias. The totalitarian and separatist aspect of these utopias appears in the grinning face of the contemporary eschatological hope: the sect. Therefore any hope of a better future seems to be ridiculous ; when the return to a primary space, turning back in time, is dying in the impossible way back to Africa. The "Négritude" of Aimé Césaire is dismissed, and so are the hopes of "Créolité", by a literature that rejects post-racial utopia. There is not any idealization of movement in these novels, which tell contemporary migrations and pains of exile condition. Although the narrative strategies are different, they all intend to expose and overcome the color line
47
Minguez-Cunningham, Caroline. "Évolution des droits de l'homme aux États-Unis : étude des notions d'esclavagisme et de traumatisme culturel et du mouvement abolitionniste à travers trois représentations cinématographiques : the Birth of a Nation, de D. W. Griffith, (1915), Amistad, de Steven Spielberg, (1997) et The Help de Tate Taylor,(2011)." Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30014/document.
Full textAbstract:
La thématique de l’esclavage aux États-Unis nous a toujours interpellés, interrogés et nous a toujours donné envie d’en savoir plus et de comprendre comment un tel système a pu perdurer pendant plus de deux cents ans, provoquer la division profonde d’une nation et une guerre civile pour finalement laisser des traces et des marques indélébiles sur les États-Unis. Cet intérêt nous a poussés à nous intéresser tout d’abord à la notion du traumatisme culturel de l’esclavage, puis, à sa représentation cinématographique dans le cinéma américain par trois cinéastes américains (D. W. Griffith, né en 1875 dans le Kentucky, Steven Spielberg, né en 1946 dans l’Ohio et Tate Taylor né en 1969 dans le Mississippi), qui traitent de trois périodes historiques différentes à des époques distinctes. Nous nous sommes alors posé la question du lien qu’il existe entre la réalité physique, vécue, d’un événement et sa représentation cinématographique qui est forcément distanciée, temporellement et/ou spatialement. Comment les réalisateurs peuvent-ils représenter fidèlement la réalité historique ? Comment évitent-ils (ou non) d’insérer des « filtres », qu’ils soient personnels ou sociologiques, et, comment ne pas transformer l’histoire, la modeler, en occultant par exemple les éléments qui n’abondent pas dans le sens du message que l’on souhaite véhiculer ? Dans l’hypothèse où le réalisateur est de parti-pris, comment le spectateur peut-il en avoir conscience au moment où il regarde le film ? Ce travail est donc né d’une réflexion sur l’importance culturelle et civilisationnelle de la notion de traumatisme culturel dans la représentation cinématographique de l’esclavage aux États-Unis. Les trois films que nous avons choisis pour notre corpus sont The Birth of a Nation de D.W. Griffith (1915), Amistad de Steven Spielberg (1997) et The Help, de Tate Taylor (2011). Ces films représentent trois époques distinctes de la vie et de la société américaine puisque The Birth of a Nation raconte le déroulement de la Guerre de Sécession en se plaçant dans la vie d’une famille sudiste. Amistad prend pour contexte les années 1839 à 1841 et The Help se déroule à Jackson, dans le Mississippi des années 60.En choisissant des films qui représentent des époques historiques distinctes mais qui ont également été réalisés à des périodes différentes les unes des autres, nous avons souhaité prendre en compte cette question de la réadaptation et de la réinterprétation de l’événement traumatique.Nous avons souhaité montrer, à travers notre travail, comment les cinéastes adaptent un fait réel ou un ouvrage littéraire, en supprimant certains éléments ou en rajoutant, en adaptant la réalité historique pour en faire une fiction qui cherche à montrer une représentation du réel. Nous avons aussi et surtout démontré comment la notion de « traumatisme culturel » influence le travail des cinéastes qui se sont penchés sur l'héritage culturel qu'est l'esclavage. Nous avons souhaité voir dans quelle mesure cette notion de traumatisme culturel influe sur la création artistique filmique, et dans quelle mesure ses caractéristiques pouvaient s’appliquer à notre corpus. Quels en sont les aspects les plus représentés et prégnants ? Nous avons fait l’analyse de notre corpus dans un ordre chronologique de création, en premier lieu nous nous sommes penchés sur The Birth of a Nation de D.W. Griffith, sorti en 1915, puis nous avons analysé Amistad de Spielberg, sorti en 1997, pour finir avec l’étude de The Help, réalisé par Tate Taylor et sorti en salle en 2011.Pour chacun de ces films, nous avons étudié le contexte historique et géopolitique inhérent à l’époque représentée, puis, le passage de la réalité historique à l’œuvre de fiction, le processus d’adaptation cinématographique, (éléments fidèles, ajouts, simplifications et suppressions) pour analyser la globalité de chacun en regard de cette notion de traumatisme culturelSlavery in the USA has always been an interesting thematic to us. We have always wanted to learn more about it thus understanding how such a system could have been implemented for more than 200 years, have caused the division and a fracture in a nation, have led to the Civil War and have left permanent scars ont the United States of America. This particular interest led us to look into the concept of cultural trauma, and into its representation by three American film directors (D. W. Griffith, born