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Relevant bibliographies by topics / Sancho, Ignatius

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Academic literature on the topic 'Sancho, Ignatius'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Sancho, Ignatius"

1

Gbadamosi, Raimi. "Ignatius sancho." Third Text 11, no. 40 (September 1997): 103–5. http://dx.doi.org/10.1080/09528829708576691.

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Sandiford, Keith A., Paul Edwards, and Polly Rewt. "Letters of Ignatius Sancho." African American Review 31, no. 1 (1997): 140. http://dx.doi.org/10.2307/3042194.

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House, Khara. "Ignatius Sancho's LETTERS OF THE LATE IGNATIUS SANCHO, AN AFRICAN." Explicator 71, no. 3 (July 2013): 195–98. http://dx.doi.org/10.1080/00144940.2013.811391.

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Gerzina, Gretchen Holbrook. "Ignatius Sancho: A Renaissance Black Man in Eighteenth-Century England." Journal of Blacks in Higher Education, no. 21 (1998): 106. http://dx.doi.org/10.2307/2999016.

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CAREY, BRYCCHAN. "‘The extraordinary Negro’: Ignatius Sancho, Joseph Jekyll, and the Problem of Biography." Journal for Eighteenth-Century Studies 26, no. 1 (October 1, 2008): 1–13. http://dx.doi.org/10.1111/j.1754-0208.2003.tb00257.x.

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Whitehead, A. "'[...] Books (Fair Virtues Advocates!)': A Quotation from Edward Young Identified in Ignatius Sancho's Letters of the Late Ignatius Sancho, An African." Notes and Queries 54, no. 4 (December 1, 2007): 482. http://dx.doi.org/10.1093/notesj/gjm234.

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Lunn, Kenneth. "‘Ignatius Sancho: An African man of letters’, national portrait gallery, London, 24 january‐11 may 1997." Immigrants & Minorities 16, no. 3 (November 1997): 83–84. http://dx.doi.org/10.1080/02619288.1993.9974918.

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Saillant, John. "The Invisible Man of Indecency: Profanity and the Letters of the Late Ignatius Sancho, an African (1782)." Journal for Eighteenth-Century Studies 43, no. 2 (February 16, 2020): 221–38. http://dx.doi.org/10.1111/1754-0208.12687.

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9

Pixley, Zaide, Ignatius Sancho, and Josephine R. B. Wright. "Ignatius Sancho (1729-1780): An Early African Composer in England; The Collected Editions of His Music in Facsimile." Notes 42, no. 1 (September 1985): 142. http://dx.doi.org/10.2307/898259.

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Southern, Eileen, Josephine R. B. Wright, Geneva Handy Southall, and Jeffrey P. Green. "Ignatius Sancho (1729-1780): An Early African Composer in England. The Collected Editions of His Music in Facsimile." Black Perspective in Music 13, no. 1 (1985): 119. http://dx.doi.org/10.2307/1214798.

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Dissertations / Theses on the topic "Sancho, Ignatius"

1

Evans, Dennis F. "The Afro-British Slave Narrative: The Rhetoric of Freedom in the Kairos of Abolition." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2278/.

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The dissertation argues that the development of the British abolition movement was based on the abolitionists' perception that their actions were kairotic; they attempted to shape their own kairos by taking temporal events and reinterpreting them to construct a kairotic process that led to a perceived fulfillment: abolition. Thus, the dissertation examines the rhetorical strategies used by white abolitionists to construct an abolitionist kairos that was designed to produce salvation for white Britons more than it was to help free blacks. The dissertation especially examines the three major texts produced by black persons living in England during the late eighteenth centuryIgnatius Sancho's Letters of the Late Ignatius Sancho (1782), Ottobauh Cugoano's Thoughts and Sentiments on the Evil of Slavery (1787), and Olaudah Equiano's The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African (1789)to illustrate how black rhetoric was appropriated by whites to fulfill their own kairotic desires. By examining the rhetorical strategies employed in both white and black rhetorics, the dissertation illustrates how the abolitionists thought the movement was shaped by, and how they were shaping the movement through, kairotic time. While the dissertation contends that the abolition movement was rhetorically designed to provide redemption, and thus salvation, it illustrates that the abolitionist's intent was not merely to save the slave, but to redeem blacks first in the eyes of white Christians by opening blacks to an understanding and acceptance of God. Perhaps more importantly, abolitionists would use black salvation to buy back their own souls and the soul of their nation in the eyes of God in order to regain their own salvation lost in the slave trade. But ironically, they had to appear to be saving others to save themselves. So white abolitionists used the black narratives to persuade their overwhelmingly white audience that slavery was as bad for them as it was for the African slave. And in the process, a corpus of black writing was produced that gives current readers two glimpses of one world.

