The Inner Workings of Slavery Ava I
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The Woman-Slave Analogy: Rhetorical Foundations in American
The Woman-Slave Analogy: Rhetorical Foundations in American Culture, 1830-1900 Ana Lucette Stevenson BComm (dist.), BA (HonsI) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of History, Philosophy, Religion and Classics I Abstract During the 1830s, Sarah Grimké, the abolitionist and women’s rights reformer from South Carolina, stated: “It was when my soul was deeply moved at the wrongs of the slave that I first perceived distinctly the subject condition of women.” This rhetorical comparison between women and slaves – the woman-slave analogy – emerged in Europe during the seventeenth century, but gained peculiar significance in the United States during the nineteenth century. This rhetoric was inspired by the Revolutionary Era language of liberty versus tyranny, and discourses of slavery gained prominence in the reform culture that was dominated by the American antislavery movement and shared among the sisterhood of reforms. The woman-slave analogy functioned on the idea that the position of women was no better – nor any freer – than slaves. It was used to critique the exclusion of women from a national body politic based on the concept that “all men are created equal.” From the 1830s onwards, this analogy came to permeate the rhetorical practices of social reformers, especially those involved in the antislavery, women’s rights, dress reform, suffrage and labour movements. Sarah’s sister, Angelina, asked: “Can you not see that women could do, and would do a hundred times more for the slave if she were not fettered?” My thesis explores manifestations of the woman-slave analogy through the themes of marriage, fashion, politics, labour, and sex. -
Texts Checklist, the Making of African American Identity
National Humanities Center Resource Toolbox The Making of African American Identity: Vol. I, 1500-1865 A collection of primary resources—historical documents, literary texts, and works of art—thematically organized with notes and discussion questions I. FREEDOM pages ____ 1 Senegal & Guinea 12 –Narrative of Ayuba Suleiman Diallo (Job ben Solomon) of Bondu, 1734, excerpts –Narrative of Abdul Rahman Ibrahima (“the Prince”), of Futa Jalon, 1828 ____ 2 Mali 4 –Narrative of Boyrereau Brinch (Jeffrey Brace) of Bow-woo, Niger River valley, 1810, excerpts ____ 3 Ghana 6 –Narrative of Broteer Furro (Venture Smith) of Dukandarra, 1798, excerpts ____ 4 Benin 11 –Narrative of Mahommah Gardo Baquaqua of Zoogoo, 1854, excerpts ____ 5 Nigeria 18 –Narrative of Olaudah Equiano of Essaka, Eboe, 1789, excerpts –Travel narrative of Robert Campbell to his “motherland,” 1859-1860, excerpts ____ 6 Capture 13 –Capture in west Africa: selections from the 18th-20th-century narratives of former slaves –Slave mutinies, early 1700s, account by slaveship captain William Snelgrave FREEDOM: Total Pages 64 II. ENSLAVEMENT pages ____ 1 An Enslaved Person’s Life 36 –Photographs of enslaved African Americans, 1847-1863 –Jacob Stroyer, narrative, 1885, excerpts –Narratives (WPA) of Jenny Proctor, W. L. Bost, and Mary Reynolds, 1936-1938 ____ 2 Sale 15 –New Orleans slave market, description in Solomon Northup narrative, 1853 –Slave auctions, descriptions in 19th-century narratives of former slaves, 1840s –On being sold: selections from the 20th-century WPA narratives of former slaves, 1936-1938 ____ 3 Plantation 29 –Green Hill plantation, Virginia: photographs, 1960s –McGee plantation, Mississippi: description, ca. 1844, in narrative of Louis Hughes, 1897 –Williams plantation, Louisiana: description, ca. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date:_December 13, 2006_ I, James Michael Rhyne______________________________________, hereby submit this work as part of the requirements for the degree of: Doctor of Philosophy in: History It is entitled: Rehearsal for Redemption: The Politics of Post-Emancipation Violence in Kentucky’s Bluegrass Region This work and its defense approved by: Chair: _Wayne K. Durrill_____________ _Christopher Phillips_________ _Wendy Kline__________________ _Linda Przybyszewski__________ Rehearsal for Redemption: The Politics of Post-Emancipation Violence in Kentucky’s Bluegrass Region A Dissertation submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Ph.D.) in the Department of History of the College of Arts and Sciences 2006 By James Michael Rhyne M.A., Western Carolina University, 1997 M-Div., Southeastern Baptist Theological Seminary, 1989 B.A., Wake Forest University, 1982 Committee Chair: Professor Wayne K. Durrill Abstract Rehearsal for Redemption: The Politics of Post-Emancipation Violence in Kentucky’s Bluegrass Region By James Michael Rhyne In the late antebellum period, changing economic and social realities fostered conflicts among Kentuckians as tension built over a number of issues, especially the future of slavery. Local clashes matured into widespread, violent confrontations during the Civil War, as an ugly guerrilla war raged through much of the state. Additionally, African Americans engaged in a wartime contest over the meaning of freedom. Nowhere were these interconnected conflicts more clearly evidenced than in the Bluegrass Region. Though Kentucky had never seceded, the Freedmen’s Bureau established a branch in the Commonwealth after the war. -