in Kentucky in 1915, Steven Spielberg, born in Ohio in 1946 and Tate Taylor born in Mississippi in 1969), who picture at various distinct periods three different historical eras. We have considered the link existing between the physical reality of an event and its cinematographic representation, which is spatially or temporally distanced from the event. How can film directors faithfully represent historical reality ? How do (or don’t) they avoid to insert in their work personal or sociological filters ? How don’t they transform history, or shape it by not mentionning the elements that do not concur to the message one wants to deliver ? What if the director’s views are biased? How can the viewer be conscious of it and keep it in mind as he or she watches the film?Our work initiated from a reflexion upon the cultural and socialogical importance of the notion of cultural trauma in the cinematographic representation of slavery in the United States. The three movies we have chosen to work on are : The Birth of a Nation, (D.W. Griffith, 1915), Amistad (Steven Spielberg, 1997) and The Help (Tate Taylor, 2011). These films represent three distinct periods in the life of the American society since The Birth of a Nation pictures the progress of the American Civil War inside a Confederate family, Amistad is set between the years 1839 and 1841, and The Help takes place in the sixties, in Jackson, Mississippi.In choosing films that represent various historical periods and that have been directed at different periods of time, we wanted to take into account both the notions of re-adapting and re-interpreting the traumatic event. We have wished to demonstrate, through our work, how film directors adapt a real fact or a book by deleting some elements or adding some others, by adapting historical reality to turn it into a fiction showing a representation of reality. We have also tried to show how « cultural trauma » acts upon the audiovisual work of film directors who choose to picture the cultural heritage of slavery. We have analyzed to what extent cultural trauma has an influence on filmic creation and how its characteristics can be applied to our corpus. What aspects of it are most represented ?We have decided to analyze our corpus in a chronological order. We have started with D. W. Griffith’s The Birth of a Nation (1915), we have then analyzed S. Spielberg’s Amistad, (1997), and ended with T. Taylor’s (2011). For each of these films, we have first studied the historic and geopolitic contexts of the historical periods represented, we’ve then dealt with the transition from historical reality to fiction and we’ve analyzed the entirety of each movie compared to to the notion of cultural trauma. How and to what extent can it be found into these artitic works ? As a mass media, cinema has an educational role and we have demonstrated its link with cultural trauma
48
Cloete, Nicola Marthe. "Memory, slavery, nation: an analysis of representations of slavery in post-apartheid cultural and memory production." Thesis, 2016. http://hdl.handle.net/10539/19854.
Full textAbstract:
A thesis submitted to the Faculty of Humanities
University of the Witwatersrand
In fulfillment of the requirements for the degree of Doctor of PhilosophyThe continuing role of South Africa’s past in the reconstruction of present-day identities is an area of study and investigation that crosses political, social, cultural and racial boundaries. It is also a field which, despite the post-apartheid political period and South Africa’s change to a democratic dispensation, has not necessarily provided neat categories, instances or guidelines into which identity-formation can fit. As a result, studies abound which attempt to track, respond to, reflect on and reposition how this history of slavery, colonialism and apartheid may be viewed in relation to present-day society and socio-political circumstances. This dissertation considers how and why representations of slavery emerge in discussions of what constitutes a national discourse of race and reconciliation in postapartheid South Africa. I argue that these resurgences of interest in slavery are tied to the symbolic work that the multiple memories of slavery are able to do in the postapartheid period. The study is broadly situated in a globally emerging interest in historic formations of slavery packaged in popular culture, and the current increase in human rights politics dealing with re-emerging and new forms of slavery. As a result, this study adopts an interdisciplinary approach to both the content and methodological focus of how representations of slavery re-emerge in post-apartheid South Africa; providing a consideration of the phenomena of power in relation to discursive and cultural constructions of slavery, memory, identity and nation-building. Each of the areas considered (wine farms, museum and memorial practices and walking tours), suggest that the memory of slavery is able to function in relation to the immediate needs of those proposing and implementing the remembering and remembrance.
49
Oduwobi, Oluyomi Abayoni. "Representations of the Trans-Atlantic Slave Trade in selected contemporary narratives." Thesis, 2016. http://hdl.handle.net/11602/746.
Full text
50
"Negotiating the master narratives of prostitution, slavery, and rape in the testimonies by and representations of Korean sex slaves of the Japanese military (1932--1945)." GEORGETOWN UNIVERSITY, 2009. http://pqdtopen.proquest.com/#viewpdf?dispub=3341613.
Full text