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2

Halbert, Harold William. "Hybrid motivations : language acquisition and the construction of identity in the slave texts of Wheatley, Sancho, Equiano, and Cugoano /." Diss., 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3010405.

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Books on the topic "Sancho, Ignatius"

1

Sancho, Ignatius. The letters of Ignatius Sancho. Edinburgh: Edinburgh University Press, 1994.

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Sancho, Ignatius. The letters of Ignatius Sancho. Lagos: Centre for Black and African Arts and Civilization (CBAAC), 2002.

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3

Sancho, Ignatius. Letters of the late Ignatius Sancho, an African. New York, N.Y: Penguin Books, 1998.

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4

Edwards, Paul. Unreconciled strivings and ironic strategies: Three Afro-British authors of the Georgian era; Ignatius Sancho, Olaudah Equiano, Robert Wedderburn. Edinburgh: University of Edinburgh, Centre of African Studies, 1992.

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5

Edwards, Paul. Unreconciled strivings and ironic strategies: Three Afro-British authors of the Georgian era; Ignatius Sancho, Olau dah Equiano, Robert Wedderburn. [Edinburgh]: University of Edinburgh, Centre of African Studies, 1992.

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6

King, Reyahn. Ignatius Sancho: African Man of Letters. National Portrait Gallery, 2008.

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7

Reyahn, King, ed. Ignatius Sancho: An African man of letters. London: National Portrait Gallery, 1997.

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8

Sancho, Ignatius. Letters of the Late Ignatius Sancho, an African. Broadview Press, 2015.

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9

Sancho, Ignatius. Letters of the Late Ignatius Sancho, an African. Cosimo Classics, 2005.

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10

Sancho, Ignatius. Letters of the Late Ignatius Sancho, an African: To Which Are Prefixed, Memoirs of His Life. University of Cambridge ESOL Examinations, 2013.

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Book chapters on the topic "Sancho, Ignatius"

1

Gregg, Stephen H. "Ignatius Sancho, from The Letters of the Late Ignatius Sancho, An African (1782)." In Empire and Identity, 223–30. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-1-137-03961-3_34.

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Haschemi Yekani, Elahe. "Digressions: Sancho and Sterne." In Familial Feeling, 123–70. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58641-6_3.

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AbstractArtifice and authenticity are conflictingly related in the extroverted and stylised displays of feeling in the texts of Laurence Sterne and Ignatius Sancho. Whereas Sterne employs aesthetic playfulness to set himself apart from literary predecessors, Sancho uses it to claim a part in the culture of taste and sensibility. This chapter reads Sancho and Sterne’s literary adoption of a digressive tonality distinctly not as imitative but as entangled. The scenes dealing with slavery in Tristram Shandy and A Sentimental Journey are tied into more bawdy episodes. While not necessarily only sentimental, they still elude ideas of political solidarity. Sancho’s interjections of emotional concern in his published letters in turn not only highlight his capacity to feel (as well as his attachment to his family); in adopting the Sternian digressive dash, he does not adhere to the usual linear form of redemptive abolitionist writing and displays a uniquely Black aesthetic voice, albeit one that also reproduces deprecating sentimental tropes. This needs to be read as more than simply epigonic. Sancho’s digressive tone, it will be argued, intervenes more fundamentally into the sentimentalist romance with the cultured, feeling subject of modernity, while Sterne remains more elusive in his aestheticised divagations.

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Haschemi Yekani, Elahe. "Introduction: Provincialising the Rise of the British Novel in the Transatlantic Public Sphere." In Familial Feeling, 1–66. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58641-6_1.

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AbstractIn the introduction to Familial Feeling, Haschemi Yekani proposes a transatlantic reframing of Ian Watt’s famous work on the rise of the novel. Offering a critical overview of the intertwined histories of enslavement and modernity, this chapter proposes a focus on transatlantic entanglement already in the eighteenth and early nineteenth century to challenge the more prevalent retrospective paradigm of “writing back” in postcolonial studies. Introducing the concepts of familial feeling and entangled tonalities, Haschemi Yekani describes the affective dimension of literature that shapes notions of national belonging. This is then discussed in the book in relation to the four entangled aesthetic tonalities of familial feeling in early Black Atlantic writing and canonical British novels by Daniel Defoe, Olaudah Equiano, Ignatius Sancho, Laurence Sterne, Jane Austen, Robert Wedderburn, Charles Dickens, and Mary Seacole. To provide context for the following literary readings, scholarship on sentimentalism and the abolition of slavery is introduced and significantly extended, especially in relation to the shifts from moral sentiment and the abolition of the slave trade in the eighteenth century to social reform and the rise of the new imperialism and colonial expansion in the nineteenth century.

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4

Carey, Brycchan. "‘The Hellish Means of Killing and Kidnapping’: Ignatius Sancho and the Campaign against the ‘Abominable Traffic for Slaves’." In Discourses of Slavery and Abolition, 81–95. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230522602_6.