Solomon Northup and 12 Years a Slave
Solomon Northup and 12 Years a Slave How to analyze slave narratives. Who Was Solomon Northup? 1808: Born in Minerva, NewYork Son of former slave, Mintus Northup; Northup's mother is unknown. 1829: Married Anne Hampton, a free black woman. They had three children. Solomon was a farmer, a rafter on the Lake Champlain Canal, and a popular local fiddler. What Happened to Solomon Northup? Met two circus performers who said they needed a fiddler for engagements inWashington, D.C. Traveled south with the two men. Didn't tell his wife where he was going (she was out of town); he expected to be back by the time his family returned. Poisoned by the two men during an evening of social drinking inWashington, D.C. Became ill; he was taken to his room where the two men robbed him and took his free papers; he vaguely remembered the transfer from the hotel but passed out. What Happened…? • Awoke in chains in a "slave pen" in Washington, D.C., owned by infamous slave dealer, James Birch. (Note: A slave pen were where (Note:a slave pen was where slaves were warehoused before being transported to market) • Transported by sea with other slaves to the New Orleans slave market. • Sold first toWilliam Prince Ford, a cotton plantation owner. • Ford treated Northup with respect due to Northup's many skills, business acumen and initiative. • After six months Ford, needing money, sold Northup to Edwin Epps. Life on the Plantation Edwin Epps was Northup’s master for eight of his 12 years a slave. -
1 Scene on Radio Made in America (Seeing White, Part 3) Transcript
Scene on Radio Made in America (Seeing White, Part 3) Transcript http://www.sceneonradio.org/episode-33-made-in-america-seeing-white-part-3/ [Gone with the Wind clip] Mammy: Oh naw, Miss Scarlett, come on, be good and eat just a little. Scarlett: No! I’m going to have a good time today. John Biewen: We Americans are notorious for not knowing or caring about history. It’s a generalization, forgive me, history buffs. But it’s a fair one, isn’t it? On the whole, Americans care a whole lot more about tomorrow. Forget yesterday. Yesterday was so long ago, for one thing. Get over it. [Roots clip] Kizzy, reading: For God giveth to a man who is good in his sight wisdom… [door opens] Master: Is that you reading, Kizzy? White woman, laughing: Uncle William, it was only a trick! John Biewen: That said, most of us do have a general picture in our minds of American slavery. Our schools teach it. And the Antebellum South has made recurring appearances in massively popular novels, movies, and TV series. [Roots clip] Father: But don’t split up the family, Master. You ain’t never been that kind of man. Please, Master! Master: Mr. Tom Moore owns Kizzy now. Mr. Odell will take her away today. [Kizzy crying] Mother: Oh God, my baby… 1 John Biewen: Some portrayals of American chattel slavery have been more unvarnished than others. [12 Years a Slave clip] Platt: But I’ve no understanding of the written text… Mistress Epps: Don’t trouble yourself with it. -
Pre-VFT, Domestic Slave Trade
A GUIDE TO YOUR VIRTUAL FIELD TRIP MUSEUM RESEARCH CENTER PUBLISHER ABOUT US The Historic New Orleans Collection is a museum, research center, and publisher dedicated to preserving the history and culture of New Orleans and the Gulf South. JENNY SCHWARTZBERG KENDRIC PERKINS RACHEL GAUDRY CURATOR OF EDUCATION EDUCATION SPECIALIST EDUCATION COORDINATOR Meet the educators! We will be your guides during the virtual field trip. YOUR FIELD TRIP JENNY WILL SHARE: • A tour of the virtual exhibition Purchased Lives: New Orleans and the Domestic Slave Trade • Highlights from the Works Progress Administration’s Slave Narrative Collection KENDRIC WILL SHARE: • A virtual walking tour exploring sites from the domestic slave trade in New Orleans • Stories of resistance from people who were enslaved • Information on the industries that fueled the domestic slave trade in America DURING THE FIELD TRIP, YOU CAN USE THE Q&A BOX TO ASK QUESTIONS AND MAKE COMMENTS. WE’D LOVE TO HEAR FROM YOU! ??? ??? SCROLL TO LEARN ABOUT THE KEY TERMINOLOGY THAT WILL BE USED IN OUR PRESENTATIONS. TRANSATLANTIC SLAVE TRADE 1619-1807 The transatlantic slave trade began in North America in Jamestown, Virginia, in 1619 with the arrival of the first slave ship bearing African captives. For nearly 200 years, this trade would continue. European nations would send manufactured goods to Africa and exchange these items for enslaved Africans. They would then send these people to the Americas to be sold. On the return voyages back to Europe, ships were filled with raw materials from the Americas. The transatlantic slave trade was outlawed by the US Congress on March 2, 1807. -
Moore Q&A for Solomon Northup Day 2020 Celebration
1. Why did you put your passion and energy into establishing SNDay? My first knowledge of the ordeal of Solomon Northup came through filmmaker Gordon Parks in 1984, as a PBS docudrama, The Odyssey of Solomon Northup. When I saw that film and later the 1999 exhibition at Nott Memorial, Union College, I knew then something had to be done to bring this history to focus. Especially, when I discovered Solomon had history in my little town of Saratoga Springs, NY. From there, I kept pushing forward. I couldn’t see far down the road but I kept moving forward with more and more ideas each year.Another incentive was running into visitors/ tourists downtown in theCity of Saratoga Springs, who would ask me “where are you visiting from” –. It was then, I knew I had do something to bring focus to his story but to bring focus to the largely invisible Black community – a community I recognized as valuable to telling the whole story of life in the North Country. Later it grew into much more than a day, it became a weekend. Then it became the week before the third Saturday in July. I lobbied and acquired additional venues besides the Visitor Center which, at that time, was the most underused building in the City. There was initially disinterest and resistance behavior on many levels. Along the way a few faithful individuals were willing to put their time and energy into supporting me through their own dedication to the cause. Though not a grant writer, I was able to keep it going on a shoestring budget each year. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title The Extraordinary Black Slave Woman in Nineteenth-Century Slave Narratives Permalink https://escholarship.org/uc/item/2wj8k34c Author Thomas, Kimber Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Extraordinary Black Slave Woman in Nineteenth-Century Slave Narratives A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Afro-American Studies by Kimber Thomas 2014 ABSTRACT OF THE THESIS The Extraordinary Black Slave Woman in Nineteenth-Century Slave Narratives by Kimber Thomas Master of Arts in Afro-American Studies University of California, Los Angeles, 2014 Professor Richard Yarborough, Chair This thesis identifies a new type of black female character present in African American literature. By extending Trudier Harris’ research on representations of the “strong” black woman backwards into the nineteenth century, this thesis argues that the earliest literary depiction of such figures is the “extraordinary black slave woman,” an image present in many nineteenth- century slave narratives. In particular, I argue that in the narratives of Harriet Jacobs, Mary Prince, Frederick Douglass, Sylvia Dubois, Zilpha Elaw and Jarena Lee, the extraordinary slave women are depicted as domestic workers, manual laborers, physical resisters, mothers, and spiritual sisters. ii The thesis of Kimber Thomas is approved. Michael Cohen Harryette Mullen Richard Yarborough, Committee Chair University of California, Los Angeles 2014 iii DEDICATION To “Mom,” Mama, Kelsey, Keisha, Fooney, Teddybear, Cat, Ann, and Niece: the most extraordinary black women I’ve ever known. iv TABLE OF CONTENTS I. -
16 CHAPTER IV DATA ANALYSIS in This Chapter, the Writer Presents the Data She Collected and the Analysis She Had Done. As the Fi
CHAPTER IV DATA ANALYSIS In this chapter, the writer presents the data she collected and the analysis she had done. As the film A Twelve Years a Slave was about slavery, most of the discrimination which were experienced by the slaves was due to their race difference. The slaves were Afro American which has dark skin while their masters were the white Americans which were Caucasians. The writer chose the scenes of the films which contained the discriminations experienced by both Solomon and Patsey. In Twelve Years Slave movie, Solomon moves from one master to the other masters several times. Until then, when his master is Edward Epps, Solomon meets Patsey. As the movie was written by Solomon himself, the movie is seen from Solomon’s point of view. As the main character, the viewers are taken to see Solomon’s bitter experience to be enslaved. It is a really bad experience. However, the climax of this movie is according to the writer, when he meets Patsey. Patsey actually takes a role as a supporting character. She is described as a young black woman who can work really well. It even makes her master, Epps, gives her a high compliment among the workers. She is even better than the male workers. They can only produce around 200-400 pounds of cotton while Patsey can produce like around 500 pounds. Epps often uses Patsey’s great achievement as the minimum standard of the cotton production. He will without doubt punish the other workers 16 when they can only make less than Patsey’s. -
12 Years a Slave Mat No | 1