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5

Joseph, Paterson. "Staging Sancho." In Britain's Black Past, 197–214. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621600.003.0012.

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In this chapter Paterson Joseph describes the genesis and evolution of Sancho—An Act of Remembrance, a play he wrote and performed about the life of Charles Ignatius Sancho. Sancho fulfilled the author’s desire to perform in a costume drama and bring awareness to black contributions to Britain. Developed as a monologue, the play conveys the extraordinariness of Sancho who was a musician, writer, actor, valet to the duke of Montagu, grocer, and was the first Afro-Briton to vote in a parliamentary election. Joseph recounts some of the challenges of bringing the play to the stage as well as the contributions of musicians, producers, choreographers, costumers, and lighting and set designers. He describes the audience reaction to the play revealed in post-show question and answer sessions which helped him see modern parallels with the political disenfranchisement of blacks in the US. Joseph positions Sancho as not only bringing awareness to the life of one remarkable black man, but helping break the monotone view of British historical drama and expanding our understanding of black lives of the past.

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6

Spencer, Jane. "The Orang-outang System: Animals and Abolition." In Writing About Animals in the Age of Revolution, 144–78. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857518.003.0005.

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This chapter examines the effects on abolition debates of racial theories positing a special closeness between African and ‘orang-outang’ or ape, and shows how Ignatius Sancho, Ottobah Cugoano and Olaudah Equiano deployed literary animals to underscore their own humanity and consider the implications of freedom. Firstly it considers writing on the ‘orang-outang’, arguing that anatomical and behavioural observations with the potential to challenge human exceptionalism were diverted into support for emergent racialist theories. The orang-outang was rhetorically used to create the starkest animalization applied to any human group. Secondly it considers comparisons between slaves and cattleo, invoked both in pro- and anti-slavery arguments to characterize the institution and practices of slavery. Thirdly it discusses the complex use of literary animals in Afro-British writing, including Sancho’s Sternian sympathy with donkeys, Cugoano’s revaluation of common animal metaphors, and Equiano’s exploration of the relation between human freedom and trade in nonhuman animals.

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Cohen, Ashley L. "A Black British Racial Formation." In The Global Indies, 78–118. Yale University Press, 2021. http://dx.doi.org/10.12987/yale/9780300239973.003.0004.

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This chapter uses the Indies mentality to relearn British racial discourse, focusing on Julius Soubise, the Afro-British assistant of celebrity fencing master Domenico Angelo. During his own lifetime, Soubise's celebrity rivaled that of his better remembered Afro-British contemporaries, Olaudah Equiano and Ignatius Sancho. Soubise's “life geography” overflowed the borders of the Black Atlantic: born in Saint Kitts, he grew up in London and spent the last two decades of his life in Calcutta. The chapter first details his time in London, where he catalyzed tropologies of Eastern royalty in order to fashion himself as a “Black Prince,” thereby carving out a racialized but still exalted place for himself in the beau monde. It then follows Soubise to Calcutta, tracing how his racial self presentation altered in his journey from metropole to colony, from the circum-Atlantic to India. While British ideas about race certainly traveled from the former to the latter, India's colonial racial formation was also shaped by Mughal precedents. Indeed, aspects of the subcontinent's Indo-Persian racial formation even migrated westward through imperial networks, influencing the evolution of racial ideologies in the British Atlantic world.

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8

"chapter 1. The Print Atlantic: Phillis Wheatley, Ignatius Sancho, and the Cultural Signifi cance of the Book." In Early African American Print Culture, 19–39. University of Pennsylvania Press, 2012. http://dx.doi.org/10.9783/9780812206296.19.

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9

"Freedom, Health and Hypochondria in Ignatius Sancho’s Letters." In Liberating Medicine, 1720–1835, 43–56. Routledge, 2015. http://dx.doi.org/10.4324/9781315653457-10.

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10

Stewart, Dustin D. "Commerce after Money." In Futures of Enlightenment Poetry, 119–51. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857792.003.0005.

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This chapter addresses the extractive logic of the poet Edward Young. It shows how his late masterpiece Night Thoughts at once extends and complicates the imperialism of his earlier work. At the heart of the analysis is Young’s notion that movement somehow generates depth, so that the mobility of a gold coin produces inner value, immaterial worth ready to be drawn out by its user. The treasure, on Young’s strange view, lies within the gold. Night Thoughts applies this thinking to the spiritual realm. Instead of assuming that it is God who extracts souls from bodies—as workers remove ore from mines—the poem suggests that souls can extract themselves from materiality through religious and poetic inspiration. Then they can delve into the interiorities of other angelic beings and exchange thoughts and feelings with them. Closing the chapter are a comparison to Charles Johnstone’s popular it-narrative Chrysal (1760–5) and a reading of Ignatius Sancho’s gushing praise for Night Thoughts.

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