12 YEARS A SLAVE Mat No | 1 THE FERGUSON RIOTS Michael Brown, an unarmed black teenager, was shot and killed on Aug. 9, by Darren Wilson, a white police officer, in Ferguson, Mo., a suburb of St. Louis. The shooting prompted protests that roiled the area for weeks. On Nov.24, the St. Louis County prosecutor announced that a grand jury decided not to indict Mr. Wilson. The announcement set off another wave of protests. - NY Times NEWS COVERAGE In august 2014, there has been extensive news coverage on American and world-wide television. Watch the following CNN broadcast on people’s opinion on Michael Brown’s death and its aftermath. “Do white people not ‚get‘ Ferguson?” https://www.youtube.com/watch?v=Pm0hvk3b2J4 Reporter: Brian Stelter - Guest 1: Elon James White - Guest 2: Crystal Wright Background information: CNN is an American to world-wide news outlet which is preferred by voters of the democratic party. Its Republican counterpart is Fox News (Mutz 2006, 229). INVESTIGATE IN GROUPS Divide the class into groups to answer the questions below. Group 1: What is Brian Stelter’s thesis on the escalation of violence in Ferguson and the news media coverage? Group 2: In how far does Elon James White agree with Brian Stelter’s statements? Group 3: Even though Crystal Wright is from the Afro-American community, how far does she have a different opinion? How does she argue against the initial thesis? Sources: http://www.nytimes.com/interactive/2014/08/13/us/ferguson-missouri-town-under-siege-after-police-shooting.html?_r=0 © Jan-Erik Leonhardt - Feature Films in English Language Teaching 12 YEARS A SLAVE Mat No | 2 REACTIONS TO FERGUSON The Internet community also leads furious discussions on Michael Brown’s death, the question of guilt, and whether the riots in Ferguson are righteous or not. -
The African-American Emigration Movement in Georgia During Reconstruction
Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Summer 6-20-2011 The African-American Emigration Movement in Georgia during Reconstruction Falechiondro Karcheik Sims-Alvarado Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Part of the History Commons Recommended Citation Sims-Alvarado, Falechiondro Karcheik, "The African-American Emigration Movement in Georgia during Reconstruction." Dissertation, Georgia State University, 2011. https://scholarworks.gsu.edu/history_diss/29 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. THE AFRICAN-AMERICAN EMIGRATION MOVEMENT IN GEORGIA DURING RECONSTRUCTION by FALECHIONDRO KARCHEIK SIMS-ALVARADO Under the Direction of Hugh Hudson ABSTRACT This dissertation is a narrative history about nearly 800 newly freed black Georgians who sought freedom beyond the borders of the Unites States by emigrating to Liberia during the years of 1866 and 1868. This work fulfills three overarching goals. First, I demonstrate that during the wake of Reconstruction, newly freed persons’ interest in returning to Africa did not die with the Civil War. Second, I identify and analyze the motivations of blacks seeking autonomy in Africa. Third, I tell the stories and challenges of those black Georgians who chose emigration as the means to civil and political freedom in the face of white opposition. In understanding the motives of black Georgians who emigrated to Liberia, I analyze correspondence from black and white Georgians and the white leaders of the American Colonization Society and letters from Liberia settlers to black friends and families in the Unites States. -
Transatlantica, 1 | 2018 Confronting Race Head-On in 12 Years a Slave (Steve Mcqueen, 2013): Redefinin
Transatlantica Revue d’études américaines. American Studies Journal 1 | 2018 Slavery on Screen / American Women Writers Abroad: 1849-1976 Confronting Race Head-on in 12 Years a Slave (Steve McQueen, 2013): Redefining the Contours of the Classic Biopic? Anne-Marie Paquet-Deyris Electronic version URL: http://journals.openedition.org/transatlantica/11593 DOI: 10.4000/transatlantica.11593 ISSN: 1765-2766 Publisher AFEA Electronic reference Anne-Marie Paquet-Deyris, “Confronting Race Head-on in 12 Years a Slave (Steve McQueen, 2013): Redefining the Contours of the Classic Biopic?”, Transatlantica [Online], 1 | 2018, Online since 05 September 2019, connection on 29 April 2021. URL: http://journals.openedition.org/transatlantica/ 11593 ; DOI: https://doi.org/10.4000/transatlantica.11593 This text was automatically generated on 29 April 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Confronting Race Head-on in 12 Years a Slave (Steve McQueen, 2013): Redefinin... 1 Confronting Race Head-on in 12 Years a Slave (Steve McQueen, 2013): Redefining the Contours of the Classic Biopic? Anne-Marie Paquet-Deyris 1 During the Obama years, the issue of race seemed to dissolve into the so-called “post- racial” era in the media. For critics such as H. Roy Kaplan in The Myth of Post-Racial America: Searching for Equality in the Age of Materialism (2011) and David J. Leonard and Lisa A. Guerrero in African Americans on Television: Race-ing for Ratings (2013), however, such colorblindness led to the bypassing of any direct confrontation with the persistent problems linked to race in contemporary American society.